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Hindustan Times
6 days ago
- Entertainment
- Hindustan Times
Ishaan Khatter on guarding his love life with girlfriend Chandni Bainz: ‘I act for the cameras, but…'
Actor Ishaan Khatter, who is rumoured to be dating Malaysian model Chandni Bainz, has consistently chosen to keep his personal life away from the spotlight. Although the duo has yet to officially confirm their relationship, their frequent public appearances together have kept the rumour mills buzzing. Recently, the actor opened up about why he believes it's crucial to maintain privacy in matters of the heart. Ishaan Khatter emphasises balancing public life and personal space, stating he won't hide but also won't live for the cameras. Ishaan Khatter on his dating life In a candid and exclusive conversation with Zoom, Ishaan discussed the importance of keeping romantic relationships private, emphasising the need to respect a partner's space, especially when one half of the relationship lives in the spotlight. 'I think it's really important to respect the privacy of your partner as well. You are in the limelight for whatever reason, but people are curious, they want to know. But when something is good, you want to protect it. That's my instinct. I don't want to hide or lie or anything," Ishaan said. While Ishaan made it clear he's not trying to keep his personal life completely private, he draws a firm line between sharing and oversharing. 'I am not going to stop living my life. I am in my 20s and I am not going to hide in a hole. I am not going to not go out and have a meal if I want to—you can't stop living your life. At the same time, I am not going to allow that to dictate how I think and feel and every decision I make. Because you have to be aware of what the conversation is. But if you are doing that, you are living for the cameras. I act for the cameras, but I can't live for the cameras,' Ishaan added. Ishaan Khatter's latest projects Ishaan is gearing up for the release of Homebound, an emotional drama helmed by acclaimed director Neeraj Ghaywan. The film, which also stars Janhvi Kapoor and Vishal Jethwa, had its international premiere in the prestigious Un Certain Regard section at the 2025 Cannes Film Festival. The 29-year-old star was recently seen in the Netflix romantic comedy The Royals as Aviraaj Singh, shared screen space with Bhumi Pednekar, Nora Fatehi, Vihaan Samat, Dino Morea, Zeenat Aman, Sakshi Tanwar, and Milind Soman. Directed by Priyanka Ghose and Nupur Asthana, Ishaan is set to return in Season 2, with the original ensemble cast reprising their roles.
News18
6 days ago
- Entertainment
- News18
Ishaan Khatter Calls ‘OG' Dancer Hrithik Roshan His ‘First Hero'
Last Updated: Ishaan Khatter shared that Hrithik Roshan has always been kind to him and consistently encouraged him in both his acting and dancing pursuits. Over the years, Ishaan Khatter has captivated audiences not only with his acting prowess but also with his impeccable dancing talent. In a recent interview, the young star opened up about how his passion for dance began and the role superstar Hrithik Roshan played in inspiring that journey. During an interview with Zoom, Ishaan Khatter opened up about his deep-rooted passion for dance and credited Hrithik Roshan as a major inspiration. 'Dancing is the one thing I have been doing since I can remember. Before my memory begins, I've just been dancing. The first hero I used to emulate was Hrithik sir. I would entertain my family in the hall. There were times we were dealing with financial hardships, and I was able to bring a smile to my mom and brother's faces by performing his songs. For me, it's been a full circle moment," he said. Ishaan Khatter Thanks OG Hrithik Roshan Ishaan added that Hrithik Roshan has been very kind to him and always encouraged him as an actor and dancer. He further added, 'This is not even a tribute, but all the love and shout out to the OG." What's Next For Ishaan Khatter? On the work front, Ishaan Khatter is preparing for the release of Neeraj Ghaywan's directorial Homebound. The emotional drama, co-starring Janhvi Kapoor and Vishal Jethwa in pivotal roles, made its international premiere at the renowned Cannes Film Festival 2025's Un Certain Regard section. The plot revolves around two childhood friends, Shoaib Ali (played by Ishaan) and Chandan Kumar (played by Vishal), who hail from a North Indian village and are motivated to break free from the constraints of their disadvantaged identities. However, a series of events triggers internal and external difficulties, putting their relationship to the test. Ishaan Khatter's Last Project Ishaan Khatter was last seen in the role of Aviraaj Singh in the Netflix series The Royals. The rom-com, directed by Priyanka Ghose and Nupur Asthana, also included Bhumi Pednekar, Zeenat Aman, Sakshi Tanwar, Nora Fatehi, Vihaan Samat, Dino Morea, and Milind Soman reprising previous roles. Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Indian Express
6 days ago
- Entertainment
- Indian Express
Payal Kapadia: ‘Neeraj Ghaywan's Masaan is a moment in Indian cinema'
When Neeraj Ghaywan-directed Masaan created a buzz by winning two awards — FIPRESCI award and the Promising Future prize in the Un Certain Regard section — at the Cannes Film Festival, 2015, director Payal Kapadia, then a student of Film and Television Institute of India (FTII), Pune, candidly recalls her initial reaction to the film's success, marked by what she termed 'film school arrogance' and skepticism. 'Is Masaan really that good? We wondered. However, after watching it, I was moved by the way Masaan talked about caste and gender. Masaan is a moment in Indian cinema,' she said. Kapadia, the writer-director of Cannes-winner All We Imagine As Light (2024), was in conversation with Ghaywan after a special screening organised by Versova Homage Screenings (VHS) on Thursday evening as Masaan turns 10. Talking about Masaan's significance in Indian cinema, she said: 'It is not often that you see characters in Hindi cinema that (give the impression) we might have met them at some point or capture feelings that we must have experienced at some point in our lives. That's why Masaan is both universal and specific to a particular place. There are so many themes in the film. As cinema students, we were inspired by how this film had used a unique cinematic language — long takes and off-screen sound — in the mainstream space.' A compelling exploration of themes of love, loss, caste, guilt, and ambition, Masaan parallelly follows the stories of its lead characters — Devi (essayed by Richa Chadha) and Deepak (Vicky Kaushal). Ghaywan's initial idea was to explore the story of a man who works at a ghat and can't muster enough courage to speak to a woman he is drawn to. 'Later on, I developed a couple of other tracks. The concept of two people, who were slowly navigating towards each other, completely oblivious of their journeys ending together, was always there.' says Ghaywan. The special screening of Masaan was organised by Versova Homage Screenings (VHS), a community viewing platform created by two brothers, writer-director Rohan K Mehta and actor Prayrak Mehta. They started VHS in April 2024 with the screening of Avinash Arun-directed Killa (2014) and this was their 25th screening. For Payal Kapadia, one of the powerful scenes of Masaan is the ending, when Devi and Deepak meet at a ghat in Allahabad (now Prayagraj) and go on a boat tour of Sangam, which is the confluence of rivers: the Ganga, Yamuna, and the mythical Saraswati. 'The ending is powerful. It is about two people who don't know each other and have impacted each other. It goes so well with the metaphor of Sangam of the rivers,' she said. In response, Ghaywan said he always wants to end a story with hope. 'That was also the last shot that we took as the sun was about to set.' Masaan, which boasts of an impressive ensemble cast, features Shweta Tripathi, Sanjay Mishra and Pankaj Tripathi. When Kapadia mentioned how 'its characters are complex', Ghaywan said, 'I don't like unidimensional characters who are honest and sincere. As humans, we are flawed.' Ghaywan's second feature Homebound premiered at Cannes Film Festival's 'Un Certain Regard' section and will be screened at the Toronto International Film Festival (TIFF) in September. Also Read | Vicky Kaushal was ridiculed after he was cast as lead in Masaan, says casting director Mukesh Chhabra: 'Kisko hero le liya' Even though a decade has passed since its release, Masaan still stands out for its magnificent use of music and Hindi poetry. 'For Masaan, I wanted a different kind of music. The inspiration was Udaan, which used rock music in a coming-of-age film so beautifully,' he said. The songs of Masaan were composed by Indian Ocean and the lyrics were written by Varun Grover, who also wrote its screenplay. The script deftly weaves references to Urdu & Hindi poets such as Akbar Allahabadi, Basheer Badr, Mirza Ghalib, Dushyant Kumar and Nida Fazli.
The Advertiser
7 days ago
- Entertainment
- The Advertiser
A distinctive coming-of-age drama in the depths of country France
Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France. Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France. Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France. Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France.
NDTV
24-07-2025
- Entertainment
- NDTV
10 Years Of Masaan: Vicky Kaushal Recalls Fond Memories Of His Debut Film, Says "Feels Like Yesterday"
Mumbai: Vicky Kaushal took to social media to celebrate 10 years of his debut film, Masaan. The Sanju actor shared heartfelt memories from the project that marked a turning point in his career. He took to Instagram to share a carousel of throwback pictures from Masaan with the cast and crew. He captioned it, "Feels like yesterday." The opening frame of the carousel had a text message which read, "It's been a decade. So much to learn, so much to you for everything. Musafir hai hum bhi, musafir ho tum bhi. Kisi modh pe phir mulaakat hogi." View this post on Instagram A post shared by Vicky Kaushal (@vickykaushal09) The 2015 drama marked the acting debut of Vicky Kaushal and the directorial debut of Neeraj Ghaywan. The film also starred Richa Chadda in the lead role. The movie was showcased in the Un Certain Regard section at the Cannes Film Festival, where it won two awards. It was later screened at the first New York Dalit Film and Cultural Festival, along with films like Pariyerum Perumal, Kaala, and Fandry. Since its release, the film has gained cult status and continues to be celebrated for its powerful storytelling. The story of Masaan revolved around four individuals in Varanasi, each dealing with their own struggles related to love, grief, and social pressures. It followed a low-caste boy in love with an upper-caste girl, a daughter dealing with guilt after a tragic encounter, a father facing moral challenges, and a child longing for a family. Their lives came together along the ghats of the Ganges, as they all tried to break free from the restrictions of their small-town society. Meanwhile, Vicky Kaushal's most recent appearance was in the historical drama Chhaava, where he portrayed Chhatrapati Sambhaji Maharaj, the son of Chhatrapati Shivaji Maharaj. The action drama also featured Ashutosh Rana, Akshaye Khanna, Rashmika Mandanna, and Diana Penty, among others. The movie was released on February 14, 2025 and went on to become the highest-grossing Indian film of the year, as well as the top-grossing Hindi film of 2025.
