Latest news with #TheSouth
Time of India
27-05-2025
- Entertainment
- Time of India
'Kannappa' hard drive containing crucial movie VFX visuals gets "stolen" a month before release
An executive producer of the highly anticipated 'Kannappa' movie filed a complaint at the Film Nagar police station in Hyderabad, alleging the theft of a hard disk containing the movie's VFX visuals. Tired of too many ads? go ad free now Kannappa is a mythological epic that narrates the story of the legendary devotee of Lord Shiva. It stars Manchu in the lead role. The officials at the Film Nagar police station have filed the case after Kannappa's producer alleged theft of a hard disk by unknown individuals. As per an Inspector at the Film Nagar police station, the unknown individuals allegedly entered the office and stole a hard disk containing VFX visuals of the Kannappa movie. "Yesterday, we received a complaint from Reddy, executive producer, alleging that unknown persons entered the office and stole a hard disk containing VFX visuals of the Kannappa movie. We have registered a case and are currently investigating the matter," said an Inspector of Film Nagar police station. Kannappa has been creating quite a buzz in the entertainment industry with it's stunning visuals and ensemble cast as shown in the teaser The South actor Vishnu Manchu takes center stage as Thinnadu, a fearless warrior who transforms into Lord Shiva's ultimate devotee. Bollywood star Akshay Kumar appears in the role of Lord Shiva, adding his divine presence to the tale. Mohanlal plays Kirata, while Prabhas makes a memorable entry as Rudra. The teaser also features brief yet impactful glimpses of and Preity Mukhundhan, further adding to the star power. With a thunderous background score, breathtaking cinematography, and a gripping narrative, 'Kannappa' looks set to be a visual masterpiece. The film seamlessly combines powerful action sequences with emotional beats, making it a cinematic spectacle that promises to captivate audiences worldwide. The film is directed by Mukesh Kumar Singh.
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India.com
27-05-2025
- Entertainment
- India.com
Kannappa: Hard Disk Containing Films VFX Visuals Gets Stolen Month Before Release
'Kannappa' hard drive containing crucial movie VFX visuals gets "stolen" a month before release An executive producer of the highly anticipated 'Kannappa' movie filed a complaint at the Film Nagar police station in Hyderabad, alleging the theft of a hard disk containing the movie's VFX visuals. Kannappa is a mythological epic that narrates the story of the legendary devotee of Lord Shiva. It stars Vishnu Manchu in the lead role. The officials at the Film Nagar police station have filed the case after Kannappa's producer alleged theft of a hard disk by unknown individuals. As per an Inspector at the Film Nagar police station, the unknown individuals allegedly entered the office and stole a hard disk containing VFX visuals of the Kannappa movie. "Yesterday, we received a complaint from Vijay Kumar Reddy, executive producer, alleging that unknown persons entered the office and stole a hard disk containing VFX visuals of the Kannappa movie. We have registered a case and are currently investigating the matter," said an Inspector of Film Nagar police station. Kannappa has been creating quite a buzz in the entertainment industry with it's stunning visuals and ensemble cast as shown in the teaser The South actor Vishnu Manchu takes center stage as Thinnadu, a fearless warrior who transforms into Lord Shiva's ultimate devotee. Bollywood star Akshay Kumar appears in the role of Lord Shiva, adding his divine presence to the tale. Mohanlal plays Kirata, while Prabhas makes a memorable entry as Rudra. The teaser also features brief yet impactful glimpses of Kajal Aggarwal and Preity Mukhundhan, further adding to the star power. With a thunderous background score, breathtaking cinematography, and a gripping narrative, 'Kannappa' looks set to be a visual masterpiece. The film seamlessly combines powerful action sequences with emotional beats, making it a cinematic spectacle that promises to captivate audiences worldwide. The film is directed by Mukesh Kumar Singh.
Mint
27-05-2025
- Entertainment
- Mint
Kannappa hard drive containing crucial movie VFX visuals gets 'stolen' a month before release
Hyderabad (Telangana) [India], May 27 (ANI): An executive producer of the highly anticipated 'Kannappa' movie filed a complaint at the Film Nagar police station in Hyderabad, alleging the theft of a hard disk containing the movie's VFX visuals. Kannappa is a mythological epic that narrates the story of the legendary devotee of Lord Shiva. It stars Vishnu Manchu in the lead role. The officials at the Film Nagar police station have filed the case after Kannappa's producer alleged theft of a hard disk by unknown individuals. As per an Inspector at the Film Nagar police station, the unknown individuals allegedly entered the office and stole a hard disk containing VFX visuals of the Kannappa movie. "Yesterday, we received a complaint from Vijay Kumar Reddy, executive producer, alleging that unknown persons entered the office and stole a hard disk containing VFX visuals of the Kannappa movie. We have registered a case and are currently investigating the matter," said an Inspector of Film Nagar police station. Kannappa has been creating quite a buzz in the entertainment industry with it's stunning visuals and ensemble cast as shown in the teaser The South actor Vishnu Manchu takes center stage as Thinnadu, a fearless warrior who transforms into Lord Shiva's ultimate devotee. Bollywood star Akshay Kumar appears in the role of Lord Shiva, adding his divine presence to the tale. Mohanlal plays Kirata, while Prabhas makes a memorable entry as Rudra. The teaser also features brief yet impactful glimpses of Kajal Aggarwal and Preity Mukhundhan, further adding to the star power. With a thunderous background score, breathtaking cinematography, and a gripping narrative, 'Kannappa' looks set to be a visual masterpiece. The film seamlessly combines powerful action sequences with emotional beats, making it a cinematic spectacle that promises to captivate audiences worldwide. The film is directed by Mukesh Kumar Singh. (ANI)
New York Times
26-05-2025
- Entertainment
- New York Times
One Steamy Month Charged With Forbidden Longing
As a critic, I often come across international writers, even those who write in English, who are widely celebrated in their own countries while barely known in the United States. Tash Aw, a big deal in both his native Malaysia and his adopted home, England (where two of his novels were longlisted for Booker Prizes), is a prime example. I'm hoping that 'The South,' a gorgeous coming-of-age story, will broaden his appeal. It's a departure for Aw — more autobiographical and less political than his previous books — and a wonderfully inviting doorway into his work. In the novel, Jay Lim, a Malaysian man, looks back on the sweltering school break in the 1990s that he spent on his family's dilapidated farm in south Malaysia with his two college-age sisters and their unhappily married parents. At the time, he was not quite 17, an outsider, gay but not out, chafing to be done with his miserable school in Kuala Lumpur and yet still utterly uncertain about his future. Aw swims fluidly between multiple time periods and perspectives to capture what Jay realizes in retrospect was a life-changing month in the country. The narrative explores the mind-sets of three characters: Jay's mother, Sui Ching, whose sense of entrapment has reached a breaking point in her stifling marriage to Jack Lim, a testy, unpleasant math teacher who is particularly critical of his adrift son; Jack's half brother Fong, the son of their father's mistress, who struggles as the farm's manager and resents Jack's privileged position; and Jay, whose infatuation with his cousin, Fong's alluringly muscular and hip 19-year-old son, Chuan, opens up the possibility of happiness. Interspersed are Jay's later reflections on those intense, steamy weeks when he was initiated into Chuan's freewheeling world and only vaguely aware of the stresses among their parents. The Lim family's trip south is set in motion by Jay's grandfather's surprising will, which left the farm, '20 hectares of scrubby jungle and farmland,' to Sui Ching, his daughter-in-law, rather than to either of his sons. The deep-seated familial resentments and inheritance drama aren't the only threats to the farm. By the time of Jay's visit, the fruit trees — tamarind, rambutan, papaya, star fruit and dragon fruit — are all moribund, ravaged by drought, climate change and lack of funds. A family orchard slated for the ax inevitably evokes Chekhov, particularly 'Uncle Vanya' and 'The Cherry Orchard.' It's a fitting comparison: 'The South,' like Chekhov's plays, is a tale of dichotomies — a family divided between town and country, education and peasantry, sophistication and provinciality, north and south, ambition and stagnation. Aw channels all five senses to lend an intense physicality to his novel, whether the powerful attraction between Jay and Chuan, or the melting, humid heat of the countryside air. We feel the clammy sweat of Chuan's body and the velvety softness of the murky, muddy pond water in which the boys cavort, hidden from everyone. We hear the loud pulse of techno at a karaoke dance bar they frequent in a nearby town, and watch Jay studying the ridges on Chuan's neck 'contracting and loosening; contracting, loosening' when he chugs a cold beer. We smell the 'chemical muskiness' of Chuan's cologne, which for years afterward will awaken in Jay 'the same frisson that he is experiencing now, that to him signifies possibility, the unfolding of an afternoon, an evening, a lifetime.' The sensuality of the prose is just one of the pleasures of Aw's writing. With 'The South,' he has crafted a story of yearning for autonomy, escape, financial independence and excitement that is suffused with sexual longing and the ache of nostalgia. Jay, his sisters and Chuan are impatient to grow up and get on with life, while their elders are more intent on hanging on to what they have. This book is less elaborately plotted than Aw's Booker Prize-nominated debut, 'The Harmony Silk Factory' (2005), and 'We, the Survivors' (2019), a grim portrait of prejudice and social inequity in Malaysia. Instead, 'The South' bears a stronger connection to his short, meditative memoir, 'The Face: Strangers on a Pier' (2016), which addresses the economic and class divide that education opened up in his family, separating members who struggled to thrive in remote villages from those who found greater success in cities. 'The South' is the first novel in a planned quartet. Will Aw be able to sustain the elegiac lushness in future installments? Will we find out where adult Jay has ended up, and what has become of Chuan? Will the family divisions widen into abysses? While I'm not convinced that 'The South' needs a sequel, I'll stay tuned. But for now, this shimmering, psychologically rich tale of first love and a family at a crossroads stands taller than those ill-fated tamarind trees.
Los Angeles Times
21-05-2025
- Entertainment
- Los Angeles Times
Tash Aw's epic Malaysian tale gets off to a promising start in ‘The South'
It's 1997, the Asian financial crisis is tanking stock markets and 'I'll Be Missing You' by Puff Daddy and Faith Evans is playing in the market of a southern Malaysian town where one teenage boy, Chuan, buys another, Jay, a knockoff Italian brand shirt. 'I really don't need anything. Really,' Jay tells him. 'I know,' Chuan responds. 'But I want to buy you something.' This tender moment comes midway through Tash Aw's new novel, 'The South,' which follows Jay Lim, a 16-year-old high school student, over the holiday break he spends on a parcel of land his mother inherited from her father in-law. Neither Jay nor his sisters, 18-year-old Yin and 20-year-old Lina, quite understand why they're going there, especially as their widowed grandmother in the north, who they'd normally visit over the break, is ill. But Sui Ching insists and, for once, her husband, Jack, follows her lead, and so the family heads south to the 'twenty hectares of scrubby jungle and farmland' that now belong to her. The land and the farmhouse that sits on it have long been in trouble, though. Fong, the farm manager, looks around while he waits for the Lims to arrive and notes the dry patchy grass, the concrete that's replaced the wooden porch, and wonders: 'Why does he insist on calling the veranda the veranda, and the lawn the lawn? Neither is what it used to be; those words are vestiges from the past.' And yet the past is very much alive in 'The South,' which is the first of a planned quartet that will follow the Lims over the course of several decades. It was originally meant to be a doorstopper of an epic, but as the Malaysan author himself no longer has the patience to read such tomes, he told the Guardian, he felt it would be artificial to write one; he called Jay 'a substitute for me' in the same interview. 'The South' follows the growing attraction and affection between Jay and Chuan, but it is also invested in other characters' lives, and switches perspectives throughout between first- and third-person narration. It appears, though, that the whole book is narrated by Jay, who moves back and forth between narrating his memories from within and describing what was going on from without. This is signaled in the very first chapter, when the two boys have sex for the first time and are referred to by third-person pronouns until the narrator breaks in: 'I call them boys but in truth they are no longer boys. What are they, then — because they are not yet men? Maybe it isn't important to know at this precise moment.' But Jay also imagines his way into moments that he can't possibly have witnessed: Fong, alone, waiting for Jay's family to arrive, for instance, or Sui Ching considering whether to tell her child about the affairs their father has been having. Aw allows much to remain unknown, uncertain, or unsaid in 'The South,' and he does so beautifully, allowing readers to find the nuance within the very specific scenes. When Chuan buys Jay a shirt, the glaring class difference between the boys is unspoken: Jay, whose father is a mathematics professor, lives in the capital and is presumed to have a middle-class future that will include a college degree and a white-collar job. Chuan, on the other hand, is Fong's son and has grown up on the failing farm that belonged to Jay's grandfather (and now belongs to Jay's mother). Older than Jay, Chuan left school early and has been working any job he can — most recently at the 7-Eleven in the nearby town — saving money to rent his own space, away from his father, while also still working on the farm when necessary, apparently without pay. So when Jay says he doesn't need a shirt, he means it literally, but he's also speaking from a place of self-consciousness, knowing that Chuan works for a living while he is still at school and has parents who can pay for his necessities. Chuan is, of course, aware of all this too, but it doesn't matter; he wants to buy his new lover a present, wants to give him something beautiful, and so he does. In another scene, Jay recalls a place that 'offers respite, not just to me but to others like me,' a clearing beyond his school's sports field which he found accidentally one day, discovering the place where the bullied queer boys hid out, a place where they could do each other's hair, put on makeup, and generally be at peace with one another. Within this memory, Jay performs a bit of narrative time travel: 'In the future, I will find myself in similar spaces, often shaded by trees, by lakes or rivers or among rolling dunes by the sea, or in a park in the middle of a metropolis in the summer, and I will remember this clearing, with its particular scent of loneliness, remember the melancholy that feels like an experience shared by everyone who visits this space and claims it as theirs, so that even when I am alone, I will feel connected to others.' Once again, here Jay is not saying outright what this means, but the trained queer eye will recognize this as a description of cruising spots that he will grow up to discover, signaling to the reader that the 16-year-old version of him we're witnessing is only at the very beginning of his queer life. 'The South' is a strong opening for Aw's projected quartet, a quiet yet expansive novel, and it's with great anticipation that I discovered that he is already hard at work on the second installment. If the first book is anything to go by, there is a lot to look forward to. Masad, a books and culture critic, is the author of the novel 'All My Mother's Lovers' and the forthcoming novel 'Beings.'
