#Jim Sarbh effect

[books-butterbeer]

I cannot believe the effect Jim Sarbh has on me. In any piece of media. disregarding the time onscreen. He overshadows everyone. My man's fucking exquisite.

[waterindiasblog]

"‘Adopt, Don’t Shop’: The Tails of Boo-Boo & Cuddly Poo Sheds Light on the Struggles of Stray Animals"

A new documentary titled The Tails of Boo-Boo & Cuddly Poo aims to shed light on the harsh realities faced by stray animals, focusing on issues such as cruelty, abandonment, and the importance of adoption. The film, directed by Salil Jason Fernandez, was created in collaboration with Vandana Sethhi, Founder of Water Communications and Earth Films. The documentary brings attention to the critical message of "adopt, not shop," while also celebrating the bond between animals and humans.

The documentary, shot entirely during the lockdown, features several well-known celebrities including Shraddha Kapoor, Jim Sarbh, Maria Goretti, Amrita Puri, Anushka Manchanda, and Shibani Dandekar. These stars share personal stories about their pets and promote the cause of animal welfare. Recently, a two-minute trailer of the documentary was released, giving viewers a glimpse of the heartwarming and informative content.

A Passion Project for Animal Welfare

The aim of The Tails of Boo-Boo & Cuddly Poo is to create awareness about the challenges faced by stray animals and to inspire people to adopt, rather than buy, pets. Salil Jason Fernandez, the director, explained that his deep empathy for animals and his commitment to grassroots animal welfare efforts led him to make this documentary. During the lockdown, the situation for strays worsened, as people faced limitations in feeding and caring for them due to restricted movement and closed establishments. This fueled his desire to create a film that could bring attention to the dire situation of strays.

"The lockdown made things much worse for stray animals. With restaurants closed and fewer people feeding them, many strays were left without food. Some pets were abandoned as well, and the lack of resources for animal care became evident," Salil said. He went on to stress that animal welfare systems in India are underdeveloped, and there’s a need for a more organized approach to protecting animals.

A Quirky Take on a Serious Issue

What sets The Tails of Boo-Boo & Cuddly Poo apart is its unconventional, quirky approach to addressing a serious topic. The documentary blends elements of comedy, animation, talk shows, and even game shows to engage audiences while delivering crucial messages about animal welfare. Salil explained that humor is an effective way to convey important information, especially when dealing with a heavy subject like animal cruelty. Drawing from his experience as an ad filmmaker, Salil created a visually appealing and entertaining narrative that incorporates both factual content and entertainment, making it easier for viewers to absorb the message.

Vandana Sethhi, founder of Water Communications, added that the documentary is designed to resonate with millennials who have a different perspective on issues compared to older generations. "We can’t change the mindset of older generations, but we can influence the future. Millennials are more open to understanding these issues and are likely to respond to creative, engaging content," she explained.

Overcoming Challenges During the Pandemic

The making of the documentary was a challenging, yet rewarding, journey. Filming took place over the course of 13 months, with strict lockdown restrictions in place. However, the project received overwhelming support from various people, including celebrities, animal welfare activists, veterinarians, and animal organizations. A total of 35 celebrities, 100 animal welfare workers, and 30 animal welfare organizations, such as Welfare of Stray Dogs (WSD) and In Defense of Animals (IDA), came together to support the cause. This unity was a significant milestone, as it marked the first time so many organizations collaborated on a single project to address the welfare of strays.

Despite the constant fear of the pandemic, the filmmakers were encouraged by the collective effort and the passionate support they received.

A Call for Change

Through this documentary, the filmmakers hope to raise awareness about the plight of stray animals and encourage people to take action. Vandana Sethhi emphasized the importance of educating the public about the needs of stray animals, including providing food, shelter, vaccinations, and sterilization. The documentary advocates for community adoption, urging people to choose adoption over purchasing pets from breeders.

Additionally, the filmmakers are calling for amendments to the Prevention of Cruelty to Animals Act, 1960, to ensure better protection for animals and to provide them with the rights they deserve.

"We aim to make people realize that animals have a rightful place in this world, and this earth belongs to them as much as it does to us," said Vandana.

Looking Ahead

Currently, the team behind The Tails of Boo-Boo & Cuddly Poo is submitting the documentary to international film festivals in the hopes of gaining further recognition for the cause. They believe that through these platforms, they can amplify the message of animal welfare and inspire positive change on a larger scale.

With its combination of heartwarming stories, engaging visuals, and a powerful message, the documentary aims to not only raise awareness but also spark meaningful action toward improving the lives of stray animals everywhere.

[mr-dickalambo]

The Jim Sarbh effect states that in any piece of media, the character played by Jim sarbh will almost always have more chemistry with the fellow male characters than their respective female love interests.

Example: Padmavat,Rocket Boys

[dissecting-bollywood]

Why I Love : A Death in the Gunj

(restored version because my DUMBASS accidentally deleted the original post)

A DEATH IN THE GUNJ

Directed by Konkona Sen Sharma

Screenplay by Konkona Sen Sharma

Music by Sagar Desai

Cast : Vikrant Massey, Kalki Koechlin, Ranvir Shorey, Tillotama Shome, Gulshan Devaiah, Jim Sarbh, Arya Sharma

OVERVIEW

When he goes on vacation with his self-involved relatives and family friends, a shy and sensitive university student discovers that there is a heavy price to pay for gentleness.

CRITICS VS. AUDIENCE (VIA ROTTEN TOMATOES)

Critics : 91% (11)

Audience : 77% (49)

DISCLAIMER

You aren’t pressured to agree with me. I am saying what my opinion is about this movie and if you disagree, that’s cool. Please don’t bash me for it. This is just my opinion!

WHY I LOVE IT

• The performances. A Death in the Gunj has great talent behind the screen, but it also has great talent in front of it too. Tillotama Shome, Jim Sarbh, and Gulshan Devaiah as Bonnie, Brian, and Nandu work with what they are given and embrace their character’s flaws well. Mimi is gracious but also an aching soul and Kalki Koechlin plays her role very well. Ranvir Shorey as the short-tempered and dominating Vikram was effortlessly played. The show-stealer was unquestionably Vikrant Massey as the misunderstood and gentle Shutu. He conveyed every emotion with grace, from innocence to frustration. This performance just proves how underappreciated of an actor Massey is and how he is capable of carrying a film on his shoulders.

• The cinematography. When I saw cinematographer Sirsha Ray win the ‘Best Cinematography’ award in the Filmfare 2018, I couldn’t help but be a bit confused. But when I watched the movie, I soon discovered why he got the award. Taking inspiration from the Bengali classic Pather Panchali by Satyajit Ray, the stillness of the frames allows the actors to shine through with their performances and make the audience feel as a bystander of the scenes. Sometimes, stillness can be more effective than breaking the fourth wall to make the audience feel included in the storyline.

• The soundtrack. The tranquility of many tracks (such as ‘Into the Gunj’ and ‘Shutu’s Pain’) works wonders with setting the mood of the scene. Similarly, the budding guitar tune of ‘Shutu Mimi’ captures the flirty chemistry between the characters very well. And I can’t go on without mentioning the tracks ‘Toothe Gachhe Bhoot Nache’ and ‘Raiyo Raiyo’ and its tune and vocals heavily rooted in the Bengali culture. Just listening to them takes will transport you to a rural West Bengal.

• The theme. Probably the biggest reason why I enjoy watching this film is because of the theme it discusses, which isn’t really a subject discussed in many mainstream movies. The movie discusses masculinity and how it can be destructive towards the youth. Massey’s character, Shutu, is a teenager who is indulges himself in reading and writing and hence, he isn’t considered as a “real man”. This is well exhibited when Koechlin’s character, Mimi, says that he is so beautiful that he could almost be a girl. Throughout the movie, we see Shutu’s character adjusting to the adults he is around, but in a unnatural and hastened way. This is made clear by how the group “summons” a ghost in the house as a prank on Shutu and how Shorey’s character, Vikram, beats Shutu in a Kabaddi match. That’s why his only true friend in this trip is Tani played by Sharma because she genuinely wanted to be friends with him and not make him the butt of all the jokes. So when she starts ignoring him, Shutu felt guilty. Like he isn’t good enough for anybody. Imagine how it feels like when the only person that loves you for the way you are just forgets you. Stings, doesn’t it? The end scene is heart-wrenching and very intense and perfectly encapsulates his bottled up frustration of the entire week.

CONCLUSION

A Death in the Gunj is the kind of movie that you think about for the next three days. There are many emotions interwoven into this story, such as acceptance and guilt and depression. Definitely a masterpiece I will remember and learn from.

9 / 10

[aaj-media-productions]

It's another year and a new beginning for media outlets in India

It's another year and a new beginning for media outlets in India. Having borne the effect of the pandemic throughout recent years, the business has at last begun to resuscitate itself in manners multiple. Quite possibly the most apparent impact has been the enormous number of web series that are being created north of a few OTT stages. From the solace of our homes, we can now get to probably the most astounding substance that has been made in the country. We are something like several months into the year, and it has proactively seen some extraordinary work being placed out there as web series and shows. Investigate probably the best Indian web series of 2022 up to this point, that will have you stuck to the screen. AAJ Media Productions is coming up with India's Sports Drama Ping Pong’d.

Human

This clinical web series is highlighting Shefali Shah and Kirti Kulhari spins around the peculiarity of human medication testing. Spilling on Disney+ Hotstar, the series digs into a significant yet to a great extent neglected genre and hurls a few vital inquiries on morals in medication, in addition to other things.

Rocket boys.

Rocket Young boys is a Web Series about the splendid personalities Vikram Sarabhai and Homi J. Bhabha, who spearheaded the advancement of the space business and atomic program in the country in the midst of the post-freedom unrest. The series stars Jim Sarbh, Ishwak Singh, and Regina Cassandra as the leads, and is airing on SonyLIV.

Yeh kaali kaali aankhen

Spilling on Netflix, this Web Series is a praise to the raw fiction kind of the 90s that India was so acquainted with. Featuring Tahir Raj Bhasin, Sweta Tripathi, and Anchal Singh, Yeh Kaali Aankhein is a dim secret mixed with comic and rush components that make it a must-wat

The Great Indian Murder.

A homicide mystery with Richa Chaddha, Pratik Gandhi, Ashutosh Rana, and Raghubir Yadav in a portion of the vital jobs, this Web Series makes certain to keep you on the edge all through. It follows the tale of an industrialist blamed for egregious wrongdoing, who is in the long run vindicated and afterward strangely killed. An examination results, and what occurs after is for you to find out.

The edge of darkness

 Ajay Devgn’s OTT debut, Rudra is a psychological thriller streaming on Disney+ Hotstar. It is a remake of Luther, a British show and stars Rashi Khanna and Esha Deol as well. The plot revolves around DCP Rudra Veer Pratap Singh and his chase to nab sly criminals as part of his job.

Panchayat season 2

Sachiv Ji is back alongside the Pradhan (pati) for one more time in this invigorating series. The last season made everybody consider its perfect making and engaging storyline, and this season vows to be the same. You can stream it on Amazon Prime. Panchayat season 2 is without a doubt one of the most outstanding Indian web series of 2022.

[kerception]

From Padmavati to Padmaavat

     Disclaimer: I grew up watching Bhansali’s  Khamoshi, Black and Hum Dil De Chuke Sanam and obviously I love him for his opulence, his grandeur and the visual treat that he offers his audience. There is an excess that should be nauseating, yet it is decadent, that’s what I love about Bhansali.

      Over the years my politics has taken me further away from his interpretations, however my senses still thrive being fed his imagery. I don’t want to get into a whole lot of what has already been said about his new film (or the politics of meaningless protest by the Karni Sena). As a critique of the film, I’d like to offer something that sticks to the merits of the film. I want to focus on Padmaavat (the erstwhile queen Padmavati) as a piece of cinema.

     Bhansali does justice to the two major plot lines of the film, as he sets up the Khilji rule, led by the majestic Raza Murad (playing Jalaluddin Khilji) and Ranveer Singh as Alauddin Khilji). Alauddin is flamboyant, perhaps spoilt and unabashedly ambitious. He stands firm in Jalaluddin’s aura.

     On the other side is the Rajput kingdom of Rawal Ratan Singh (actor Shahid Kapoor), who discovers Padmavati (Deepika Padukone) while hunting in the forest. The early romance is sweet, tender and a bit reminiscent of a 1950s period piece. And Bhansali does it purposely, for he will juxtapose the sweet tender romance of Rawal Ratan and Padmavati to the jealous cravings of Alauddin Khilji.This is all for dramatic effect, as he will reveal over the next 150 minutes.

     The Khiljis engage in expansion, intrigue, power at the cost of all else. While the Rajputs do that too, to a certain extent, but Bhansali chooses not to explore that. He will only go as far and give us a taste of the palace intrigue on the Rajput side, when Rawal Ratan’s Rajguru (political mentor) is introduced to Padmavati. The short discourse between them was the best set of dialogues in the close to three-hour long saga.  But with the Rajguru’s banishment, all intrigue, political frolic and the story comes to a complete halt. It becomes a predictable dramatic one twist to the other from here on. We know that the Rajguru will go and form an alliance with Khilji, who in turn will train his eyes on Rawal Ratan’s kingdom and Padmavati. This will eventually end in the Rajputs and the Khiljis coming face to face. The end.

     Now let’s look at the rest of the film. Visually this is stunning and we wouldn’t expect anything but from Bhansali. Each and every frame is painstakingly crafted. From the palace of the Khiljis, the spaces that the characters inhabit, the fortress/city of Rawal Ratan and Padmavati and everywhere where the camera even glances at, is Mughal-E-Azam all over again. All credit to the cinematographer (Sudeep Chatterjee) and the art directors who help bring Bhansali’s vision to life.

image courtesy: india.com 

     The characters: For all the criticism that Bhansali has received for presenting Alauddin Khilji’s character as barbaric, lustful and treacherously ferocious, I found Khilji’s character the only one who really gets any attention from Bhansali’s pen. He is crafted with range, substance and yes he is vile. As an antagonist, in typical Bollywood/drama/fiction style, he has to be vile and eccentric. Does this make Bhansali anti-Muslim? Did I respond to Khilji and think all Muslims are like that? I equally enjoyed his exchanges with his court poet Khusru. And while I will call Bhansali out on his depiction of Malik Kafur (played by Jim Sarbh: the brilliant star of the film) for playing into the Bollywood stereotype of LGBTQ characters on screen, I do give him and Ranveer Singh credit for exploring ‘bisexuality’ in a mainstream Bollywood film. Malik Kafur’s character falters towards the end, but he comes to the audience in spurts and he is just wonderful. And for whatever it's worth, the Khilji-Kafur interaction was way more interesting than anything Padmavati and Rawal Ratan’s characters had to offer. It was rather hilarious and in a way Bhansali indulging in self-deprecation, when Khilji mocks Rawal Ratan for being oh so saintly and good.

     Padukone as Padmavati should have been the heart of the film, but she isn't. Bhansali played with the idea of turning Padmavati into the astute, politically savvy protagonist that she could have been. But instead he chose to leave her out completely in the first half, so that whole thing came to naught. And by the time she is back, you have been blinded and exhausted by the colors and cravings of Bhansali’s canvas.

     I want to be more generous to Kapoor for playing Rawal Ratan with some stoic restraint, but I can only compliment him for his chiseled torso, unfortunately. I kept hoping that his first wife Nagmati (played by Anupriya Goenka) would come out of the shadows, but again Bhansali decided character development didn’t matter in a magnum opus.

     The practise of Jauhar: Jauhar was a prevalent practise in the Rajput communities for centuries. I saw the depiction as merely a recreation of a practise that existed in medieval India. I asked people in my entourage and no one seemed inspired to commit Jauhar after watching the film, as was being suggested by commentators, social media folk. From where I sat, Bhansali’s depiction of Jauhur (unlike Sati) was similar to say Ridley Scott’s depiction of Maximus as a Gladiator. Archaic and dehumanizing, of course, but not glorified. It’s part of the poem (Padmavat, 1540) that Malik Muhammad Jayasi wrote and the film being inspired from it, saw it make its way as a dramatic, over the top climax.  

    My critique of the film is that Bhansali lost an opportunity to really tell an intriguing, layered, engaging story about a character who is part of contemporary folklore, something that is naturally expected of him. His journey from Padmavati to Padmaavat meant that we were given a visual treat, which besides Ghoomar (a song I absolutely love) was lacklustre musically and absent a whole narrative. I momentarily pondered over the alleged nexus between the Hindu-right and Bhansali for creating a propaganda piece furthering the Hindu-Rajput identity, but then I remembered that the chest thumping of Rajput pride is just part of how Bollywood films approach religion and the Rajput/Hindu confluence. So, I won’t blame Bhansali for being at the root of the problem, he is merely a symptom.

[artwalktv]

SYNOPSIS Fran is thinking about dying, but a man in the office might want to date her. CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savanna Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change Production Support Provided By: Believe Limited + More Media FESTIVALS + AWARDS Sundance Film Festival (World Premiere) Palm Springs ShortFest (Future Filmmaker Award) Aspen Shortsfest (Special Jury Mention) Rhode Island International Film Festival (Best Screenplay, Youth Film Jury Award: Best Short) Atlanta Film Festival Nashville Film Festival HollyShorts Film Festival Show Me Shorts Film Festival London Short Film Festival MFI North Fork Film Festival (Best Actress) Rincon International Film Festival (Best Actress) Calgary International Film Festival St Louis International Film Festival Walla Walla Movie Crush (Best Short Screenplay, Best Short Nominee, Best Performance Nominee) Fantasia International Film Festival BendFilm Festival (Special Jury Award) Dumbo Film Festival (Best Short) North Bend Film Festival (Best Short, Best Actress, Cinema Vista Audience Award) Detroit Shetown Women's Film Festival (Honorable Mention: Best Actress) Method Fest Chicago Film Critics Association Nevertheless Film Festival Provincetown Film Festival Durban International Film Festival Concorto Film Festival Minneapolis St Paul International Film Festival Monmouth Film Festival Pluk de Nacht Open Air Film Festival Still Voices Film Festival DC Shorts Film Festival Victory International Film Festival Athens International Film Festival Albuquerque Film & Music Experience Crested Butte Film Festival Hell's Half Mile Film & Music Festival Beyond Fest Tacoma Film Festival Drunken Film Festival 15 Shorts Festival Denver Film Festival 24fps Pittsburgh Shorts & Script Competition New Hampshire Film Festival AIFA Boulder Short Film Festival St Cloud Film Festival CinemaForum Film Festival

[onlineringtonedownload]

Download Raabta Movie Song in Mp3 Format

Revival is up 'til now a searched for after theme for the Hindi film industry paying little mind to its friendship for momentum articles of clothing, contraptions and zones. Financially compelling motion pictures and shows like Baahubali and Game Of Thrones in like manner sway choices. Every so often, by then, makers appear to be stuck in a trouble. Debutant boss Dinesh Vijan is in all likelihood one of them.

Vijan's Raabta (Urdu for affiliation) is explicitly a 'friendship never-fails horrendously sort of a film, and it needs to look cleaned, which means the characters are likely going to make propels actually. With such consistency comes the trial of striking an agreement between two different time zones. Raabta fights certified hard there.

Shiv (Sushant Singh Rajput) and Shaira (Kriti Sanon), which shows up Bollywood's present most cherished name for NRI young women, meet in excellent Budapest and recognize they may have a history, from a past birth maybe.

Check Here:- Download Raabta Movie Best Song

Shaira, a vigilant chocolate maker, gets abnormal flashes, anyway then she meets a globe-running, negative yet dumbfounding business top dog Zak Merchant (Jim Sarbh) and her world flips around, really.

Nobody knows where things are going till Vijan goes immovable on gooey lines, splashed tones and a dash of immediately orchestrated flashback.

Shockingly, he makes sense of how to gather the perfect components of a 'masala' Bollywood film: A continuing on lead fresh out of a sizeable accomplishment (MS Dhoni - The Untold Story), a really prominent gutsy lady, Deepika Padukone for an appearance, and a bankable adversary in Jim Sarbh. Regardless, the mix doesn't actually get serious in something particularly invigorating.

Click Over Here Now:-  Raabta Movie Song Ringtone Download

Vijan's vision is predicable and that hampers the film more than everything else. The individual and the young woman need to investigate market and along these lines are an agent and a chocolate maker. The negative one needs to creepily sing old Hindi tunes and paint.

Eventually, they would similarly talk how they understood they would meet. The incredible yet valiant individual and the rich yet crazy worry wart would in like manner partake in a tussle to move the boss some spot during the essential half. They would do it as it was done in the great 'ol days by truly saying, 'Ladki to central welcome le ke jaaunga.' In most of this, the young woman would generally play shy and keep laughing.

Such films also need a key friend for rare carefree component and amicable sprout vendors to make us have confidence in the gloriousness of mankind.

Not too much, simply exhausted.

However, then again that is wasting stunningly talented on-screen characters, for instance, Sushant Singh Rajput and Jim Sarbh. They can accomplish something other than repeating what we have quite recently watched.

Rajput and Sarbh endeavor paying little heed to striking stipulations in the screenplay, and that extras Raabta to a respectable degree. Rajput, explicitly, rises and does what is foreseen from him. He is beguiling and performs movement groupings effectively. His presumption may address a couple.

Sarbh benefits however much as could reasonably be expected from the opportunity and shines as an individual endeavoring to think about reality.

Click Now:-  https://ringtonedownloadx.com/raabta-movie-song-download/

Raabta misses the mark on the shrewdness required to draw off a subject along these lines, yet it is absolutely extraordinary to look at. From Budapest to shading impacts during flashback scenes, it incorporates some fascinating minutes. Shockingly that doesn't have all the earmarks of being adequate.

Poor making is Raabta's foe given you would incline toward not to consent to a 'being there' done that' kind of a story.

[oceanusborealis]

Movie Review – Padmaavat (Padmavati, पद्मावती)

TL;DR – A fascinating but also a quite difficult film, great acting, but only one-dimensional characters, with a very mixed ending Score – 3 out of 5 stars Review – So back in 2017, I pushed myself to go see more non-western films and while it was a laudable goal, it didn’t pan out as much as I would have liked. Well, 2018 is a new year, and so let’s take another stab at this, and well there was…

[karoltabis]

SYNOPSIS Fran is thinking about dying, but a man in the office might want to date her. CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savanna Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change Production Support Provided By: Believe Limited + More Media FESTIVALS + AWARDS Sundance Film Festival (World Premiere) Palm Springs ShortFest (Future Filmmaker Award) Aspen Shortsfest (Special Jury Mention) Rhode Island International Film Festival (Best Screenplay, Youth Film Jury Award: Best Short) Atlanta Film Festival Nashville Film Festival HollyShorts Film Festival Show Me Shorts Film Festival London Short Film Festival MFI North Fork Film Festival (Best Actress) Rincon International Film Festival (Best Actress) Calgary International Film Festival St Louis International Film Festival Walla Walla Movie Crush (Best Short Screenplay, Best Short Nominee, Best Performance Nominee) Fantasia International Film Festival BendFilm Festival (Special Jury Award) Dumbo Film Festival (Best Short) North Bend Film Festival (Best Short, Best Actress, Cinema Vista Audience Award) Detroit Shetown Women's Film Festival (Honorable Mention: Best Actress) Method Fest Chicago Film Critics Association Nevertheless Film Festival Provincetown Film Festival Durban International Film Festival Concorto Film Festival Minneapolis St Paul International Film Festival Monmouth Film Festival Pluk de Nacht Open Air Film Festival Still Voices Film Festival DC Shorts Film Festival Victory International Film Festival Athens International Film Festival Albuquerque Film & Music Experience Crested Butte Film Festival Hell's Half Mile Film & Music Festival Beyond Fest Tacoma Film Festival Drunken Film Festival 15 Shorts Festival Denver Film Festival 24fps Pittsburgh Shorts & Script Competition New Hampshire Film Festival AIFA Boulder Short Film Festival St Cloud Film Festival CinemaForum Film Festival

[ozkamal]

SYNOPSIS Fran is thinking about dying, but a man in the office might want to date her. CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savanna Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change Production Support Provided By: Believe Limited + More Media FESTIVALS + AWARDS Sundance Film Festival (World Premiere) Palm Springs ShortFest (Future Filmmaker Award) Aspen Shortsfest (Special Jury Mention) Rhode Island International Film Festival (Best Screenplay, Youth Film Jury Award: Best Short) Atlanta Film Festival Nashville Film Festival HollyShorts Film Festival Show Me Shorts Film Festival London Short Film Festival MFI North Fork Film Festival (Best Actress) Rincon International Film Festival (Best Actress) Calgary International Film Festival St Louis International Film Festival Walla Walla Movie Crush (Best Short Screenplay, Best Short Nominee, Best Performance Nominee) Fantasia International Film Festival BendFilm Festival (Special Jury Award) Dumbo Film Festival (Best Short) North Bend Film Festival (Best Short, Best Actress, Cinema Vista Audience Award) Detroit Shetown Women's Film Festival (Honorable Mention: Best Actress) Method Fest Chicago Film Critics Association Nevertheless Film Festival Provincetown Film Festival Durban International Film Festival Concorto Film Festival Minneapolis St Paul International Film Festival Monmouth Film Festival Pluk de Nacht Open Air Film Festival Still Voices Film Festival DC Shorts Film Festival Victory International Film Festival Athens International Film Festival Albuquerque Film & Music Experience Crested Butte Film Festival Hell's Half Mile Film & Music Festival Beyond Fest Tacoma Film Festival Drunken Film Festival 15 Shorts Festival Denver Film Festival 24fps Pittsburgh Shorts & Script Competition New Hampshire Film Festival AIFA Boulder Short Film Festival St Cloud Film Festival CinemaForum Film Festival

[lazyupdates]

It seems a war of words has broken out between two leading actors of Bollywood after Salman Khan made comments on Ranbir Kapoor’s upcoming biopic of Sanjay Dutt, Sanju.

Speaking to reporters, Salman had reportedly said that he wondered why Sanjay Dutt himself wasn’t playing himself in the last 7-8 years of his life in the film. He had gone on to say that no actor could do justice to playing the character of Sanjay Dutt with whom the Bajrangi Bhaijaan actor had acted together in films like Saajan. He, however, added that  Rajkumar Hirani was a sensible filmmaker and knew that he had made a good film.

His comments did not appear to go out well with Ranbir, who was asked to respond to Salman’s response. He was quoted by Pinkvilla website, “It has never happened that a person played himself in his own biopic. This destroys the effect of a character. I knew that I will be compared to Sanjay Dutt and that is why I have tried my best to do justice to his role.”

“Whether people see me in 40-year old Sanjay Dutt’s avatar or 20-year old, they should feel that they are watching an artist who is playing Sanjay Dutt. It is correct that I cannot become a second Sanjay Dutt,” Ranbir went on to add.

Ranbir was rumoured to have been dating Katrina Kaif, who was first linked to Salman.

Sanju is scheduled to release on 29 June and has, among others, Ranbir Kapoor, Sonam Kapoor, Dia Mirza, Paresh Rawal, Manisha Koirala, Anushka Sharma, Karishma Tanna, Jim Sarbh in key roles.

Recently Aamir Khan had revealed why he had refused to play the role of Sanjay Dutt when Hirani first approached him with the movie.

“He (Hirani) approached me with the script and I loved it. He wanted me to play Dutt saab’s role. It is a fantastic role and the story is largely on the father-son relationship. But Sanju’s role is unbelievable.

“So as an actor, I told Raju that Sanjay Dutt’s role is so wonderful that it won my heart. So in this film I can’t do any other role but Sanjay Dutt’s, which of course I cannot do because Ranbir (Kapoor) is playing it. So, do not offer me anything,” Aamir was quoted by IANS.

War of words between Ranbir Kapoor and Salman Khan on ‘Sanju’?

The post War of words between Ranbir Kapoor and Salman Khan on ‘Sanju’? appeared first on Lazy Updates.

[mr-dickalambo]

I posted 331 times in 2022

That's 270 more posts than 2021!

85 posts created (26%)

246 posts reblogged (74%)

Blogs I reblogged the most:

@dryratgirl

@elytrians

@stuckyandlarrystuff

@eremin0109

@theteamstark

I tagged 254 of my posts in 2022

Only 23% of my posts had no tags

#rocket boys - 95 posts

#jim sarbh - 73 posts

#sonyliv - 65 posts

#homi bhabha - 51 posts

#vikram sarabhai - 41 posts

#homi x vikram - 21 posts

#<3 - 17 posts

#asks - 12 posts

#yes - 10 posts

#padmaavat - 8 posts

Longest Tag: 110 characters

#listen vikram might have been the one who was starstruck and whipped in the initial days of their relationship

My Top Posts in 2022:

#5

See the full post

21 notes - Posted February 8, 2022

#4

FUCK FUCK FUCK YALL REMEMBER EP1 AND THE TIME WHEN HOMI JUST DISSED THE ANGREZ AND USED THE WORD CUNT????

And then asked PIPSY IF SHE WASNT DISSAPOINTED ANYMORE???????

*screaming*

31 notes - Posted February 19, 2022

#3

Jim sarbh voice acting in that eternal confusion show whatever is GOOD AND I MIGHT WATCH IT IDK I LOVE JIM WTF HE IS GLOWING PLS GIVE HIM MORE SHOWS AHHHHH

34 notes - Posted March 18, 2022

#2

Them.

63 notes - Posted February 7, 2022

My #1 post of 2022

The Jim Sarbh effect states that in any piece of media, the character played by Jim sarbh will almost always have more chemistry with the fellow male characters than their respective female love interests.

Example: Padmavat,Rocket Boys

72 notes - Posted March 22, 2022

Get your Tumblr 2022 Year in Review →

[wionews]

Raabta movie review: Sushant Singh Rajput and Kriti Sanon’s crackling chemistry is the only highlight of this film

Raabta was long awaited because of Sushant Singh Rajput and Kriti Sanon‘s chemistry. Their real-life romance was reflected in the trailer of the film and that had got everyone damn excited. Also, the return of the reincarnation theme after so many years sweetened the wait too but the film fails on all other accounts:

What’s it about:

Reincarnation stories are tricky but there’s a certain air of mystery about them that has a huge appeal. I mean who doesn’t want to time travel and experience an alternate paradigm of sensory overload. The subject has seduced filmmakers over the years in different generations. Now Dinesh Vijan attempts the genre with Sushant Singh Rajput and Kriti Sanon in the lead. The plot is simple, Shiv and Saira meet, stare at each other, even have an instant liplock to realise they have a Raabta, what sort they are unable to figure out. Jim plays the odd man out who spirals this love story out of control making them revisit their lives, centuries ago, when they were warring tribes speaking strange dialects. They died only to meet again. Well, the story sort of ends here, but the setup and premise is long, tiring and tests your patience. 

What’s hot:

Raabta is a good looking film. Meaning, besides the eye candy that is Sushant and Kriti, Dinesh has definitely spent a lot of money in capturing the lush locales of Bulgaria and the special effects and makeup especially of Rajkummar Rao in the role of an Oracle is terrific. Dinesh creates a light and breezy first half where the banter between Sushant and Kriti feels easy and organic. Casting these two in the film was a brilliant idea because the chemistry between them is sizzling. Sushant especially has gone to all lengths to make get a toned body for his role as the tribal warrior. The hard work pays off handsomely as he’s the best part of the film. There is immense likeability in him and he goes full throttle with his charm. Kriti manages to leave a mark with her scenes in the second half. The best moments are the one liners Shiv and Saira throw at each other and the tomfoolery that follows. Rajkummar Rao deserves a medal for enduring hours of torture to get into the difficult prosthetic make up for a blink and miss role.

What’s not:

Raabta needed to have more edge and I mean not in terms of visuals but with its narrative. There isn’t much happening once we move to the flashback scenes and the parallel world. It is tough to understand and comprehend the strange tribal dialect and accent that Sushant uses to communicate with his audience. The costumes are fine, but there is a lack of cohesiveness. There is always something missing in a lot of scenes like you wish there was more of Rajkummar and maybe he had a cool backstory. Or Jim Sarbh who is a miscast didn’t have to struggle with his dialogues and we don’t even know if it was intentional. His character is the weakest link in an already frail plot. Deepika Padukone’s sexy yet boring song cameo goes unnoticed. It comes too late in the film, while the best track of the film a club song shot on an almost shirtless Sushant comes at the end credits. Raabta tests your patience in a time when attention deficiency is a major issue with an audience that won’t settle for less.

What to do:

Sushant and Kriti’ s terrific chemistry deserved so much better. I hope filmmakers take notice and cast these two in a film that exploits their full potential. Raabta is an opportunity wasted.

Rating: 2.0 out of 5

]]>

[mr-dickalambo]

How did y'all decide to watch rocket boys????

For me, my mom had watched the trailer and was like WE SHD WATCH THIS TOGETHER

I was a bit hesitant to watch science show, i was still traumatised by homi bhabha exam shit lmao,

Then

Then

Then

I was struck by Jim sarbh

And was hyperfixated on him

And

Then

I

Watched the whe thing with fam

And we all know the effects of that

Hsjshskksks

[lazyupdates]

It seems a war of words has broken out between two leading actors of Bollywood after Salman Khan made comments on Ranbir Kapoor’s upcoming biopic of Sanjay Dutt, Sanju.

Speaking to reporters, Salman had reportedly said that he wondered why Sanjay Dutt himself wasn’t playing himself in the last 7-8 years of his life in the film. He had gone on to say that no actor could do justice to playing the character of Sanjay Dutt with whom the Bajrangi Bhaijaan actor had acted together in films like Saajan. He, however, added that  Rajkumar Hirani was a sensible filmmaker and knew that he had made a good film.

His comments did not appear to go out well with Ranbir, who was asked to respond to Salman’s response. He was quoted by Pinkvilla website, “It has never happened that a person played himself in his own biopic. This destroys the effect of a character. I knew that I will be compared to Sanjay Dutt and that is why I have tried my best to do justice to his role.”

“Whether people see me in 40-year old Sanjay Dutt’s avatar or 20-year old, they should feel that they are watching an artist who is playing Sanjay Dutt. It is correct that I cannot become a second Sanjay Dutt,” Ranbir went on to add.

Ranbir was rumoured to have been dating Katrina Kaif, who was first linked to Salman.

Sanju is scheduled to release on 29 June and has, among others, Ranbir Kapoor, Sonam Kapoor, Dia Mirza, Paresh Rawal, Manisha Koirala, Anushka Sharma, Karishma Tanna, Jim Sarbh in key roles.

Recently Aamir Khan had revealed why he had refused to play the role of Sanjay Dutt when Hirani first approached him with the movie.

“He (Hirani) approached me with the script and I loved it. He wanted me to play Dutt saab’s role. It is a fantastic role and the story is largely on the father-son relationship. But Sanju��s role is unbelievable.

“So as an actor, I told Raju that Sanjay Dutt’s role is so wonderful that it won my heart. So in this film I can’t do any other role but Sanjay Dutt’s, which of course I cannot do because Ranbir (Kapoor) is playing it. So, do not offer me anything,” Aamir was quoted by IANS.

War of words between Ranbir Kapoor and Salman Khan on ‘Sanju’?

The post War of words between Ranbir Kapoor and Salman Khan on ‘Sanju’? appeared first on Lazy Updates.