#malayalam film director

[amongxylophonesandglockenspiels]

Bollywood Movies Part CCVI: The Mollywood Takeover Part XXXIX

After being released from prison, Advait Thakur (Aditya Roy Kapur) begins anonymously calling Inspector Anjaney Agashe (Anil Kapoor) about murderers he will commit. As Agashe and his partner Michael Rodrigues (Kunal Khemu) follow Advait’s trail of bodies, the past between them, Advait’s victims, and Advait’s girlfriend Sara Nambiar (Disha Patani) is revealed.

Malang is a decent thriller that gives us enough to figure out the twists without making them too obvious. Advait and Sara’s romance is a bit drawn out and seems more like an advertisement for all the fun things you can do in and around Goa. Favorite songs are Ho Ja Mast Malang Tu and Phir Na Milen Kabhi. Neither song has subtitles

Police officer Ayyappan Nair (Biju Menon) and rich boy Koshi Kuriyan (Prithviraj Sukumaran) begin a feud when Ayyappan arrests Koshi for possession of alchohol in dry area right before Christmas, setting off a chain of events leading to Koshi getting Ayyappan fired.

Ayyappanum Koshiyum is an okay film. I honestly didn’t enjoy it because I did not enjoy the escalation of the feud and the toxicity both main characters exude throughout the movie. Also my takeaway was that they’re both in the wrong, but I’m not sure that was the intended message. Favorite songs are Kalakkatha and Ariyathariyathe. Neither song has subtitles.

Marriage minded Nikitha “Nikki” (Kalyani Priyadarshan) lives with her mother Neena (Shobana) in an apartment in Chennai. Their lives begin to change when Bibeesh  “Fraud” (Dulquer Salmaan), his brother Karthik (Sarvajith Santosh Sivan), and their guardian and soap actress Aakashavani (KPAC Lalitha) move in to their apartment complex and when reclusive neighbor Major Unnikrishnan (Suresh Gopi) begins going to anger management and interacting with people in the complex more.

Varane Avashyamund is a fun slice of life movie that really makes us connect with all of the characters. I liked the romance between Neena and Major Unnikrishnan because it felt mellow. The film had good pacing and didn’t drag at all even though it’s nearly 2.5 hours long  I especially enjoyed Nikki’s relationship with her prospective mother in law Dr. Sherly (Urvashi). Overall a good watch and very enjoyable. Favorite songs are Mullapoove, Muthunne Kannukalil, Nee Vaa En Aarumukha, Aadyamorilam, and Kuttikkurumba (transliterated Malayalam subtitles, no actual film footage). All songs except for the last one do not have subtitles.

[tfgadgets]

‘Manorathangal’ series review: An uneven anthology celebrating M. T. Vasudevan Nair, with a few hidden gems

The poster of ‘Manorathangal’  MT. Two letters that have almost become synonymous with Malayalam literature, conjuring up images, emotions and characters that are at the same time universal as well as representative of Kerala of a particular time period. So when some of Malayalam cinema’s best filmmakers, actors and technicians come together in Manorathangal, an anthology to celebrate…

[banglakhobor]

Bollywood: হৃদরোগে আক্রান্ত সিদ্দিক, সংকটাপন্ন সলমান খানের সুপারহিট ছবির পরিচালক...

জি ২৪ ঘণ্টা ডিজিটাল ব্যুরো: সোমবার হৃদরোগে আক্রান্ত হন সলমান খানের(Salman Khan) সুপারহিট ছবি ‘বডিগার্ড’-এর(Bodyguard) পরিচালক সিদ্দিক ইসমাইল(Siddque Ismail)। এদিন বিকাল তিনটে নাগাদ বুকে ব্যথা অনুভব করেন তিনি। তড়িঘড়ি তাঁকে নিয়ে যাওয়া হয় হাসপাতালে। কোচির এক বেসরকারি হাসপাতালে ভর্তি তিনি। হৃদরোগ ছাড়াও একাধিক শারীরিক সমস্যায় ভুগছেন তিনি। তাঁর অবস্থা সংকটাপন্ন বলেই খবর। আরও পড়ুন- Don 3: আসছে ‘ডন…

[hardkittyprince]

THIS IS PRITHVIRAJ SUKUMAR AN APPRECIATION POST

First thing I am ashamed that i didn't know this man before or I may or may not have watched his movies but never recognised him by his name or his industry but in 2024 i know who prithviraj sukumaran is and i didn't feel disappointed i knew him from salaar but to be true I watched that movie first time because of Prabhas who I knew even before bahubali and loved but when I watched salaar i never thought I would fall in love with this man like he is first and last actor in all the industry that I actually fall for everything his personality his acting his direction all of that are amazing i want the whole Indian cinema to know about how great of a actor/ director he is till now I watched his 4 movies and damn I am blown away by his acting I am not a movie critic or i don't the the depth of acting but I love his choice of movies and to understand his direction a little bit i watched Lucifer and that was a normal Malayalam film but the story is actually amazing and i watched his movies like Mumbai police and damn the choice of movie in that industry and that time amazing and don't make me talk about Jana gana Mana i didn't expect the ending I am damn excited for the prequel and sequal too i just wanna say I am in love with this man and his acting his choice of movies and everything and. Because of him I started to love Malayalam movies and I am happy that I chose to know more about this man and the industry he comes from and i am not regretting itt

[drivingsideways]

Year-end discussion in the Indian film space was dominated by the success of controversial film maker Sandeep Reddy Vanga's latest offering of undiluted misogyny and rage, appropriately titled "Animal"; but the best commentary I've seen on failed fatherhood and violent, toxic masculinity this year comes in a 2 minute scene in Kaathal: The Core, where a wizened old man testifies quietly in a family court that yes, he always knew that his son is gay, and still coerced him into a heterosexual marriage.

Kaathal: The Core isn't a film without flaws; one could argue that it's the quintessential film made about queer people by straight allies- actually more interested in the reaction to queerness and the adjustment to queerness by cishets, than in queer lives; that it has a one dimensional view of the reality of queer living in India. It has its moments of what I call "educational speechifying" that feel tonally at odds with the rest of it, but again, this paternalism in Indian cinema of the self-consciously "progressive" variety isn't unfamiliar.

The ending feels a little trite, and some artistic choices- an actual rainbow in the sky appears as the two lovers drive off into the sunset of their newly liberated lives-feel particularly anvil-like- much like the ending of another of director Jeo Baby's films, The Great Indian Kitchen, which was an exploration of the brutality of Indian-flavoured patriarchy. In short: a movie filled with intricately and deliberately placed subtleties that occasionally - somewhat inexplicably-loses confidence in its audience, and chooses to remedy that by being a bit over the top.

But those are minor quibbles. This movie gutted me. The story revolves around a middle-aged closeted gay man from a small close knit village community in Kerala whose life- and the lives of those around him- is thrown into disarray when his wife of twenty years files for divorce citing his gayness as the reason for the breakdown of the marriage- a step she takes just as he's nominated as his party's candidate for the local elections. With this premise, you'd be forgiven for expecting the movie to be high decibel melodrama- and possibly a tragedy- from start to finish. Instead, it deliberately chooses the quieter route, the most tender one; while not flinching away from the grim realities of widespread homophobia, it portrays both individuals and a community who , in a moment of crisis, discover that they are better than they think they are. And it does this not from a jingoistic, self-congratulatory ethno-nationalist perspective- but from a place of genuine love- as a reminder and a beacon in these dark times.

All of this is anchored in some fantastic performances- Mammootty once more showing up to remind us why he's one of the greatest living actors in the world, and Sudhi Kozhikode as Thankan in what should be a multiple-award winning performance as his long time lover. I've rarely seen an actor make so much of their limited screen time. When I say that minutes 50-52 of this film are the most devastatingly tragic-romantic moments in world cinema, you'll think I'm exaggerating and perhaps I am, but I can also guarantee that you're going to want to rewatch that sequence at least ten times and cry about two old geezers in love. Lives were changed in those moments, no lie.

My one disappointment in terms of performances is Jyothika, playing Omana, the long suffering wife. Omana is one of the stand-outs in the history of female characters in Malayalam cinema, and Jyothika is- barely adequate. When you contrast it with a similar role - say Hsieh Ying -xuan's performance as Liu San-lian in Dear Ex (2018)- the flatness is even more jarring. Still, the sheer love with which her character and her relationships, especially with her husband, are written carry the film through.

Tl;dr: watch it on Amazon Prime or at a theatre near you! You will not regret it.

[themovieblogonline]

Discover "Manorathangal" - Celebrating MT Vasudevan Nair's Legacy

Manorathangal is an upcoming anthology series from ZEE5 Global, set to premiere on August 15th. This series, which celebrates the 90-year legacy of the legendary MT Vasudevan Nair, is a star-studded event you won’t want to miss. Let's explore what makes Manorathangal such a significant and highly anticipated release. https://youtu.be/6Wcpxgx37-s A Tribute to MT Vasudevan Nair MT Vasudevan Nair, often called M.T., is a literary giant whose works have profoundly influenced Malayalam literature and cinema. Manorathangal is a tribute to his 90-year legacy, bringing his profound stories to life. This anthology consists of nine interconnected tales, each reflecting the complexities of human nature. M.T.'s unique storytelling style explores the duality of human emotions, balancing between kindness and darker impulses. Star-Studded Cast and Crew Manorathangal boasts an impressive lineup of the finest talents in Malayalam cinema. The anthology features nine superstars and eight legendary filmmakers, making it a monumental collaboration. Here’s a sneak peek at the incredible segments: - Ollavum Theeravum (Ripples and the River Bank) - Starring Mohanlal, directed by Priyadarshan. - Kadugannava Oru Yathra Kurippu (Kadugannava: A Travel Note) - Featuring Mammootty, directed by Ranjith. - Shilalikhitam (Inscriptions) - With Biju Menon, Shantikrishna, and Joy Mathew, directed by Priyadarshan. - Kazhcha (Vision) - Starring Parvathy Thiruvothu and Harish Uthaman, directed by Shyamaprasad. - Vilpana (The Sale) - Featuring Madhoo and Asif Ali, directed by Aswathy Nair. - Sherlock - Starring Fahadh Faasil and Zareena Moidu, directed by Mahesh Narayanan. - Swargam Thurakkunna Samayam (When the Doors of Heaven Open) - An ensemble cast including Kaillash, Indrans, and Nedumudi Venu, directed by Jayarajan Nair. - Abhyam Theedi Veendum (Once Again, In Search of Refuge) - With Siddhique, Ishit Yamini, and Nazir, directed by Santosh Sivan. - Kadalkkaattu (Sea Breeze) - Starring Indrajith and Aparna Balamurali, directed by Rathish Ambat. Directors' and Actors' Perspectives The directors and actors involved in Manorathangal have expressed their admiration for MT Vasudevan Nair and their excitement about the project. Priyadarshan, who directs two segments, shared, "Dreaming is a part of life, and I had dreamt of making films with MT Vasudevan Nair. This moment is very special to me." Mammootty, starring in "Kadugannava Oru Yathra Kurippu," highlighted the uniqueness of this anthology in Malayalam cinema, stating, "Anthology films are rare in our industry. Manorathangal will be an anthology that can be presented with pride." Biju Menon and Indrajith also expressed their gratitude and excitement about working on scripts by MT Vasudevan Nair. Their heartfelt tributes underscore the significance of this project in Malayalam cinema. Manorathangal promises to be a cinematic tour de force, celebrating the extraordinary legacy of MT Vasudevan Nair. With its star-studded cast, legendary filmmakers, and profound storytelling, this anthology is set to captivate audiences globally. Don’t miss the premiere on August 15th on ZEE5 Global. This is more than just a series; it’s a celebration of one of the greatest literary figures in Malayalam history. Read the full article

[apcseo]

Kajaria’s Desh Ki Mitti Campaign: A Triumph of Unity and Excellence

In a resounding celebration of 35 years of excellence, Kajaria, a pioneer in the ceramics industry, has unveiled its latest Desh Ki Mitti Campaign, featuring Bollywood stalwarts Akshay Kumar and Ranveer Singh as brand ambassadors. This 360-degree pan-India campaign, conceptualised embodies the spirit of unity that binds our nation, while spotlighting Kajaria’s commitment to providing top-tier quality products that endure the test of time.

At the heart of the campaign lies the core message, “Hum Alag Hain, Par Ek Hi Mitti Ke Hai,” which poignantly underscores our shared identity as Indians, transcending diverse backgrounds. The narrative beautifully depicts the collaboration of the two renowned actors, whose contrasting personalities converge through their love for “Desh Ki Mitti.” The ad film showcases them engaging in competitive gym workouts, dance-offs, and games of tug-of-war, only to set aside their differences when faced with a Rescue Mission. It’s a vivid portrayal of unity prevailing over individuality, a theme that resonates deeply with the campaign’s mission.

The campaign’s strategic intent is to expand its reach to Tier 2 and 3 cities, while also catering to the southern markets. To achieve this, the TVC will be released in regional languages such as Tamil, Telugu, Kannada, and Malayalam, ensuring that the message of unity and quality reaches every corner of the nation.

Rishi Kajaria, joint managing director of Kajaria Ceramics, expressed his delight in having Akshay Kumar and Ranveer Singh on board, emphasising how both icons embody the company’s values of excellence, integrity, and patriotism. He highlighted the campaign’s aspiration to inspire pride and togetherness among customers, irrespective of their geographical location.

Chetan Kajaria, joint managing director at Kajaria Ceramics, underscored the significance of the Desh Ki Mitti campaign, which has distinguished Kajaria in the crowded advertising arena. He stated that the campaign’s alignment with the company’s ideology and commitment reflects their dedication to crafting the best for the nation.

For Akshay Kumar, being part of the campaign was an honour, with the film’s message of unity and pride resonating deeply with him. Having associated with Kajaria for over 6 years, he acknowledged the incredible experience of working with the brand.

Ranveer Singh echoed the sentiments, commending the campaign’s portrayal of unity’s strength for the country. He acknowledged the brand’s commitment to excellence and innovation, which resonated with his own persona.

The Desh Ki Mitti theme, initiated six years ago, has elevated Kajaria above the advertising clutter, setting a benchmark for tile advertising. Kajaria’s collaboration with creative agency has not only delivered an inspiring campaign but has also spotlighted the significance of partnerships between brands and marketing agencies. This strategic partnership has successfully harnessed the power of creativity and celebrity influence to convey a profound message of unity and quality.

In a landscape where advertising often strives to stand out, Kajaria’s Desh Ki Mitti Campaign shines as a prime example of how creative collaborations between brands and can deliver messages that resonate deeply, inspire, and connect with diverse audiences across the nation. As Kajaria embarks on this new chapter, its commitment to excellence, innovation, and the spirit of unity remains unwavering, setting the stage for continued success and enduring impact.

This post was originally published on: Apppl Combine

[divisional-news]

Aadujeevitham Box Office Triumph: Prithviraj's Survival Saga Shines on Day 5

Prithviraj Sukumaran's latest venture, Aadujeevitham, continues to set the box office ablaze, surpassing Monday's test with flying colors and outshining recent Malayalam hits.

After a stellar opening weekend, director Blessy's survival drama Aadujeevitham showcased resilience as it navigated through Monday, maintaining its stronghold amidst the ebb and flow of daily collections. The film, which has garnered widespread acclaim since its release, exceeded expectations on Monday, setting a new benchmark for Malayalam releases in 2024.

Despite a predictable dip post-weekend, Aadujeevitham recorded a commendable nett of Rs 5.25 crore in the domestic market on Monday, marking a 39 per cent decrease from its Sunday earnings, according to industry tracker Sacnilk. With this, the film's total domestic nett now stands at an impressive Rs 35.55 crore, with a global gross of Rs 64.85 crore.

Aadujeevitham maintained an overall occupancy rate of 53.74 per cent across Malayalam markets on Monday, showcasing consistent performance throughout the day. Morning shows commenced with a 40.85 per cent occupancy, steadily increasing to 52.52 per cent in the afternoon and peaking at 61.26 per cent in the evening. Even night screenings maintained a robust 60.31 per cent occupancy.

In its home turf of Kerala, Aadujeevitham raked in Rs 3.85 crore on its fifth day, with 255,885 admissions across 1,387 shows, achieving an impressive occupancy rate of 66.79 per cent.

The film's Monday collection notably surpasses other 2024 Malayalam blockbusters such as Manjummel Boys, Premalu, Bramayugam, and Abraham Ozler, further solidifying Aadujeevitham's status as a game-changer in the industry.

Aadujeevitham's success defies conventional norms, as it lacks typical mass appeal or fan-centric elements. Instead, its triumph signifies a shift in audience preferences and viewing habits, bolstering the industry's prospects.

In addition to its box office prowess, Prithviraj Sukumaran's stellar portrayal of Najeeb has earned widespread acclaim, with critics lauding his career-best performance. Despite initial skepticism, Sukumaran's portrayal of Najeeb exudes authenticity, elevating Blessy's narrative to new heights.

As Aadujeevitham continues its triumphant march, it not only celebrates its own success but also paves the way for a new era in Malayalam cinema, characterized by innovation, authenticity, and unparalleled storytelling.

[newslime]

Prithviraj’s Aadujeevitham Hits Rs 100 Cr Worldwide: Actor Celebrates Massive Success

Join the celebration as Prithviraj Sukumaran's latest blockbuster, Aadujeevitham (The Goat Life), crosses the Rs 100 crore mark at the global box office in just nine days. Directed by Blessy, this survival drama has captivated audiences worldwide, earning Rs 50 crore in India alone. Despite competition from other releases like Crew, Tillu Square, and Godzilla x Kong: The New Empire, Aadujeevitham continues to soar.

Prithviraj took to social media to express his gratitude, tweeting, "100 Cr and counting at the Global Box Office! Thank you for this unprecedented success!"

Director Blessy commended the hard work of the cast and crew, emphasizing the film's journey from conception to realization over sixteen years. Aadujeevitham, based on Benyamin's bestselling novel, portrays the gripping tale of Najeeb's struggle for survival in the Saudi desert.

With accolades pouring in, Aadujeevitham aims to surpass the records set by Malayalam hits like 2018 and Manjummel Boys, with its powerful narrative resonating globally.

Produced by Visual Romance, Aadujeevitham features a stellar cast including Jimmy Jean-Louis, Amala Paul, and KR Gokul, supported by talented Arab actors. With music by AR Rahman and sound design by Resul Pookutty, this cinematic masterpiece continues to make waves worldwide.

[pristine24]

When a story finds it's core purpose, it strikes the right chords and the right timing. And it brings out a film like 'Manjummel Boys'. I have seen director Chidambaram's 'Jane-e-man' only after the euphoria about 'Manjummel Boys' sprung up. His forte seems to be about group of boys who endeavour into tussles and how the problem is solved and not about a single person who performs heroic deeds. As a fan of cinema, I'm for both types of movies. I feel all types of movies must exist.

Now that the movie is making waves all over South India and rest of the world, the story need not be explained. Even though Manjummel takes a dig at TN police as it reflects a true story we can't find fault in and much of the recent Malayalam films does the same depiction. Yet dissimilar from the other Malayalam movies, Manjummel has a mass, universal touch which the director didn't consciously work out. It looks organically upgraded to that stature. Unlike Janeman, this film quickly jumps from one scene to the next without delay. The boys begin their journey to Kodaikanal, they're charged and ready to set about an adventure. Their youthfulness is crazy, bold and their confidence is unshakeable. The devil never calls but only if you set foot on the place it's no time you're under its purview! When the man is rescued from the immeasurable death pit that is undulating and cavernous, the theatre erupts and nothing is heard. I just assumed that the bgm 'Kanmani..' song from Guna was playing behind. Such cacophony in a theatre where most of the crowd are locals of a small town in TN and surprisingly with no online ticket booking facility (in which the theatre I watched), it was housefull on a weekday. But I will not say it'll be anyway a match to Jailer.

[notesfromdruchan]

Nanpakal Nerathu Mayakkam

Note: this is not a review but more of an outpouring of thoughts that strike you when your mind is captivated by beautiful frames written, enacted and captured; maybe spoilers ahead.

Some movies are bold enough to force you to walk with the characters, often in sombrely long sequence of shots where nothing happens (nothing from the point of view of a regular movie-watcher). Nanpakal Nerathu Mayakkam is a spectacular example (and I am positive Malayalam cinema has a plethora of such examples, esp in recent times). But to do this, I would imagine, requires a boldness of a different kind.

I mean, imagine having an entire minute or two just of a sequence of shots showing Mammootty – a James who's just woken up as a Sundaram (but we dont know that yet) – walking into the village: first through lush-green paddy fields, then into the serpentine lanes of the village, turning around into a corner street, walking past an old man in his afternoon siesta under the shade of his thinnai, and finally to his house. and because this is no accidental placement, you'll find the same happen in the climax when Mammotty walks back to the bus all the way from "his" house – a beautifully-long sequence of shots, the whole sequence spanning almost three minutes, with Veedu varai uravu as the tonal backdrop.

Perceptions from such scenes are subjective and I can imagine some folks not liking it. Personally though, I feel these are very crafty scenes that force you – the viewer – to not just consume what's happening on the screen but, by the nature of the ordinariness of the sequence of shots, make you go into yourself and start thinking about the non-ordinariness of what just transpired in the movie. This is in some sense similar to the long-shots post-scene that makers like Spielberg employ where a scene is done but the camera stays on a close-up shot of a character (presumably in deep thought) subverting the viewer to actually do the same – think deeply about what's just happened or what's about to happen.

–

Isn't it such a wholesome pleasure to watch such a fabulous collaboration of Tamil and Malayalam characters, in such a luxurious mix of Tamil and Malayalam dialogues? I am probably biased here: I got goosebumps just watching Ramesh Thilak share screenspace with Soubin in Kumbalangi Nights because, to me, that felt like a greater cinema acknowledging the talents of a Tamil actor often overlooked by Tamil cinema itself (hopefully, not so true anymore), so watching a whole village (no pun intended) of Tamil characters employed in a beautiful Malayalam film (I'm calling it that only because the main shakers and movers of the film are fellow Mallus) is a paradise.

–

That the entire movie has as its backdrop not just a rural setting but the constant drone of old Tamil movie scenes and songs can be chalked up as a creative mixing technique, something oft-employed in a lot of movies but only for some scenes. But this film takes it several notches up: not only is the presence of these songs and scenes near-constant and near-throughout the film, but they are often outrageously spot-on and in-sync with the movie scene! I dont know better so I can only imagine that the director has an enviable encyclopedic knowledge of 50s-70s era of Tamil cinema.

[thebobby1432world]

Anjali Patil Wiki, Biography, Age, Height, Weight, Family, Net Worth

Anjali Patil Wiki: Anjali Patil is an Indian actress, director, and model born on September 26, 1987, in Nashik, Maharashtra, India. She is mainly known for her role as 'Malko' in the Bollywood film "Newton." Today, we will explore Anjali Patil's biography, including her early life, family, boyfriend, movies, TV shows, and more. Anjali Patil Wiki Anjali Patil Movies Anjali Patil Web Series Anjali began acting in 2011 with the Hindi film "Delhi in a Day." In 2012, she played the role of 'Selvi' in the Sinhala film "Oba Nathuwa Oba Ekka." She also appeared as 'Durga' in the Malayalam film "Ente" in 2013. In 2015, she entered the Marathi film industry and acted in the film "The Silence" as 'Maami'.

Anjali Patil

Anjali Patil Wiki

NameAnjali PatilProfessionActress, Director & ModelNationalityIndianYears Active2011 to PresentNet Worth (approx.)₹5 CroreAnjali Patil Personal LifeNick Name AnjaliBorn (Date of Birth)26 September 1987Age (as of 2023)36 Years OldBirthplaceNashik, Maharashtra, IndiaZodiac SignLibraGenderFemaleHometownNashik, Maharashtra, IndiaHobbies/HabitsSelfie Lover, Photography, Nature LoverFavorite BrandsLevi’s, Gap, Louis Vuitton, Calvin KleinFood HabitNon-VegetarianAnjali Patil CareerDebutIn 2011 - As an ActressAwards2012: International Film Festival of India in Goa - Best Actress - (With You Without You) (Won) 2012: Stardust Awards 2013 - Breakthrough Supporting Performance - Female - (Chakravyuh) (Nominated) 2012: Star Screen Awards for Most Promising Newcomer- Female - (Chakravyuh) (Nominated) 2012: New York Indian Film Festival for Best Actress - (Delhi in a Day) (Nominated) 2012: South Asian Film Festival New York - South Asian Rising Star for Best Supporting Actress - (Delhi in a Day) (Nominated) 2013: Nandi Award - Nandi Award for Best Actress - (Naa Bangaaru Talli) (Won) 2013: National Film Award – Special Mention - (Naa Bangaaru Talli) (Won) 2016: Sarasaviya Awards in Colombo Sri Lanka - Best Actress - (With You Without You) (Won) 2016: Presidential Film Awards in Colombo Sri Lanka - Best Actress - (With You Without You) (Won)Anjali Patil EducationSchoolNot KnownCollegeLalit Kala Kendra (Pune University) National School of DramaQualificationGraduated (in Acting) Post Graduate (in Design and Direction)Anjali Patil Family, BoyfriendMotherShubha ShindeFatherSanjay ShindeSister/BrotherNot KnownMarital StatusUnmarriedAffair/BoyfriendNot KnownHusband/SpouseNot KnownDaughter/Son/ChildrenNot KnownRelativesNot KnownFriendsNot KnownAnjali Patil Body Measurements Height165 cm 1.65 m 5 ft 5 inWeight52 KG 114 lbs (pounds)Eye ColorBlackHair ColorBrownFigure Size32-30-34Dress Size36 (EU)Shoe (Feet) Size5TattoosNoneDistinctive FeaturesSmile & ConfidenceAnjali Patil Social MediaInstagramInstagramFacebookNot KnownTwitterNot KnownYouTubeNot KnownLinkedInNot KnownGmail/Email IDNot Known

Anjali Patil Movies

YearMovies2011Delhi in a Day2011Green Bangles2012Prathyayam2012Oba Nathuwa Oba Ekka2012Chakravyuh2013Ente2013Naa Bangaaru Talli2013Apna Desh2013Shree2014Kill the Rapist?2014Finding Fanny2015The Silence2015Mrs Scooter2016Mirzya2017Sameer2017Newton2018Meri Nimmo2018Kaala2019Dithee2019Mere Pyare, Prime Minister2020Mann Fakiraa2022Kuthiraivaal2022Kaun Pravin Tambe?-Bardo

Anjali Patil Web Series

YearWeb Series2019Hutatma2020Afsos2020My Client's Wife Read the full article

[subscenelk]

Hridayam 2022 sinhala subtitle| හදවත 2022 සිංහල උපසිරැසි සමඟ

Hridayam 2022 is an Indian Malayalam language film and the film is divided into Dramatic Romantic and Coming-of-age categories. The story of the film is written and directed by Vineeth Sreenivasan. He is an Indian Malayalam film actor, playback singer, film producer, director, lyricist, and composer and has won numerous awards. Hridayam is produced by Merryland Cinemas and Big Bang Entertainment, co-produced by Noble Babu Thomas, and co-produced by renowned filmmaker and distributor Visakh Subramaniam. Hridayam is edited by Ranjan Abraham, a well-known Malayalam filmmaker, and directed by Viswajith Odukkathil. The music director of Hridayam is Hesham Abdul Wahab. He is an Indian music director, music producer, and audio engineer, and is best known for composing the album Qadham Badha by Sami Yusuf, a British singer, and songwriter. The 172-minute film was distributed through Merryland Cinemas for screening on January 21, 2022, with a production cost of Rs. 60 million and a box office gross of Rs. 560 million. The film also stars Pranav Mohanlal, Kalyani Priyadarshan, and Darshana Rajendran in the lead roles. Hridayam received an IMDB rating of 8.6 / 10 and a Google rating of 96%.

The story of Hridayam 2022 is a memoir of a young man in his early thirties, from a young age to his higher education as well as his married life. Arun Neelakandan is coming to KC Tech Engineering University in Chennai from Kerala with the aim of completing his higher education. From the moment he sees her, he falls in love with a girl named Darshana whom he meets early in his university life. But the two first become friends through a series of incidents in which Arun is harassed by seniors. Following the complaints of Arun and Dharshana, several senior students were expelled from the university. When Arun and Darshana split up due to a later incident, Arun becomes mentally disturbed and begins to get used to drinking while messing up his university life and falls in love with Maya, a newcomer to the university. Meanwhile, Arun escapes from his wasted friends and misdeeds and moves to another hostel. A friend named Selva meets him and helps him to succeed in his studies. Selva dies suddenly in a car accident.

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Hridayam 2022 ඉන්දියානු මලයාලම් භාෂා චිත්‍රපටයක් වගේම මේ චිත්‍රපටය නාට්‍යමය සහ ශෘංගාර සහ Coming-of-age වර්ගයට වෙන් කර තිබෙනවා.චිත්‍රපටයේ කතාව ලියමින් අධ්‍යක්ෂණය කර තිබෙන්නේ Vineeth Sreenivasan අධ්‍යක්‍ෂකවරයායි.ඔහු ඉන්දියානු මලයාලම් චිත්‍රපටය නළුවෙක් මෙන්ම පසුබිම් ගීත ගායන ශිල්පියෙක්,චිත්‍රපට නිෂ්පාදකවරය��ක් අධ්‍යක්‍ෂකවරයෙක්,පද රචකයෙක්,සංගීත රචකයෙක් වැනි නොයෙක් ක්‍ෂේත්‍ර ගණනාවක නියැලී සිටින පුද්ගලයෙක් මෙන්ම විවිධ සම්මාන රාශියක්ම දිනාගෙන තිබෙනවා. ඒ වගේම Merryland Cinemas සහ Big Bang Entertainments නිෂ්පාදන සමාගම් යටතේ Hridayam චිත්‍රපටය නිෂ්පාදනය කර තිබෙන්නේ  ප්‍රකට චිත්‍රපට නිෂ්පාදකවරයෙක් මෙන්ම බෙදාහරින්නෙක්ද වෙන Visakh Subramaniam මෙන්ම සම නිෂ්පාදනය සිදුකර තිබෙන්නේ Noble Babu Thomas නමැති නිෂ්පාදකවරු දෙපලයි.Hridayam චිත්‍රපටයේ සංස්කරණ කටයුතු මලයාලම් සිනමා ක්‍ෂේත්‍රය තුල ඉතා ප්‍රකට Ranjan Abraham නමැති සංස්කරණ ශිල්පියා සිදුකර තිබෙන අතර සිනමාරූපනය  Viswajith Odukkathil ද ,Hridayam චිත්‍රපටයේ සංගීත අධ්‍යක්ෂණය Hesham Abdul Wahab සිදුකර තිබෙනවා.ඔහු ඉන්දියානු සංගීත අධ්‍යක්‍ෂකවරයෙක්,සංගීත නිෂ්පාදකවරයෙක් සහ ඕඩියෝ ඉන්ජිනියර් කෙනෙකු ලෙස  කටයුතු කරන පුද්ගලයෙක් වගේම ඔහු වඩාත්ම ප්‍රසිද්ධියට පත්ව තිබෙන්නේ බ්‍රිතාන්‍යය ගායකයෙකු මෙන්ම ගීත රචකයෙකු වෙන සාමි යුසුෆ්ගේ Qadham Badha ගීත ඇල්බමය නිර්මාණය කිරීම නිසයි.මිනිත්තු 172 ධාවන කාලයක් සහිත මේ චිත්‍රපටය 2022 වසරේ ජනවාරි 21 වෙනිදා ප්‍රදර්ශනය සඳහා බෙදාහැර තිබුනේ Merryland Cinemas ආයතනය හරහා වෙන අතර මෙහි නිෂ්පාදන වියදම ඉන්දියානු රුපියල් කෝටි 6ක් විදිහටත් මෙතෙක් ඉපැයූ බොක්ස්ඔෆිස් ආදායම් වාර්තාව ඉන්දියානු රුපියල් කෝටි 56 ක් විදිහටත් වාර්තා වී තිබෙනවා.ඒ වගේම මේ චිත්‍රපටයේ ප්‍රධාන නලුනිලියන් විදිහට Pranav Mohanlal වගේම Kalyani Priyadarshan සහ Darshana Rajendran රංගන දායකත්වය ලබා දී තිබෙන අතර Hridayam චිත්‍රපටය සඳහා ලැබී ඇති IMDB දර්ශක අගය 8.6/10 ක්ද  ගූගල් පරිශීලක අගය 96%ක් ලෙස සටහන් වෙනවා.

Hridayam 2022 චිත්‍රපටයේ කතාව දිවයන්නේ තිස්හැවිරිදි වියේ මුල භාගය තුල පසුවෙන තරුණයෙකුගේ කුඩා වියේ සිට සිය උසස් අධ්‍යාපන දිවිය මෙන්ම විවාහක දිවිය දක්වා ගත කෙරූ කාලය පිලිබඳ මතකාවර්ජනයක් විදිහටයි.අරුන් නීලකන්ඩන් කේරලයෙ සිට චෙන්නායි වල KC ටෙක් ඉංජිනේරු විශ්වවිද්‍යාලයට පැමිණෙන්නේ සිය උසස් අධ්‍යාපනය සම්පුර්ණ කරගැනීමේ අරමුණ සහිතවයි.සිය විශ්වවිද්‍යාල දිවියේ මුල භාගය තුලදී ඔහුට මුණගැසෙන දර්ශනා නමැති යුවතිය සමඟ පෙමින් බැඳෙන්නේ ඔහු ඇයව දුටු මොහොතේ සිටමයි.ඔවුන් දෙදෙනා මුලින්ම මිත්‍රයින් බවට පත්වෙන්නේ අරුන්ට ජේෂ්ඨ ශිෂ්‍යින් විසින් නවක වදය ලබා දීමට යෑමේදී ඇතිවෙන සිදුවීම මාලාවක් සමඟයි.මෙහිදී අරුන් සහ දර්ශනාගේ පැමිණිලි කිරීම් හමුවේ ඒ ජේෂ්ඨ සිසුන් කීප දෙනාව විශ්ව විද්‍යාලයෙන් නෙරපා දමනවා.පසුකලක ඇතිවෙන සිදුවීමක් නිසා අරුන් සහ දර්ශනා වෙන්වෙන විටදී මෙයින් මානසික වශයෙන් බිඳ වැටීමකට ලක්වෙන අරුන් සිය විශ්ව විද්‍යාල ජීවිතය අවුල් ජාලාවක් කරගනිමින් මත්පැන් පානයට හුරුවීමට පටන් ගන්නා අතර සරසවියට පැමිණෙන නවක ශිෂ්‍යාවක් වෙන මායා සමඟ පෙම් සබඳතාවක් ඇති කරගන්නවා.ඒ අතරතුරදී අරුන් සිය මිතුරන්ගෙන් සහ වැරදි ක්‍රියාවන් වලින් මිදී වෙනත් නේවාසිකාගාරයක් වෙතට මාරුවීමෙන් අනතුරුව ඔහුට මුණගැසෙන සෙල්වා නමැති මිතුරා ඔහුව යහමගට ගනිමින් අධ්‍යාපන කටයුතු සාර්ථක කරගැනීම සඳහා ඔහුට උදව් කරන අතරතුරදී රිය අනතුරක් සිදුවීම නිසා හදිසියේම සෙල්වා මිය යනවා.

[therealbaizy]

Fantasy Rap - A new genre ?

Baizy ( Real name "Mohammed Ihthisam" ) is a Digital Artist based in Dubai, United Arab Emirates. Born on 21/05/1999 in India. Self-taught digital artist and music producer. He is famous for his visualizer and promo works with main artists like Mohammed Ramadan in Versace Baby project under Director Len Prasad which crossed 31M in youtube, Siddharth Menon, and worked as a Promo in Malayalam films such as Trance, Operation Java, Kappela, One, Priest, and notable for his latest work for Rorschach, He is the first person bought the trend of Instagram filter trend to Malayalam Hip-hop Scene with Neeraj Madhav's PaniPaali track which crossed 84M in Youtube.

Baizy's recent album names 2022 of 8 songs contains rap songs in a different manner, when we asked him about the genre he just replied that all those songs that he made were like less than 10 minutes for one song with the help of an application named rapchat, and while he raps visuals came to his mind inspired from his past and the beats. and that's why he named it a fantasy rap, all lyrics are a bit metaphorical, and a little difficult to understand the main meaning he conserve, using mainly English and Malayalam he know what he is spitting to the world and some of the lyrics contains deep meanings also