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When a man suffering from memory loss is abandoned by his family, only to find purpose and companionship with a child who has no one, the result is a heartwarming journey of resilience and redemption. Kaalidhar Laapata, the Hindi remake of the 2019 Tamil gem KD, brings to life a familiar yet emotionally resonant tale under the able direction of Madhumita. ⭐ Plot Overview Kaalidhar Laapata follows Kaalidhar (Abhishek Bachchan), the eldest of four siblings, who begins experiencing frequent memory lapses and hallucinations. With doctors offering little hope and expensive treatments, his family quietly decides to abandon him during the Kumbh Mela. They file a missing person’s complaint to avoid suspicion but offer no real help to locate him. When Kaalidhar overhears their plan, he leaves heartbroken, boarding a bus with no clear destination. His journey brings him to a village temple where he meets Ballu (Daivik Bhagela), an 8-year-old orphan who quickly becomes his guide, friend, and emotional anchor. The duo shares a touching camaraderie, ticking off items from Kaalidhar’s long-forgotten wish list. Meanwhile, the same family that discarded him realises they need Kaalidhar back—if only to fix their financial woes—and enlist a sincere lost-and-found officer, Subodh (Mohammed Zeeshan Ayyub), to help. 🎭 Performances 🎬 Direction & Writing Madhumita retains the soul of KD while localising the setting and tweaking character arcs. However, some of the emotional heft of the original gets diluted in translation: Still, the narrative moves with warmth and clarity, blending gentle humour with life lessons. 🎵 Music & Cinematography The film’s modest score supports its emotional tone without becoming manipulative. Cinematography captures both the chaos of the Kumbh and the calm of village life with sensitivity. ✅ Verdict Kaalidhar Laapata is a bittersweet, slice-of-life drama about abandonment, self-worth, and unexpected friendships. Though it may not reach the emotional heights of its Tamil predecessor, it succeeds on the strength of its performances and heartwarming message. Abhishek Bachchan’s nuanced portrayal and Daivik Bhagela’s charm make this journey worth taking. Rating: ★★★☆☆ (3/5)Recommended for: Fans of slow-burning emotional dramas, slice-of-life storytelling, and character-driven cinema.

Rating: ★★★☆☆ (3/5 stars)Created by: Nagesh KukunoorProduced by: Applause EntertainmentBased on: Ninety Days by Anirudhya Mitra Making political thrillers without picking sides is nearly impossible — yet The Hunt dares to walk that tightrope. Directed by Nagesh Kukunoor, the series isn’t about the buildup to the assassination of former Prime Minister Rajiv Gandhi in 1991 — Madras Cafe already did that. Instead, it picks up after the tragedy, unfolding the high-stakes hunt to uncover why it happened and who made it happen. Right from the opening — a devastating blast that interrupts a PM’s rally — Kukunoor sets the tone. There’s no unnecessary buildup, no dramatic flair. Just efficient, harrowing storytelling. The camera lingers just long enough to make you uncomfortable, and the silences are as powerful as the dialogue. The Execution: Understated, Not Theatrical What works best in The Hunt is its restraint. Even moments of chaos — like the chilling phone call to the Indian High Commission asking if the Prime Minister is alive — are played with unsettling calm. When Amit Sial’s D.R. Kaarthikeyan, modeled on the real-life head of the SIT, hears the news, we see him watching the coverage on an old TV set. There’s no dramatic outburst, no smashing of glasses — just a quiet resolve. That commitment to realism continues throughout. Kukunoor avoids using familiar faces or Bollywood stars — choosing actors who feel like people rather than personas. The result: a story that doesn’t feel performed, but lived. Slow-Burn in a Streaming Age Known for films like Iqbal and Dor, Kukunoor has always embraced slow-burn narratives. That continues here. While The Hunt starts with urgency, it soon settles into a procedural rhythm — methodical, sometimes meandering, but never losing sight of its goal. The series gradually unfolds like a whodunnit, layering suspects, motives, and shadowy geopolitical connections involving IPKF, LTTE, and even murmurs of a “curse” on the Gandhi family. Writers Sriram Rajan and Rohit Banawlikar deserve credit for avoiding a documentary tone. They embed history into conversation, turning The Hunt into something between a detective thriller and a political tragedy. Ambition Meets Restraint Perhaps the boldest choice here is not fictionalizing the key characters. Kukunoor doesn’t rename or disguise the real-life political figures — a rare move in Indian web content. That lends the series a sense of authenticity, but also tightens the rope it walks. And while the pacing may test some viewers, the payoff lies in the depth of investigation and the moral greyness explored. Final Thoughts The Hunt isn’t an easy watch — nor is it meant to be. It revisits a wound many have forgotten, buried under newer headlines and social media noise. For some, it’ll feel like a history lesson we never got in school. For others, a haunting procedural of national trauma. Is it perfect? No. But it’s gutsy, grounded, and deeply engaging. And in an era of loud thrillers and shallow politics, The Hunt offers something far more valuable — reflection. Verdict:Watch it for the performances, the meticulous storytelling, and a haunting glimpse into one of India’s darkest chapters.

Producer Jackky Bhagnani, who backed the big-budget action entertainer Bade Miyan Chote Miyan starring Akshay Kumar and Tiger Shroff, has finally addressed the swirling rumors surrounding his financial status following the film’s disastrous performance at the box office. Directed by Ali Abbas Zafar, the film was expected to be a massive crowd-puller but failed due to a poorly received screenplay and weak storyline. Its box office failure led to widespread speculation that Bhagnani had gone bankrupt, sold off his assets, and even fled the country. In a recent interview, Jackky Bhagnani cleared the air, saying: “I redeveloped my Juhu office. This is the same building that was in the news. They said I had to sell it off because I’d gone bankrupt, and that I didn’t even have money to buy food. They said I had run away. I don’t want to blame anybody for these rumors, but I don’t know how they started.” The actor-turned-producer, who is married to actress Rakul Preet Singh, also shared the emotional and financial toll the episode took on his family. He revealed that banks became reluctant to approve loans, doubting his ability to repay them. In a moment of candor, Bhagnani said: “Giving a chance to Ali Abbas Zafar was my biggest mistake.” This blunt admission underscores the magnitude of disappointment he felt after placing his trust — and a massive budget — in the project, only for it to falter critically and commercially. Bade Miyan Chote Miyan, which was promoted as a sleek action thriller and released with much fanfare, failed to recover its high production costs and was met with criticism for its weak plot and lack of novelty. The incident has served as a cautionary tale within Bollywood on the risks of betting big on spectacle without strong content to back it.

A Mumbai magistrate court has issued a show cause notice to the Mumbai Police for failing to submit an inquiry report in a case filed against television and film producer Ekta Kapoor, accused of disrespecting Indian soldiers in one of her web series. According to PTI, the police were directed to submit the report by May 9, but the deadline passed without compliance, prompting the court to seek an explanation from the police on Friday. Background of the ComplaintThe case originates from a 2020 complaint filed by social media personality and former Bigg Boss contestant Hindustani Bhau (Vikas Fhatak). The complaint targeted Ekta Kapoor, her OTT platform Alt Balaji, and her parents Shobha Kapoor and Jeetendra, alleging disrespectful portrayal of the Indian Army. In his complaint, Bhau objected to a scene in a web show on Alt Balaji, which allegedly depicted a military officer engaging in an “illicit sexual act” while in uniform, with the national emblem visible. He called the depiction an affront to national pride and the dignity of Indian soldiers. Legal DevelopmentsIn February 2025, the Bandra magistrate court directed the Khar police to conduct an inquiry under Section 202 of the CrPC, which mandates preliminary investigation before issuing summons. The court was awaiting the police’s findings, but with no report submitted by the due date, the court has now questioned the delay officially. Past Legal Troubles for Ekta KapoorThis is not the first legal controversy involving Ekta Kapoor’s content. In 2024, BJP MLA Abhilash Pandey from Jabalpur filed a complaint over the web series Gandii Baat, alleging that it contained inappropriate content involving minors, prompting the filing of an FIR. Current ProjectsDespite legal challenges, Ekta Kapoor remains active in the entertainment industry. She is currently working on Kyunki Saas Bhi Kabhi Bahu Thi 2, a revival of her iconic TV serial. The reboot will mark the return of Smriti Irani as Tulsi and Amar Upadhyay as Mihir, and is reportedly planned for 150 episodes. The Mumbai court has now asked for a response from the police on the delay, bringing renewed attention to a case that balances creative freedom with national sentiments.