Tag: film

Films

Madhuri Dixit Returns to Thrillers as a Deadly Mastermind in Mrs Deshpande

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

Madhuri Dixit is set to make a powerful comeback to the thriller genre with her upcoming series Mrs Deshpande, directed by Nagesh Kukunoor and scheduled for release on December 19, 2025, on JioHotstar. The recently unveiled trailer has generated intense excitement, showcasing Madhuri in a remarkably different and chilling avatar. Known for her grace, charm and iconic on-screen presence, she now steps into the skin of a soft-spoken yet convicted serial killer whose gentle appearance hides a dark and violent past. The teaser opens with Madhuri gently singing Bholi Si Surat, only for the calm to be shattered in an instant as she takes someone’s life. The narrative quickly shifts to her being imprisoned, where she states, “I’m locked up, so someone else must be imitating my methods,” setting the tone for the psychological tension that defines the series.

Within the storyline, Mrs Deshpande is serving a 25-year prison sentence, but the police turn to her for assistance after realizing that a new serial killer is replicating her exact methods. The show, an official remake of the French drama La Mante, weaves together crime, psychology and emotional complexity as Madhuri’s character agrees to help the investigation but only on one condition: she wants to partner with her estranged son, who now serves as a detective. Their reluctant collaboration forces them to confront their intertwined trauma, long-suppressed resentment and secrets buried for decades. This mother–son dynamic becomes central to the show’s emotional depth.

Featuring Madhuri Dixit-Nene in the lead role, the series stars Siddharth Chandekar as her son and Priyanshu Chatterjee in a pivotal supporting role. At the trailer launch, Madhuri shared her excitement about working with the team and praised director Nagesh Kukunoor for guiding her through this intense, layered performance. With its gripping premise and strong cast, Mrs Deshpande promises to deliver a fresh, bold and emotionally charged thriller experience for audiences.

Events in Goa, IFFI 2025

IFFI Closes International Section on a High with Thailand’s Surreal Gem A Useful Ghost

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

Thailand’s A Useful Ghost brought a vibrant and surreal close to the International section at the International Film Festival of India, leaving audiences both amused and contemplative. Directed by Ratchapoom, the film explores a whimsical narrative in which a ghost returns not as a human, but as a vacuum cleaner—a playful yet deeply symbolic choice reflecting the real-world dangers of dust pollution that claim the life of the protagonist. The unusual approach was born from Ratchapoom’s desire to break free from conventional depictions of ghosts, blending subtle supernatural elements with unexpected sci-fi touches to create something quietly intimate and visually inventive.

Cinematographer Song Pasit described the film’s visual style as a deliberate interplay between humor and gravity, embracing a philosophy of “don’t be afraid not to be cinematic,” which allowed the team to experiment freely with color, framing, and surreal visual motifs. Behind the scenes, associate producer Tanade Amornpiyalerk highlighted the limited but emerging opportunities in Thai cinema, an industry dominated by Hollywood releases with around 30 local films released annually. Despite these constraints, Ratchapoom emphasized his belief that films should go beyond pure entertainment to express meaningful ideas, a principle evident in A Useful Ghost.

Actor Wisarut Homhuan shared that the role was both challenging and transformative, marking a milestone in his career. Having worked across TV and digital platforms, Homhuan explained that opportunities for film actors in Thailand remain scarce, making his performance in this film a breakthrough moment for recognition within the cinematic landscape. The global journey of the film, from an offbeat concept to festival acclaim, left Ratchapoom astonished and elated. “Who would have thought such a film with such a crazy idea could travel so far and reach so many people?” he remarked, reflecting on the unexpected resonance of his quirky, thoughtful creation.

A Useful Ghost demonstrates the power of imaginative storytelling, blending social commentary with whimsy, and showcasing the evolving face of Thai cinema on the international stage. Its success at IFFI reinforces the notion that even the most unconventional ideas, when executed with heart and vision, can captivate audiences worldwide.

Events in Goa

Tribeny Rai’s Shape of Momos Brings Everyday Sikkimese Lives to the Big Screen at IFFI 2025

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

At the 56th International Film Festival of India, Sikkimese filmmaker Tribeny Rai’s debut feature Shape of Momos captured attention for its sensitive and authentic portrayal of everyday life in Sikkim. Screened under the Indian Panorama section, the film explores the cultural and emotional landscape of the Eastern Himalayas through the eyes of its women protagonists. Following the screening, Tribeny Rai, producer and co-writer Kislay, and lead actor Gaumaya Gurung shared insights about the film and the Sikkimese film industry at a press conference.

An alumna of the Satyajit Ray Film and Television Institute, Tribeny Rai is recognized for her nuanced storytelling that highlights the lived experiences of women in her region. Shape of Momos, rooted in her personal experiences and cultural memory, represents a journey of both artistic exploration and logistical perseverance. With Sikkim’s film industry still in its nascent stages, the team faced significant infrastructural challenges, including sourcing professional camera equipment from other cities. Despite these hurdles, the film has already been showcased at international festivals, including Busan, reflecting its global resonance.

The title of the film draws from the ubiquity of momos in Sikkim, a food that accompanies both joyful and sorrowful occasions, symbolizing the shared rhythms of daily life. Producer Kislay noted the importance of presenting stories from underrepresented regions like Sikkim without succumbing to stereotypes. He emphasized that the selection of the film at IFFI represents the fulfillment of a long-held aspiration to bring authentic regional voices to wider audiences.

Lead actor Gaumaya Gurung highlighted the significance of portraying a female perspective, something she finds rare in Nepali-language cinema despite her years of experience. She appreciated the film’s careful balance between subjective and objective storytelling, allowing audiences to engage deeply with the protagonist’s inner world.

Distribution remains a challenge for independent regional films, yet Shape of Momos is slated for release across Sikkim, North Bengal, parts of Meghalaya and Assam, as well as Dehradun, catering to Nepali-speaking audiences. Additionally, the film will have a theatrical release in Italy, extending its reach internationally. Tribeny Rai stressed the need for a supportive community of independent filmmakers in Sikkim to navigate these challenges and enhance visibility.

As the first woman filmmaker from Sikkim, Tribeny Rai reflected on the gradual emergence of film culture in the state. Limited resources and infrastructure make filmmaking a formidable endeavor, but there is growing enthusiasm among young Sikkimese film students, many of whom resonate with the portrayal of familiar lives in Shape of Momos. Through this debut, Tribeny challenges the mainstream cinematic lens that often exoticizes the Northeast or reduces it to narrow narratives, presenting instead a story where everyday Sikkimese people are the heroes of their own lives.

Events in Goa

Kei Ishikawa Brings A Pale View of Hills to Life at the 56th IFFI, Goa

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

Japanese director Kei Ishikawa captivated audiences and media at the 56th International Film Festival of India in Goa as he presented his second directorial work, A Pale View of Hills, showcased as part of the festival’s special segment, Country Focus: Japan. The curated selection highlights the richness and evolution of contemporary Japanese cinema, offering an expansive range of genres from intimate dramas to ambitious experimental narratives. Ishikawa expressed his delight at visiting India for the first time and spoke about the profound connection he felt with the novel by Nobel laureate Kazuo Ishiguro, upon which the film is based. He reflected on the difficulty of portraying the emotional landscape of a period he did not live through—post-war Japan—and shared that discovering Ishiguro’s novel gave him the direction and confidence he needed to tell the story authentically.

The film follows a young Japanese-British writer who seeks to uncover the truth of her mother Etsuko’s past in Nagasaki, years after the trauma of her elder daughter’s suicide. Etsuko’s memories drift back to 1952, when she was expecting her first child and formed a complicated bond with Sachiko, a woman determined to leave Japan with her daughter Mariko. The fragments of memory and troubling inconsistencies that emerge as the daughter pieces together her mother’s past form the emotional core of the narrative. Ishikawa explained that he was drawn to the story not only for its connection to the atomic bomb but for its nuanced portrayal of women living through different eras, each navigating loss, change, and identity in deeply personal ways.

He also spoke about his decision to write the screenplay himself and to edit the film, describing editing as the final phase of writing. The film’s multinational production—spanning Japan, the UK, and Poland—brought diverse perspectives on how the story should conclude. British producers leaned toward a more definitive ending, while Polish collaborators preferred a subtler, less explicit resolution. Ishikawa acknowledged that the Japanese viewpoint fell somewhere in between, and he appreciated the collaborative discussions that ultimately shaped what he believes is the most fitting ending for the film. His experience creating A Pale View of Hills reflects both a deep respect for Ishiguro’s literary work and a commitment to exploring the emotional truths that lie beneath memory and silence.

Events in Goa

“This Tempting Madness” Team Unpacks Memory, Misogyny & Survival at IFFI 2025

Tanisha Cardozo

Written by Tanisha Cardozo || Team Allycaral

The press conference for This Tempting Madness at IFFI carried the same intensity and emotional weight as the film itself. Director Jennifer Montgomery, producer Andrew Davis, and actors Suraj Sharma and Zenobia Shroff came together to explore the responsibility of telling a story born from real pain. Jennifer began with a candid admission that the film is inspired by a true and deeply unfortunate event, a narrative so heavy that even speaking about it remains difficult.

She explained that cinema can often capture emotions and complexities that words alone cannot, offering audiences a space to understand experiences that are usually hidden from view. Andrew expanded on this, acknowledging the delicate balance required when adapting real-life trauma. The goal, he noted, is not simply to retell an incident but to search for meaning, context, and the lingering questions that haunt those affected.

Suraj Sharma spoke with quiet sincerity about how personal the project felt to him. Calling emotional and mental abuse “alarmingly common,” he shared that he had witnessed someone close to him endure abuse and had intervened to help her leave the situation. For him, the film stands as a tribute to those who have lived through such experiences.

Zenobia Shroff added depth with her reflection on portraying an Indian mother navigating cultural pressures and unspoken expectations. She described the familiar but often unexamined dynamic where silence is encouraged, a silence rooted in internalised misogyny. Her hope, she said, was to expose these patterns and shift the narrative toward empowering women and raising better men.

While the film features Indian characters, Jennifer emphasised that the story itself is universal, noting that Simone Ashley was cast simply because she was the best fit for the role. The rest of the cast helped her navigate cultural nuances she was less familiar with. Technically, the film uses intercut memories to mirror the protagonist Mia’s amnesia and confusion.

Jennifer explained that memory loss is inherently unreliable, so the visual language intentionally shifts between the present and fragmented recollections to reflect her disorientation. When asked about literary influences such as Virginia Woolf, Jennifer admitted she had not drawn from them but expressed curiosity to explore that connection now.

Ultimately, she summarised her artistic goal as finding the humanity in every character, acknowledging that everyone faces moments where they feel tempted by their own inner chaos. Andrew closed the conversation on a hopeful note, emphasising that though the story is rooted in real suffering, it is also a testament to strength—people can grow, change, and emerge more resilient.

With themes of trauma, love, confusion, and survival, This Tempting Madness left the IFFI audience with more than reflections on filmmaking; it offered a deeper invitation to consider the unseen battles people carry and the empathy required to understand them.