September 9, 2025

THE CLIFF NEWS

National Daily Bilingual Newspaper

Tag: bollywood

Kajal Aggarwal Quashes Death Rumours, Assures Fans She Is “Perfectly Fine”

Actor Kajal Aggarwal became the latest victim of an online death hoax after false reports claiming she had died in a road accident went viral on social media. The unverified stories alleged that the actress had sustained fatal injuries, sparking alarm among fans. On Monday, Kajal took to her Instagram Stories and X (formerly Twitter) to issue a strong clarification. She reassured her followers that she was safe and healthy, dismissing the rumours as “baseless” and “absolutely untrue.” “I’ve come across some baseless news claiming I was in an accident (and no longer around!) and honestly, it’s quite amusing because it’s absolutely untrue. By the grace of god, I want to assure you all that I am perfectly fine, safe, and doing very well. I kindly request you not to believe or circulate such false news. Let’s focus our energies on positivity and truth instead,” Kajal wrote. The actress also responded briefly to ETimes when reached for confirmation, saying she was “busy” but would connect later. A Maldives Break Just days before the rumours, Kajal had shared pictures from her Maldives vacation with husband Gautam Kitchlu, describing the island nation as her “recurring love affair.” Career Front Kajal was last seen in Vishnu Manchu’s mythological drama Kannappa and in Salman Khan’s action film Sikandar earlier this year.She next appears in Indian 3, directed by Shankar and starring Kamal Haasan. Buzz also suggests Kajal has been approached to play Mandodari, Ravana’s wife, in Nitesh Tiwari’s epic Ramayana — which stars Ranbir Kapoor as Ram, Sai Pallavi as Sita, and Yash as Ravana. If confirmed, it would be one of her most prominent roles in recent years.

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Editor03 mins

15 Years of Dabangg: Director Abhinav Kashyap Opens Up on Fallout With Salman Khan

Fifteen years after Dabangg introduced audiences to the iconic Chulbul Pandey and became one of Bollywood’s most celebrated blockbusters, director Abhinav Kashyap has spoken candidly about his strained relationship with Salman Khan and the Khan family. In a new interview, Abhinav alleged that working with Salman was a bitter experience. Calling the superstar “a goon,” he claimed Salman has long lost interest in the craft of acting. “Salman is never involved. He hasn’t been serious about acting for the last 25 years. He just shows up, does a favour by being there. What he really enjoys is the power of being a celebrity, not the craft of acting,” Abhinav said. “Salman is badtameez (ill-mannered), ganda insaan (a bad person). I didn’t know this before Dabangg.” The filmmaker said his fallout with the Khans deepened after he refused to direct Dabangg 2. He alleged the family tried to sabotage his career: “They are vindictive people. They want to control the industry. If you don’t agree with them, they come after you. Salman is the father of the star system in Bollywood.” Abhinav also drew parallels with his brother, Anurag Kashyap’s experience on Tere Naam. “Anurag wrote the script for Tere Naam. He was supposed to direct it, but Boney Kapoor misbehaved with him. He walked away without credit. The same thing happened with me on Dabangg. The foundation of a great film is always a strong script, but they don’t respect that,” he added.

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Editor02 mins

Sanjay Gupta Reacts as The Conjuring: Last Rites Beats Baaghi 4 at Indian Box Office

Filmmaker Sanjay Gupta has expressed surprise after Hollywood horror film The Conjuring: Last Rites outperformed Tiger Shroff’s action drama Baaghi 4 on its opening day in India. Taking to X (formerly Twitter), the Kaante director wrote: “Me in my 20’s/30’s could never imagine an English film outperforming a Hindi film. Today’s reality – An English horror film does double the business of a mainstream Hindi action film. What changed???” Netizens were quick to respond, with many pointing to the declining quality of Bollywood scripts and an over-reliance on star fees, VFX, and PR campaigns. One user commented, “Hindi movies have lost their emotional quotient. Producers spend on actors and locations but don’t invest in good writing.”Another wrote, “If Baaghi 4’s content and promos had connected with the audience, it would’ve opened stronger. Meanwhile, The Conjuring is a well-established franchise promoted as the final chapter — bound to open big.” Gupta had earlier remarked that Hollywood delivers a steady pipeline of action films, while “some of our best action stars are sitting at home clutching unrealistic numbers.” At the box office, Baaghi 4 opened with ₹12 crore, whereas The Conjuring: Last Rites earned ₹17.5 crore on day one in India.

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Editor02 mins

Anuparna Roy Creates History at Venice Film Festival with Best Director Win

Indian filmmaker Anuparna Roy made history at the 82nd edition of the Venice Film Festival, winning the Best Director award in the prestigious Orizzonti section. Taking the stage in a graceful white saree, the director described the moment as “surreal” and unforgettable. French filmmaker Julia Ducournau (Raw, Titane), who served as the president of the Orizzonti jury, announced Anuparna as the winner. While receiving the award, Anuparna thanked the festival, the jury, and the audience for embracing her film Songs of Forgotten Trees. In her heartfelt acceptance speech, she said, “This moment is surreal. I am standing here at a great festival like Venice… I want to thank the jury, the audience, and the director of the festival. I also want to thank my producer who supported a film that didn’t fit into stereotypical boxes. Anurag [Kashyap] believed in the film from the very beginning. To my incredible cast — the beautiful Naaz Shaikh and Sumi Baghel — this award is yours.” She went on to dedicate the award to her hometown and her country, while also acknowledging the efforts of her crew: “I want to thank Celluloid Films for believing in the project, my DoP, and our 80-year-old gaffer Debjit Banerjee — every one of you was amazing.” Anuparna also used the stage to address a larger concern: “I want to take a moment and talk about something bigger, something disastrous that is happening in Palestine. Every child deserves peace, freedom, and liberation, and Palestine is no exception. This is our responsibility to reflect on, even if it upsets my country — it doesn’t matter to me anymore. Thank you so much!” About the Film Songs of Forgotten Trees tells the story of the evolving relationship between two migrant women in Mumbai. The film was showcased in the Orizzonti section, which focuses on emerging trends, debut works, indie films, and underrepresented voices in cinema. Starring Naaz Shaikh and Sumi Baghel, the film is produced by Bibhanshu Rai, Romil Modi, and Ranjan Singh, with Anurag Kashyap backing the project as a presenter.

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Editor03 mins

Mumbai Police issue Lookout Circular against Shilpa Shetty, Raj Kundra in ₹60 crore cheating case

Mumbai, Sept 7 – The Mumbai Police’s Economic Offences Wing (EOW) has issued a Lookout Circular (LOC) against Bollywood actor Shilpa Shetty and her husband, businessman Raj Kundra, in connection with a ₹60 crore cheating case, officials confirmed on Friday. The move comes after a complaint was registered at Juhu police station on August 14, alleging that the couple duped a businessman in a loan-cum-investment deal. According to investigators, the LOC was deemed necessary as Shetty and Kundra make frequent international trips. An LOC is a mechanism used to restrict a person from leaving the country or to track their movements, with alerts issued to immigration and border control points. The case is under further investigation by the EOW.

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Editor01 mins

Levi’s® names Alia Bhatt as Global Brand Ambassador to lead women’s denim evolution

Mumbai – Levi’s® has appointed Alia Bhatt as its new Global Brand Ambassador, marking a major push to strengthen the brand’s presence in women’s denim and lifestyle categories. The move aligns a heritage name in denim with one of India’s most influential cultural figures, reinforcing Levi’s® shift toward style-led, comfort-first fits across key markets. The partnership comes at a time when women’s fashion is embracing a fundamental shift. Relaxed fits, wide legs, and looser silhouettes are no longer seasonal trends but wardrobe staples. Levi’s®, long synonymous with defining denim culture, is positioning itself at the forefront of this evolution, with Alia leading the charge. “For me, a pair of jeans is never just a pair of jeans – it’s something you live in and make your own,” Alia said. “Our relationship with denim is so personal, but it also connects us all. Across countries and generations, denim is about celebrating who you are. Levi’s® has always been at the heart of this global movement, and I’m thrilled to now be part of it.” The collaboration will see Alia front campaigns across digital and retail channels, reflecting everyday versatility and trend-forward dressing. The strategy emphasizes refreshed classics, wide-leg silhouettes, and fit innovation to match changing consumer preferences. Hiren Gor, MD, South Asia-Middle East and Africa, Levi Strauss & Co., said:“Alia Bhatt’s influence transcends film and fashion—she shapes conversations. As we grow our women’s portfolio and lead the shift towards expressive, style-led, comfort-first fits, Alia brings cultural credibility and style authority. Together, we’re reinforcing Levi’s® as the most relevant and desirable denim brand.” Looking ahead, Levi’s® plans to sustain momentum with new silhouettes and reengineered classics, balancing timeless denim heritage with contemporary style relevance. The brand sees Alia Bhatt as a catalyst for driving demand across retail partners, omnichannel storytelling, and global consumer engagement.

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Editor03 mins

Inspector Zende review: Manoj Bajpayee grounds a witty, retro cat-and-mouse thriller

International conman Carl Bhojraj (Jim Sarbh) breaks free from prison and resurfaces in Mumbai, reigniting a tense cat-and-mouse chase. On his trail is Inspector Madhukar Zende (Manoj Bajpayee), whose grit and instincts make him the only man capable of cornering the elusive fugitive before his web of deceptions spirals into chaos. Crime thrillers inspired by real-life criminals are hardly new to Indian cinema. Charles Sobhraj—the infamous “Bikini Killer”—has long fascinated filmmakers, from Main Aur Charles (2015) to Netflix’s The Serpent (2021). Inspector Zende, however, flips the perspective, shining the spotlight on the unsung hero who caught him: Mumbai’s IPS officer Madhukar Bapurao Zende. A chase through 1970s–80s Mumbai Set against the gritty yet vibrant backdrop of the 1970s and ’80s, the film dramatizes Zende’s pursuit of Bhojraj, a fictionalized Sobhraj. Twice, Zende managed to apprehend the fugitive—first in 1971 and again after the sensational 1986 Tihar Jail escape. Rather than dwelling on darkness, the narrative celebrates street-smart policing in a pre-digital era—before CCTV cameras and forensic databases, when instinct and persistence were a cop’s strongest weapons. Writer-director Chinmay D. Mandlekar wisely avoids the trappings of a brooding biopic. Instead, he crafts a 112-minute period adventure laced with humour and warmth. His recreation of Mumbai’s streets, fashion, and restless energy feels authentic, giving the film a nostalgic appeal while keeping it briskly paced. Performances power the film The beating heart of Inspector Zende is its performances. Manoj Bajpayee plays Zende with earthy simplicity and quiet authority, steering clear of loud heroics. He gives the cop a humane core—pragmatic, witty, and unpretentious. While echoes of The Family Man occasionally surface, Zende is firmly his own man. Opposite him, Jim Sarbh has a ball as Bhojraj. Smooth, magnetic, and unnervingly charming, his flamboyance makes the fugitive as compelling as the cop tailing him. Supporting turns from Sachin Khedekar (as DGP Purandare) and Girija Oak (as Zende’s wife Viju) flesh out the world, with Oak and Bajpayee’s warm chemistry balancing the chase with domestic tenderness. A family-friendly thriller? Where Inspector Zende distinguishes itself is in tone. Instead of brooding intensity, it embraces levity, almost positioning itself as a family-friendly crime thriller. This choice will split audiences—purists may find the humour softens the edge of real crimes, while others will welcome its lighter, more accessible approach. Verdict Neither a rigid biopic nor a fictional caper, Inspector Zende walks a middle path: part homage to a forgotten police hero, part entertaining retro thriller. It may not please all crime purists, but it earns its place with strong performances, a lively tone, and a lovingly detailed recreation of a bygone Mumbai. ⭐ Rating: 3.5/5

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Editor04 mins

Baaghi 4 review — all muscle, very little method

Baaghi 4 is less a film than a stunt reel stitched together: Tiger Shroff’s Ronny exists to fight, bleed, break bones and do it shirtless. Beyond that simple promise, the movie offers a thin, often bewildering story, flamboyant production design and a handful of odd pleasures. The plot (such as it is) follows Ronny — now a onetime Defence Sea Forces man — who’s obsessed with Alisha (Sandhu), the impossibly versatile beauty who may or may not be real. His brother Deepu (Talpade) provides comic-relief poverty and dubious housing, Olivia / Pratishtha (a wasted Bhumi Pednekar?) plays the prostitute-with-a-heart, and Heather-style carnival-Mad-Max worldbuilding places them all in “Chandara”, a fantasy locale where carnivals, beaches and mountain vistas sit next to masked funerals. Sanjay Dutt’s self-styled “shaitaan” is the film’s big-name thunderbolt: velvet jackets, tigers-as-pets and maniacal laughs. He’s scenery-chewing in the way the film asks its stars to be — big, loud and immediately legible. There are a handful of genuinely arresting visual moments (the film’s carnival and set pieces have a lurid, comic-book bravado), and the action choreography will satisfy viewers who come purely for the physical thrills. But narrative logic is constantly optional. Alisha’s improbable mansion, the one-off appearances of dozens of “fostered” children, and the repeated deus-ex machina beatdowns stretch credulity into parody. The film mistakes repetition of violence for escalation — just when you think the stunt has peaked, it jumps higher and keeps going. The attempts at emotional stakes (a woman in peril; a brother’s loyalty) are undercut by a screenplay that habitually prefers the next fight to any character work. Tonally, the movie oscillates between melodrama, cartoon villainy and forced gravitas — often within the same scene. That volatility produces odd, occasionally entertaining moments: surprising reversals, an over-the-top line like “I will marry you Chaakoo,” and the delightfully absurd sight of Ronny taking tender pauses mid-pendulum-hang. But these are flashes rather than foundations. Verdict: Baaghi 4 delivers on spectacle and stuntcraft for fans who want a nonstop action carnival. For anyone hoping for a coherent story, believable relationships or emotional depth, it will feel hollow and repetitive. It’s a film that keeps surprising you — mostly because it refuses to stop.

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Editor04 mins

The Bengal Files review: Vivek Agnihotri escalates rhetoric with Partition lens

By [Your Publication] After the sweeping success of The Kashmir Files, director Vivek Agnihotri returns with another politically charged narrative in The Bengal Files, a film that seeks to connect Partition-era politics with present-day allegations of minority appeasement. Storyline The film follows IPS officer Shiva Pandit (Darshan Kumar, reprising his role from The Kashmir Files), tasked with investigating the disappearance of a tribal girl in Murshidabad. His probe runs into resistance from local MLA Sardar Hussaini (Saswata Chatterjee), whose political dominance is protected by what the film portrays as decades of minority appeasement rooted in Partition politics. Shiva’s confrontation with Hussaini brings to the surface buried memories of Partition violence, narrated by Bharti Banerjee (Simrat Kaur/Pallavi Joshi). Her testimony links past suffering to contemporary politics of vote banks, illegal migration, and community polarisation. Performances and Symbolism Darshan Kumar leads with a grounded performance, while Saswata Chatterjee delivers a menacing turn as the power-hungry MLA. Pallavi Joshi provides emotional heft, and Namashi Chakrabarty makes an impactful debut alongside his father Mithun Chakraborty, whose cameo underlines the ideological thrust. Agnihotri employs the motif of “Mother India” as a recurring symbol, drawing a direct line between Partition wounds and current debates on national identity. Narrative Choices and Criticism Blind Spots Agnihotri’s gaze largely omits the ordinary Muslim household devastated by Partition violence, instead casting blame on the entire community for the actions of leaders like Suhrawardy. The film also takes liberties with historical detail, such as Suhrawardy addressing young Mujibur Rahman as “Mujibur” instead of “Mujib,” and Hussaini’s son aspiring to be “the first minority PM” — overlooking the tenure of Manmohan Singh. Verdict At three hours, The Bengal Files is emotionally charged, dramatically staged, and ideologically unrelenting. For its supporters, it will be seen as a bold truth-telling exercise. For its detractors, it is an exercise in selective history, emotional manipulation, and communal provocation. Either way, Agnihotri has sharpened his craft, raised the stakes, and ensured that this film, like its predecessor, will remain at the centre of India’s cultural and political debate.

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Editor04 mins

Vivek Agnihotri Appeals to Mamata Banerjee Not to Ban The Bengal Files

Filmmaker Vivek Agnihotri has appealed to West Bengal Chief Minister Mamata Banerjee not to impose a ban on his upcoming film The Bengal Files. Stressing that the film should be judged on its artistic value rather than political implications, Agnihotri highlighted the importance of freedom of expression as a cornerstone of democracy. In a video message shared on social media, he directly addressed the West Bengal CM, urging her to see the film as part of a larger national conversation rather than through a regional lens. He insisted that audiences must have the freedom to form their own opinions about the film’s content. Alongside the video, Agnihotri wrote: “URGENT: An open appeal to Hon’ble CM @MamataOfficial. Please listen till the end and share widely as your protest against the banning of a film on Hindu Genocide. #TheBengalFiles In cinemas 05 September 2025 (sic).” His plea comes amid rising demands to ban the film in West Bengal, which also resulted in the cancellation of its trailer launch and press events in Kolkata. The Bengal Files depicts the events of the Great Calcutta Killings of 1946, including Direct Action Day and the Noakhali riots. The film features a prominent ensemble cast including Anupam Kher, Mithun Chakraborty, Darshan Kumar, Simrat Kaur, Namoshi Chakraborty, and Pallavi Joshi. Speaking to IndiaToday.in, Agnihotri said, “It’s very important that I make this film, make the younger generation aware, enlighten them. And also, the entire community gets to express a generational trauma.” Reflecting on his earlier work, The Kashmir Files, Agnihotri compared his role as a filmmaker to that of a psychiatrist for Indian society. “Acknowledgement of the trauma is the first step towards healing. With The Kashmir Files, Kashmiri Pandits told me my film started their healing. So yes, you can say I’m a filmmaker-psychiatrist,” he remarked with a laugh. The Bengal Files is scheduled for release on September 5, 2025.

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Editor03 mins
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