Limited treatment options contribute to high morbidity/mortality rates with carbapenem-resistant, Gram-negative bacterial infections. New approaches for carbapenemase-producing organism (CPO) detection may help inform clinician decision-making on patient treatment and infection control. BD Phoenix CPO detect (CPO detect) detects and classifies carbapenemases in Enterobacterales, Acinetobacter baumannii, and Pseudomonas aeruginosa during susceptibility testing. The clinical performance of CPO detect is reported here. Enterobacterales, Acinetobacter baumannii, and Pseudomonas aeruginosa isolates were evaluated across three sites using CPO detect and a composite reference method (RM); the latter was comprised of the modified carbapenem inactivation method and a MIC screen for ertapenem, imipenem, and meropenem. Multiplex PCR testing was also utilized for Ambler class determination. Positive and negative percentages of agreement (PPA and NPA, respectively) between CPO detect and the RM were determined. The PPA and NPA for Enterobacterales were 98.5% (confidence intervals, 96.6%, 99.4%) and 97.2% (95.8%, 98.2%), respectively. The A. baumannii PPA and NPA, respectively, were 97.1% (90.2%, 99.2%) and 97.1% (89.9%, 99.2%). The P. aeruginosa PPA and NPA, respectively, were 95.9% (88.6%, 98.6%) and 92.3% (86.7%, 95.6%). The PPA values for carbapenemase class designations for all organisms combined and Enterobacterales alone, respectively, were 95.3% (90.2%, 97.8%) and 94.6% (88.8%, 97.5%) for class A, 94.0% (88.7%, 96.6%) and 96.4% (90.0%, 98.8%) for class B, and 95.0% (90.1%, 97.6%) and 99.0% (94.4%, 99.8%) for class D carbapenemases. NPA values for all organisms and Enterobacterales alone ranged from 98.5% to 100%. CPO detect provided accurate detection and classification of CPOs for the majority of isolates of Enterobacterales, Acinetobacter baumannii, and Pseudomonas aeruginosa tested.

Carbapenem resistance in Enterobacterales is a public health threat. Klebsiella pneumoniae carbapenemase (encoded by alleles of the bla_KPC family) is one of the most common transmissible carbapenem resistance mechanisms worldwide. The dissemination of bla_KPC historically has been associated with distinct K. pneumoniae lineages (clonal group 258 [CG258]), a particular plasmid family (pKpQIL), and a composite transposon (Tn4401). In the United Kingdom, bla_KPC has represented a large-scale, persistent management challenge for some hospitals, particularly in North West England. The dissemination of bla_KPC has evolved to be polyclonal and polyspecies, but the genetic mechanisms underpinning this evolution have not been elucidated in detail; this study used short-read whole-genome sequencing of 604 bla_KPC-positive isolates (Illumina) and long-read assembly (PacBio)/polishing (Illumina) of 21 isolates for characterization. We observed the dissemination of bla_KPC (predominantly bla_KPC-2; 573/604 [95%] isolates) across eight species and more than 100 known sequence types. Although there was some variation at the transposon level (mostly Tn4401a, 584/604 [97%] isolates; predominantly with ATTGA-ATTGA target site duplications, 465/604 [77%] isolates), bla_KPC spread appears to have been supported by highly fluid, modular exchange of larger genetic segments among plasmid populations dominated by IncFIB (580/604 isolates), IncFII (545/604 isolates), and IncR (252/604 isolates) replicons. The subset of reconstructed plasmid sequences (21 isolates, 77 plasmids) also highlighted modular exchange among non-bla_KPC and bla_KPC plasmids and the common presence of multiple replicons within bla_KPC plasmid structures (>60%). The substantial genomic plasticity observed has important implications for our understanding of the epidemiology of transmissible carbapenem resistance in Enterobacterales for the implementation of adequate surveillance approaches and for control.

Plazomicin was tested against 697 recently acquired carbapenem-resistant Klebsiella pneumoniae isolates from the Great Lakes region of the United States. Plazomicin MIC₅₀ and MIC₉₀ values were 0.25 and 1 mg/liter, respectively; 680 isolates (97.6%) were susceptible (MICs of ≤2 mg/liter), 9 (1.3%) intermediate (MICs of 4 mg/liter), and 8 (1.1%) resistant (MICs of >32 mg/liter). Resistance was associated with rmtF-, rmtB-, or armA-encoded 16S rRNA methyltransferases in all except 1 isolate.

As a very ugly standoff develops between legacy cinemas and legacy studios, Disney appears to be playing its cards close to its chest.

From his fateful game of chess to a moving turn in The Diving Bell and the Butterfly, Von Sydow was the last standard bearer of Bergman’s high-minded movie idiom

•Max von Sydow dies aged 90
•A life in pictures

The opening of the seventh seal in the Book of Revelation, disclosing the truth of God’s existence and the second coming, will result in a mysterious silence in the kingdom of heaven – then the sound of trumpets and the thunderous uproar of Earth’s apocalyptic ending. In the movies, no actor has ever represented these ideas more seriously, nor shown humanity’s anguish in the face of God’s implacable silence or unassuageable anger more clearly, than Max von Sydow. He was virtually a book of revelation in himself.

The passionate severity of Von Sydow – and his ability to impersonate the ascetic nobility of some impossibly remote priestly or knightly order but with very human flaws – formed the bedrock of Ingmar Bergman’s The Seventh Seal and the staggering series of films he was to make with Bergman in the 1950s and 1960s. Beyond that, he virtually epitomised an entire, distinctively high-minded attitude to cinematic art in Europe. His films for Bergman were composed in a movie idiom that drew on Ibsen and Strindberg, Sjöström and Dreyer – and of which, since Bergman’s death in 2007, Von Sydow could be said to be the final standard bearer.

The UK Cinema Association aims to resume business before July release of Christopher Nolan’s blockbuster Tenet, as studios and distributors scramble to protect theatrical business model

The UK cinema industry is understood to be lobbying the government to approve a proposed reopening scheme that would see venues welcome customers by the end of June.

Phil Clapp, the chief executive of the UK Cinema Association said: “We’ve made representations to government on the safeguards which UK cinemas would look to have in place for audiences and staff alike upon re-opening, and have asked that consideration be given – with these in mind – to allow cinemas to open by the end of June.”

While the lockdown continues across the UK - streaming giants Amazon Prime, Disney+ and Netflix have added a number of new movies which were originally due to premiere in cinemas.

Directed By:Christopher Nolan Starring:John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Aaron Taylor-Johnson, Clémence Poésy, with Michael Caine and Kenneth Branagh. TENET will be released nationwide on 17th July 2020 by Warner Bros. Pictures

The post TENET – In cinemas 17th July 2020 appeared first on UKFilmNews.com.

The Thor star was thankful to finally be on a well-deserved break from his hectic schedule.

Chinese authorities will allow further leisure venues, including cinemas, to gradually re-open now that the coronavirus pandemic has largely been controlled in the country, the top administrative body said on Friday. This comes after movie theaters were shuttered nationwide in January, ultimately dealing a $2.5B+ loss to the box office in just the first quarter. […]

The Department of Justice announced today that it has reached a settlement with Cinemark Holdings Inc. and Rave Holdings LLC (Rave Cinemas) that requires Cinemark to divest movie theaters in Kentucky, New Jersey and Texas, in order to proceed with its $220 million acquisition of Rave Cinemas movie theaters.

The French agriculture ministry has sentenced Emmanuel Giboulot six months in jail for not taking preventative measures against a bacterial vine disease.

This revamp of an 1830s apartment mixes modern materials to create a modern space.

Self-driving cars will likely be big autonomous mobile home theaters.

Spanish collective Basurama built a movable cinema mounted on a bike and used it to expose empty spots which could be turned into public spaces temporarily.

The latest urban intervention to celebrate the city's status as European Capital of Culture is an unusual film venue for pedestrians.

With 6,000 cinemas closed, 200 film shoots stopped in March, more than €150 million already lost and more than half of the population signed up to a streaming service, film critic Lisa Nesselson speaks to Eve Jackson about the effect of the coronavirus on the French film industry. They also talk about the revival of the drive-in in these social distancing times and the release of Terrence Mallick's "A Hidden Life" on VOD.

Amavas
U/A: Horror
Dir: Bhushan Patel
Cast: Sachiin Joshi, Nargis Fakhri
Rate: 

The experience of watching a Ramsay Brothers horror is unique. It's almost synonymous to buying a ticket for a comedy. Dealing with Amavas, is pretty much the same. It's the modern-day equivalent to a Ramsay product. Do you love it? Yes, to bits! It's a laugh riot. But, that's not how director Bhushan Patel designed it to be, which is why, it's disappointing.

Patel, who previously directed the Bipasha Basu and Karan Singh Grover-starrer Alone, takes the tomfoolery a notch higher with this film. We are introduced to the familiar 'praacheenkal' knowledge of 'bhooth-pret'. There is a haunted mansion - resembling a cross between that in The Conjuring and Sushmita Sen's Vaastu Shastra.

Familiar tactics - creaking doors, spooky scores and shadows - are employed to evoke fear. Yet, the idiocy on display doesn't occupy my mind. What does is the fact that viewers could have been spared from the goings-on had the cast simply travelled to Paris. Let me explain. Karan Ajmera (Sachiin Joshi) is coaxed by girlfriend Aahana (Nargis Fakhri) to take a trip to the former's Brit mansion, instead of taking off on a romantic getaway to the French capital. On arriving, skeletons begin to tumble out, and they learn the reason behind the house being locked up for eight years. All hell breaks loose.

Even the slightest mention can be a spoiler in a horror, so we'll leave the details aside should you wish to catch this one. But, we can reveal that this uninspiring story ticks every clichéd check box in the horror rule book, including possessed bodies, hapless spirits, barren trees, a grave and temple bells. In addition, there's a half-faced doll, and a bored ensemble of supporting actors who look more clueless than the doll in question. As lovers, Joshi and Fakhri certainly lack chemistry. In fact, the latter's visible disinterest even overshadows Joshi's ineptness.

What is really horrifying is the depiction of the psychiatrist, played by Mona Singh. 'Calm down' or an increase of medicinal dose, are apparently appropriate responses to paranoia and migraine. While the boyfriend battles serious issues, the girlfriend busies herself by exploring the estate, and playing hide-and-seek.

The incoherence is baffling, and one is only compelled to wonder why a team of qualified artistes would create this kind of cinema. But since the movie doesn't take itself too seriously -the quality of VFX and continuity being obviously ignored - it is best relished as a comic caper.

As for Fakhri, who makes a comeback of sorts to Bollywood with this film, she had more meat in her five-minute act in the American thriller, Spy (2015) than she does here. Pro tip for the writers - Just send them to Paris next time. It's always a good idea!

Also Read: Nargis Fakhri annoyed with press prying into personal life; leaves Amavas promotions midway

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Kalank
U/A: Action, Drama, History
Director: Abhishek Varman
Cast: Varun Dhawan, Alia Bhatt, Madhuri Dixit, Sanjay Dutt, Sonakshi Sinha and Aditya Roy Kapur
Rating: 

Not one to get wooed by the scale and production value of a film, I can't help but be smitten by the sheer beauty of Abhishek Varman's Kalank. In 2019, when Netflix rules our lives, this film is a rare cinematic experience that blends in opulence, glamour with a solid story about a family torn by its own skeletons in the closet. Star crossed pairs, their infidelities and how it destroys the world around them.

Drawn to forbidden pleasures and immoderate love is Roop, played with heft by Alia Bhatt. Varman's vast screenplay primarily plays off the luminous chemistry between Bhatt and co-star Varun Dhawan. There's a tantalising quality about their pairing and Varman uses this element to full effect. But a lot of the emotions drown in its self imposed ornate design of the film, which gives it a synthetic quality.

Watch the trailer of Kalank here:

So when a feisty Rajputana girl (Alia's Roop) is compelled by circumstances to marry a man (Aditya Roy Kapur's Dev) she can't even recognise in broad daylight, you want to discover more about their faulty dynamics. Or even how a well-educated woman like her, who has opinions strong enough to be voiced in front of an all-male team of writers running a flourishing newspaper, would fall for a visibly dubious man (Varun Dhawan's Zafar) with a promiscuous life. All of this and much more about the period's socio-political submerges beneath Binod Pradhan's gorgeous cinematography. It's almost as if there is a barrier between the audience and the characters - a gulf presumably created because of the director's reluctance to delve deeper into the plot.

Kalank movie poster

It's at the casting department, Varman scores big. Raging with simmering pain, Varun's aching performance beautifully transcends from showing him as a bitter man thirsty for revenge to a kind soul softened by love. Aditya's character has little graph but he adds soul to his act, supported adequately by Sonakshi Sinha who keeps her brief role serene all through. The seniors - Madhuri Dixit and Sanjay Dutt bring their effortless experience in a climactic sequence which packs a punch. Kunal Kemmu's grey part is portrayed with flair.

Also Read: Kalank: Here's everything you should know about the multi-starrer film

By no means is Kalank an unbearable film, despite being nearly 2 hours 48 minutes long. But there is a constant tryst to divert our attention from its storyline; Varman distracts us with his suggestive background scores, special numbers and sometimes even the perfectly created Manish Malhotra costumes. It's also equally problematic that a film set in pre-Partition doesn't stir up much political conversations throughout the narrative. There are stray mentions of their noble intentions but it remains largely detached from the divisive politics of the time it is set in. It also pays a tribute to Sanjay Leela Bhansali's school of filmmaking by borrowing a lot of his trademark sequences (especially Alia's entry which reminds one of Aishwarya's first scene in Hum Dil De Chuke Sanam). Varman's prism is fresh - his women aren't caricatures, his characters aren't perfect. Roop is innately flawed, her decisions are damaging but she fights back for love with all her might. His men aren't all heroic and larger than life; they stumble, are unforgiving and equally faulty.

Watch the video of the Kalank movie review here:

I was reminded of Deepa Mehta's masterpiece - 1947, Earth, rightly melodramatic, potently emotional which walked the tightrope of a love triangle in stormy times in a balanced way. Kalank doesn't aim for that depth. It's content in being pretty even when it has the potential of so much more.

Kalank screening: Janhvi Kapoor, Alia Bhatt, Aditya Roy Kapur attend:

Also Read: Kalank Celeb Review: B-town can't stop praising this period drama

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As the country mourned the loss of one of the finest actors of the Indian cinema industry, Malayalam actor Prithviraj Sukumaran on Thursday took to social media to express grief on the demise of 'legend' Rishi Kapoor.

The south Indian actor, director, and producer took to Twitter and wrote: "This is a sad sad week for cinema. Rest in peace [?]#RishiKapoor sir."

This is a sad sad week for cinema. Rest in peace ⁦#RishiKapoor sir. Had the absolute privilege of working with him in #Aurangzeb Used to tell me he can’t call me by name as I shared it with his grand father. Farewell legend. We will miss you! pic.twitter.com/VSZHRqNks9

— Prithviraj Sukumaran (@PrithviOfficial) April 30, 2020

The 37-year-old star who had shared screen space with the veteran actor in 2013 drama-thriller 'Aurangzeb,' also recalled his conversations with the late star.

"Had the absolute privilege of working with him in #Aurangzeb Used to tell me he can't call me by name as I shared it with his grandfather."

He wrapped up the post by saying: "Farewell legend. We will miss you!"

Rishi Kapoor passed away at 8:45 am IST at Mumbai's Sir HN Reliance Foundation Hospital after a two-year battle with leukaemia, his family said in a statement. He was admitted to the facility on Wednesday. Earlier today, actor Amitabh Bachchan confirmed the news of the demise of the 67-year-old.

In September 2019, Rishi and his wife Neetu returned to Mumbai after staying in New York for almost a year for cancer treatment. He was last seen in the 2019 film 'The Body' alongside Emraan Hashmi and Shobita Sobhita Dhulipala.

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Veteran actor Rishi Kapoor breathed his last in a hospital in Mumbai on the morning of April 30, 2020. His passing has left a huge void in the film industry and in the lives of his family, close friends and millions of fans across the world. Tributes have been pouring in for the original chocolate hero of Bollywood, and Aamir Khan, too, took to Twitter to bid a final goodbye to his Fanaa co-star.

Aamir wrote, "We have lost one of the greats today. An amazing actor, a wonderful human being, and 100 per cent a child of Cinema. Thank you for all the joy you brought to our lives. Thank you for being the actor and human being that you were. You will be badly missed Rishiji."

We have lost one of the greats today. An amazing actor, a wonderful human being, and 100% a child of Cinema.
Thank you for all the joy you brought to our lives.
Thank you for being the actor and human being that you were.
You will be badly missed Rishiji.
Love.
a.

— Aamir Khan (@aamir_khan) April 30, 2020

Rishi Kapoor passed away at the age of 67 after battling cancer for two years. The actor was suffering from leukaemia, and he died with wife Neetu Kapoor by his side. Amitabh Bachchan, Rishi Kapoor's co-star in a number of films, was one of the first to confirm the news of his passing.

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- By RJ Archana Pania

It hasn't yet sunk in, and I wonder if it ever will that Rishi Kapoor ji is no more.

I first met him at the special screening of Saawariya, and he was watching his son Ranbir turn into an overnight star in the auditorium post the show. He was so concerned that his son would be manhandled by the huge crowd! I walked up to Rishi ji to share that my family and I were his huge fans, and he in his inimitable Kapoor candour with outstretched hands smilingly said "thank you" while keeping an eye on Ranbir.

I still can't remember when our RJ to actor connect turned into friendship. During interviews at RK Studios, he would proudly show me around, and his eyes would light up while talking about his father, Raj Kapoor saahab, and his grandfather Prithviraj Kapoor Ji.

He had reservations about his own physique, and always said, "If I had maintained my weight I would give all the young guns a run for their money." It's not for nothing that the tag of a chocolate hero stayed with him for over three decades. His performances could very well range from an angry lover boy (Kabhi Kabhie) to the most caring sweetheart (Chandni).

In my almost two decades of a radio career, no actor brought us treats. In fact, invariably, we would be ordering food for them. Rishi ji and Neetu ji, however, came in for their film Do Dooni Chaar's promotions and got us all at Radio City studio a huge hamper of goodies from his favourite food joint. Croissants, pastries, puffs, muffins... you name it and he got it. That's when one could see the largess of his heart.

I had some of the best memories at his home during Ganpati celebrations. He loved the festival and had Bappa home for five days, and would say that he wanted Bappa to stay longer than that. Every year, promptly, his invitation would arrive. Post the aarti he would sit all of us down and we would indulge in some "gupp-shupp". Poonam Dhillon ji, Padmini ji would all be in splits thanks to his candid ways of recalling the times gone by.

My most favourite memory of him is how one day he called me to scold me for using "Tu" while addressing my listeners. He said, "Let that boy (my co-RJ Salil Acharya) with you do "tu-tadaka", you continue saying "aap" the way you do, you are from a good family." I wondered about the kind of care that call reflected, the concern he had for people he was fond of. Sometimes, I would call him on his landline to wish him on his birthday or to congratulate him for a great performance in a film. Typically, he would first express irritation like it's all an everyday thing. But then, he would oblige me with an interview with heartfelt involvement.

But no matter what our conversations would be about, we always ended up discussing Ranbir's projects (where he felt Ranbir should take up more work and not work on single projects for so long) and his one smile gave away how proud he was of his son.

I am sure the legendary actor will see his legacy being carried forward beautifully by Ranbir, who has never ceased to astound us with his talent.

Rishi ji, I know you had so much zest for doing more. No one romanced life and cinema as you did on an everyday basis. Thank you for giving us countless memories and conversations to remember forever. Our industry won't be the same after today...

Some of my favourite songs of RK ji:

Dafli Wale - Sargam
Hoga Tumse Pyaara Kaun - Zamane Ko Dikhana Hai
Chukkk Chukk Bombay Se Baroda Tak - Rafoo Chakkar
Om Shaanti Om/Kya Umar Thi - Karz
Humko Tumse - Amar Akbar Anthony
Chal Kahee Door - doosra Aadmi
Tu Tu Hai Wahi - Yeh Vaada Raha
Jeevan Ke Din Chhote Sahi - Bade Dilwale
Lambooji-Tinkuji - Coolie
Chandni - Chandni O Meri Chandni
Sochenge Tumhe Pyaar/Teri Umeed - Deewana

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"I have been defeated by housework," says Konkona Sensharma, who seems exhausted with the never-ending chores. "Household work is taking up more time than I thought. It's an endless repetition and gets boring," adds Sensharma.

While most are using this time to discover world cinema on OTT platforms, Sensharma has been exposed to it since childhood. "I was introduced to world cinema very early in life. My grandfather had started the culture of film society with Satyajit Ray. So, they had a lot of screenings on the projector. My mum [Aparna Sen] would get a lot of cassettes home to watch it with her friends." Taking a break from noir films, it seems the actor is indulging in mainstream and regional entertainment these days. She says, "I love regional cinema and I will have to recommend Angamaly Diaries." She expresses her love for Jon Hamm's Mad Men. "The series takes you back in time and gives you an understanding of their attitude towards homosexuality and women," she adds, before recommending The Wire for its "tight script".

Stills from Angamaly Diaries and Mad Men

She adds Phoebe Waller-Bridge's Fleabag to her list purely for its "wicked and witty narrative". "Usually, female characters are [showcased as] earnest and moralistic. They don't write about them being witty and wicked. I loved the irreverent and irresponsible character," says Sensharma.

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He stood shoulder-to-shoulder with Zoya Akhtar, Reema Kagti, Nitya Mehra and Alankrita Shrivastava as he co-directed the much-loved Amazon Prime series, Made In Heaven, last year. However, before the second season goes on floors, Prashant Nair has made a graceful exit from the picture. The Spain-based filmmaker is instead consumed with bringing a real-life story to the screen.

A still from Made in Heaven 

"I am not part of the second season as I am working on a web series based on the Uphaar Cinema tragedy," says Nair, referring to the 1997 fire at the Delhi theatre that had claimed 59 lives and injured over 100 people. "I am the show-runner, director and creator of the series that is being developed with Endemol Shine India. It's currently in the research phase," he adds.

Prashant Nair

It has been a memorable week for the filmmaker, whose latest offering, Tryst with Destiny, won the Best Screenplay award at the Tribeca Film Festival. "The organisers kept the competition section open virtually so that [the jury] can watch the links. When they announced the win, I was in my pyjamas at 2 am, feeling remarkably unglamorous, reading Danny Boyle's lovely feedback on the movie," he laughs. Though glad that the Viineet Kumar Singh-starrer has received acclaim, Nair feels rather disconnected from the win. "I wanted to experience this moment with my cast and crew. And damn, we didn't even get a selfie with Robert De Niro [who is the co-founder of the festival]!"

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Actor Amyra Dastur believes cinema is going to be transformed in the aftermath of the coronavirus pandemic with the digital space opening up in a big way. Amyra said the lockdown, which has led to the closing of cinemas and a postponement of shoots, also resulted in some of her projects getting pushed.

"I'm excited to see how cinema is going to transform and how the OTT platform is going to blow up bigger than ever. Luckily I'm not a newcomer so getting work isn't a concern. It is about quality and I believe only quality and not a last name will prevail. "Theatres will need a good six-eight months to have full houses again and in that time viewership on Netflix, Amazon Prime Video, Hotstar, Alt Balaji, Voot among others will grow... Finally, content is going to overshadow the box office, so it's an exciting time at the moment," the actor told PTI.

Before the lockdown was announced in March, the actor had T-Series' murder mystery "Koi Jaane Na" co-starring Kunal Kapoor up for release in June, but that stands pushed. "We wrapped up shoot in the second week of February but that's been postponed due to the lockdown and our inability to get out and promote, as well as the fact that the industry doesn't know when the theatres are going to be able to open up to the public," Amyra said. She was also shooting for Farhan Akhtar and Ritesh Sidhwani's production, "Dongri To Dubai", a web series adapted from author Hussain Zaidi's book of the same name and Tamil film "Bagheera" with Prabhudeva, all of which came to a halt. Her other project, filmmaker Ali Abbas Zafar's Amazon Prime Original "Tandav" is currently on the editing stage.

The actor said she was supposed to fly to Chennai for a shoot on March 23, but it got postponed as the makers wanted to see what Prime Minister Narendra Modi's announcement would be a day later. "I'm glad it was postponed because I would have been in lockdown alone in Chennai. But it's ok because these are the two projects I'll go back to shooting for as soon as the lockdown is lifted."

The actor, who has featured in films like "Judgemental Hai Kya" and "Rajma Chawal", said once the lockdown is lifted, all her projects will resume on a priority basis. "It'll be hectic because everyone wants the same dates but we've managed to prioritise each project according to the new deadlines. I was all set to shoot for a new film and was going to announce it in April so that's been postponed as well but not halted," she added.

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Noted cinematographer Nadeem Khan has undergone brain surgery at a hospital here after he suffered a fall. Khan, son of famous Hindi novelist and scriptwriter Rahi Masoom Raza, was admitted to Lilavati hospital in suburban Bandra on Monday evening after he fell from a flight of stairs and suffered injuries in head, shoulder, and chest.

"We have been in the lockdown for the last two months and just a night before we stepped out of our house and while we were getting down he fell from the building staircase and started bleeding. We immediately rushed him to the hospital. He has been admitted to the hospital, he is in the ICU. He has undergone brain surgery. The next 48 hours are critical. We are praying and hoping he will be fine," Khan's wife Parvati, who is a singer, told PTI.

Khan has been a cinematographer on more than 40 films such as Disco Dancer, Zamana, Aandhi-Toofan, Aag Hi Aag, King Uncle, and Gunaah. He has also directed one film titled Tirchhi Topiwale (1998) starring Chunky Panday, Inder Kumar, and Monica Bedi

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As the country entered its third round of lockdown extension earlier this week, the government relaxed certain restrictions in the areas identified as green zones. This has sparked a conversation in the exhibition sector that the theatrical screening of films, with adequate precautionary measures in place, may be resumed in the near future in these areas. But, of the 300 districts designated as green zones, 240 do not have theatres. In such a scenario, leading multiplex chains appear to have turned to PictureTime Digiplex, a portable theatre company, to revive the cinema-going practice.

"Even a leading chain like PVR has theatres in only 68 towns. In such a scenario, they would want to reach out to the green zones as soon as possible. So, our portable theatres will be required more than ever, and we can set up about 25 new ones in a month. We are in talks with two of the three leading multiplex chains," says Sushil Chaudhary, MD and CEO, PictureTime Digiplex, presumably referring to PVR, Inox and Cinemax.

Sushil Chaudhary

Chaudhary adds that actor-director Satish Kaushik is exploring the possibility of releasing his next, Kaagaz, through this model. "He called me to understand if the film could be released via our theatres. He believes that the film, owing to its theme, needs to be in theatres to make an impact. I am in talks with state agencies and am considering starting the portable theatres by mid-June."

Satish Kaushik

If given the green-light to function, the portable theatres will have to adopt several safety measures. "No rules have been laid out yet in order to start cinema in green zones, but we have started preparing for the same. We are planning a sanitisation tunnel, where the audience will be sanitised, and their temperatures checked. The seats will also be spaced out with dividers in between, in keeping with the practice of social distancing."

Satish Kaushik, who is incidentally also Advisor & Partner of Picture Time, says, "I think Picture Time will great solution for cinema entertainment as this mobile theatre reaches people or the viewer instead of viewer going to the theatre. It will run on the low capacity, air-conditioned, 5.1 digital sound and absolutely sanitised with all safety precautions of social distancing and contactless digital ticketing etc. We have so many green zones in the country where there are no theatres and Picture Time will be ready in just 2.5 hours anywhere in open space to show movies to the viewers. Mr Sushil Chaudhary and his team are working hard to give a great cinematic experience to cinema loving people in virus-free zones."

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The lockdown period brought filmmaker Nitesh Tiwari in front of the camera, and his nine-and-a-half-year old daughter Amaarisa got a chance to be a cinematographer on a scratch film for Kaun Banega Crorepati.

The new campaign has the show's host Amitabh Bachchan inviting KBC aspirants. It was shot from the confines of home, in the wake of the ongoing COVID-19 pandemic. Tiwari remotely directed the registration promo.

But before Big B's final video, there was a scratch film too. Talking about it, Tiwari told IANS: "This the first time I have done something like this. I've never shot a film sitting so far away from my star but yeah it was an interesting experience for me."

"The thing is when we were writing this campaign, we knew the restrictions under which this film would be shot so we didn't get really ambitious with the execution. We kept it very simple."

Explaining the campaign's execution process, the "Dangal" director shared: "For the execution bit, I had various chats with Mr. Bachchan, and to make it easier for him because he was only going to shoot the film at his house, I made a scratch film featuring me. My daughter (worked) as the cinematographer. I edited that film and I sent it across to him so that he could get a good idea about how I was looking at the film. And then Mr Bachchan did the rest. In fact, he did more. He was kind enough to send optional takes also...in case, I needed to look at alternatives. After that we did the post-production work, everybody sitting at their own homes."

This year, the campaign is all about: "Har cheez ko break lag sakta hai, sapno ko nahi (everything can take a break, but not dreams).

"Whenever we get down to working on KBC campaigns, what we normally do is we tap into the mindset of the people of the country at that point of time and given the situation we all are in, we chose to explore the possibility of having a campaign which was based around the idea of we being in the situation and how you tie it up to KBC as a game show," he said.

"We all know KBC is not just a game show. It's a means for people's dreams to be fulfilled. That's when we got this idea."

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31/01/2020

The Academy of Motion Pictures Arts and Sciences better known as Oscars on Wednesday remembered the internationally acclaimed Bollywood actor Irrfan Khan and also condoled his demise.

"A mainstay of Bollywood cinema and incredible talent in films like 'Slumdog Millionaire,' 'Life of Pi' and 'The Namesake,' Irrfan Khan left his imprint on global cinema. An inspiration to millions, he will be greatly missed," tweeted the Academy.

Khan's 'Slumdog Millionaire' is a recipient of the Oscar award in many categories.

The last rites of the 'Life of Pi' actor were performed at the Versova cemetery earlier today.

The internationally renowned actor passed away at Mumbai's Kokilaben Hospital on Wednesday while battling rare cancer. He was 53. Irrfan was last seen on screen in 'Angrezi Medium'. He was not a part of the film's promotions owing to his ill health.

With critically acclaimed films like 'The Lunchbox' and 'Paan Singh Tomar' to his credit, Irrfan was regarded as one of the finest actors in Hindi cinema.

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This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever

Saif Ali Khan excels in all kinds of roles but his role of a cool dude in light-themed films has been a favourite for many moviegoers. He played such characters in several memorable films like HUM TUM [2004], SALAAM NAMASTE [2005], LOVE AAJ KAL [2009] and got immense praise. Now the actor is back in this space after a hiatus with JAWAANI JAANEMAN. It’s a special flick as it’s the first production under his new banner, Black Knight Films. So does JAWAANI JAANEMAN emerge as a fine piece of entertainer? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1069154 size-full" title="Movie Review: Jawaani Jaaneman" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Jawaani-Jaaneman.jpg" alt="Movie Review: Jawaani Jaaneman" width="720" height="450" /> JAWAANI JAANEMAN is the story of a 40-year-old playboy whose life suddenly turns upside down. Jassi aka Jazz (Saif Ali Khan) is in his 40s and is based in London. He's single and in no mood to commit. By profession, he's a real estate broker and works with his brother Dimpu (Kumud Mishra). But he spends most of his time partying and getting involved with girls. He is also about to seal a redevelopment deal that will make him the biggest broker in London. Life is going great for him until one day he meets Tiya (Alaya F). At first he flirts with her, with the ultimate aim to take her to bed. However, she drops the bomb that she might be his daughter! To make matters worse, the DNA test confirms that they are related. And that's not all. It also comes to light that Tiya is pregnant! So Jazz finds out that he's not just someone's father but also to-be grandfather! What happens next forms the rest of the film. JAWAANI JAANEMAN is a remake of an Italian film. The plot is promising and could have made for a hilarious and touching entertainer. The screenplay however is inconsistent and weak at many places. Only some scenes work and provide laughs. Hussain Dalal and Abbas Dalal's dialogues are witty and try their best to enhance the impact. Nitin Kakkar's direction is average. He doesn’t keep the flow of the film organic. Some developments happen suddenly, be it Jazz developing feelings for Rhea (Kubbra Sait) or Jazz asking Tiya to shift in his house. These scenes are still digestible. But a scene in the second half where a local randomly accuses Jazz of cheating him in a property deal comes out of nowhere. Till now, viewers knew Jazz as a lazy worker but not someone who is deceitful. Hence, this revelation seems bizarre. On the positive side, he gets the emotion and humour right in some scenes. Also, he keeps the duration in check (119 minutes). JAWAANI JAANEMAN starts off on an okay note as the viewers get introduced to Jazz and his playboy lifestyle. The film gets interesting once he gets Tiya home and she reveals the truth. It makes for a hilarious watch. Another memorable scene in the first half is when Jazz and Tiya meet Dr. Kriplani (Kiku Sharda). One expects lot more to happen but story just doesn’t move then. The intermission point is a bit awkward. Post interval thankfully there’s some movement in the story. But now the film drags. Also, the impact is weakened by property deal track. What brings some respite is the track of Ananya (Tabu) but even that loses fizz soon. The final scene of the film is heartwarming. <span style="text-decoration: underline;"><strong>Jawaani Jaaneman | Public Review | Saif Ali Khan | Alaya Furniturewalla | Tabu | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/jawaani-jaaneman-public-review-saif-ali-khan-alaya-furniturewalla-tabu-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Saif Ali Khan is completely in his element and entertains thoroughly. Such kind of a role suits him to the T and he constantly tries to rise above the script. Alaya F makes an excellent debut and puts up a confident act. She looks gorgeous and is the only actor who moves viewers to an extent. She has a promising career ahead. Tabu has a late entry but raises loads of laughs. But her character has no emotional arc. Chunky Panday (Rocky) doesn’t have much to do initially. He has a crucial scene in the second half in the hospital but it doesn’t work. Kubbra Sait is adorable and one wishes to see more of her. Kumud Mishra is dependable. Kiku Sharda is funny. Dante Alexander (Rohan) is over the top, as per the character’s requirement. Rameet Sandhu (Tanvi) leaves a mark. Farida Jalal (Jazz’s mother), Shivendra Singh Mahal (Jazz’s father) and Diljohn Singh (Grover) are okay. Songs are all forgettable. <em>'Ole Ole 2.0'</em> gets registered a bit as it’s a popular tune. <em>'Gallan Kardi'</em>, <em>'Bandhu Tu Mera'</em> and <em>'Mere Baabula'</em> don’t work. <em>‘Jinhe Mera Dil Luteya’</em> is played in the end credits.  Ketan Sodha's background score is sans complaints. Manoj Kumar Khatoi's cinematography is pleasing. The locales of London are well captured. Urvi Ashar Kakkar and Shipra Rawal's production design is superior. Sanam Ratansi's costumes are quite glamorous and all the actors in the film look great. Sachinder Vats's editing (additional editing by Chandan Arora) jumps at places. On the whole, JAWAANI JAANEMAN boasts of fine performances by Saif Ali Khan and newcomer Alaya F. But the direction is weak and emotionally, the film doesn’t work. At the box office, it will be a tough ride for the flick considering the lack of buzz.

SV Srikanth, who worked with many movies of Dr Rajkumar, died at the age of 87 at his residence in Bengaluru.

Imports Intra Eu - Photographic Or Cinematographic Products in the United Kingdom decreased to 11.92 GBP Million in February from 17.59 GBP Million in January of 2020. Imports Intra Eu - Photographic Or Cinematographic in the United Kingdom averaged 28.92 GBP Million from 1996 until 2020, reaching an all time high of 59.57 GBP Million in June of 2001 and a record low of 11.92 GBP Million in February of 2020. This page includes a chart with historical data for the United Kingdom Imports of Intra EU - Photographic Or Cinematogra.

Imports Intra Eu - Optical, Photo & Cinema Graphics & Related Ac in the United Kingdom decreased to 591.26 GBP Million in February from 617.93 GBP Million in January of 2020. Imports Intra Eu - Optical, Photo & Cinema Graphic in the United Kingdom averaged 409.18 GBP Million from 1996 until 2020, reaching an all time high of 838.93 GBP Million in March of 2019 and a record low of 181.15 GBP Million in April of 1996. This page includes a chart with historical data for the United Kingdom Imports of Intra EU - Optical, Photo & Cinema Gra.

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It has been a tumultuous week for Chelsea off the pitch with the row between Jose Mourinho and Eva Caneiro and Jon Fearn but the players seem to be unaffected.

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Today is International Women's Day and there are plenty of talented women creating brilliant wine around the world, so let's celebrate them

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