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Mega star #Dharmendra’s son Bobby Deol made a powerful revelation that shows the real character of the Deol family. #BobbyDeol revealed that Dharmendra deol walked away from the iconic film Zanjeer not because of career reasons, but becoz his cousin sister made him swear she told him that if...

168,131 views • 8 months ago •via X (Twitter)

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🔥🚨DEVELOPING: Katy Williams revealed to Shannon Sharpe that Harvey Weinstein ‘offered to suck his penis’ in front of all of his people at his agency. Katt continued and said that he thought he was the only Black person on the script but found out it was 3 other Black people there. Shannon Sharpe asked him if it made him ‘wonder what they did to get there’ Katt responded that ‘I told him no what Yall do?’ Last month I spoke with Alex Jones about how I learned when I was in Hip-Hop that celebrities are an extension of media used to give social proof of any lie that politicians, and corporations want us to believe. I also revealed that PR companies control all of this behind the scenes and Katt Williams was most likely got this film opportunity from a PR. Weinstein was also an associate of Jeffrey Epstein, before his conviction on November 8, 2023, Michelle Obama called Harvey Weinstein a ‘wonderful human being a good friend and a powerhouse.’ at The Careers in Film Symposium hosted in the East Room of the White House. Weinstein had been a longtime donor to Democratic candidates and even held a fundraiser for Clinton during her 2016 presidential run. On February 25, 2020, a reporter asked Hillary Clinton asked about Weinstein's contributions to her campaign for president, at the Berlin International Film Festival for the screaming of her documentary ‘Hillary.’ Clinton responded, "He contributed to Barack Obama's campaign, and John Kerry's campaign, and Al Gore's campaign, and everybody's campaign."

Dom Lucre | Breaker of Narratives

8,835,503 views • 2 years ago

Watch This Video to Know Why #AkshayKumar is the biggest flop actor of Bollywood right now.. Akshay Kumar could never become a super star, the reason behind this is releasing 4 films in a year and making all of them flop.. Even today he remakes 9 out of 10 films and does the same 1-2 films with worn out knowledge, when he saw that every one of his films started to flop, he clashed with #Gadar2 and made it overflow in Pankaj Tripathi's film in which he was doing a cameo, after that he named a big Bakwas film as Kesari 2 and kept giving Bogo offers every day, consider that the film is based on Bogo offer only..the biggest one It was surprising when they showed a film like Sky Force to everyone for free and the ticket offer was such that the public was watching it for Rs 20. The budget of a film like Welcome to the Jungle was 300 crores but its budget was reduced to 150 crores. A film like Selfie was taking an opening of 2 crores and a film like Bade Miya Chote Miya earned 50 crores instead of 350 crores. They wasted all the producer's money and now they are not even getting films. A film like Bhoot Bangla had full corporate booking. A film like Housefull 5 flopped even after taking corporate booking. Akshay Kumar could never give a 250 crore Hindi net in his life. An all time blockbuster in his life. He could not give it. He has given only solo blockbuster in his entire career, apart from this, the biggest record in his career is that 18-20 films flopped continuously after which he had to take Canadian citizenship. The film left by Sunny Deol saved his career and that film was also average. Today if we compare Akshay Kumar then it happens with actors like #ArjunKapoor , Tushar Kapoor, Vivek Oberoi...

Rahul Gupta

50,128 views • 14 days ago

Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)

RadiantFilm

27,723 views • 6 months ago

This is my first and last time commenting on the Oliver Mtukudzi saga. I knew Tuku for decades, from his days at Radio and Tape Promotions in the early 1990s when I was in journalism school. He was a normal human being like all of us, a musical genius, but like all human beings, he had his flaws, nobody doesn’t. We all agree that he gave so much to this country’s well-being, and for that, he deserves our respect. All of us have made mistakes in our private lives that we wish we hadn’t made, nobody is perfect. Every documentary film I ever made had a Tuku soundtrack. He did that for me at no cost. The only documentary film I made without Oliver’s soundtrack was A Violent Response; the soundtrack was laid by his son, Sam. Again, Sam refused to take money from me. They were good people, but like all of us, Tuku had his flaws. I think enough has been said about this great musician’s private and family life. Let us respect him and now move on from his private life. I respectfully hope that his family can resolve their issues privately too and not make a spectacle of it, as it is tarnishing his memory. We all have family issues, but we resolve them away from the public gaze. There is so much that Tuku told me about people in politics, the music industry, and business, but it would be disrespectful to share that. I wish others would feel the same way and let the legend rest in peace. Nothing Tuku did can be undone, we can only learn from such lessons. Let the old man rest, please! His children and wife have a right to talk about their experiences with their father and husband, respectively, but let us help them heal by not fuelling the rift. They are hurting. What they need are voices that help them become a happy family, not voices of polarity. We can be compassionate without inciting them, there is nothing that has been said that he didn’t address in his music. Let us not find joy in sharing this family’s pain and misery. Let us pray for them to heal their painful rift and bridge the gap. I have decided to speak not only because I knew Tuku personally but because I also feel that part of my success as a journalist was because of him. He was in my first-ever documentary film, Pain in my Heart, talking about how HIV and AIDS affected him when his band members were dying, including his brother Robert. That film won the African Journalist of the Year Award in 2007. I took the trophy to Pakare Paye for him to see it, he was super happy for me. Ndapota hangu, chisiyayi Samanyanga vazorore murugare. Below are two performances I recorded of Tuku at his base at Pakare Paye a few months before he died, and of his son Sam Mtukudzi in 2007. Let us enjoy their music and not dwell on gossip that erodes their great work.

Hopewell Chin’ono

84,550 views • 1 year ago