Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Musician Adnan Sami recently spoke about a personal loss that was made even more painful by political red tape. In a televised interview, he shared that when his mother, Naureen Sami Khan, passed away in October 2024, he was not allowed to travel to Pakistan to attend her funeral. Despite getting a green signal from the Indian authorities, Pakistan refused him a visa.
Sami said the news of his mother’s sudden death came as a shock to the family. She had no health issues. He immediately contacted both governments with the hope of being there for her final rites. “The Indian government understood the situation,” he recalled. “They told me, ‘Of course, you should go.’” But Pakistan denied his request. His plea, he said, was simple and personal. He just wanted to see his mother one last time. That never happened.
Instead, he had to sit in another country and watch her funeral unfold over a WhatsApp video. “I couldn’t believe this is how I’d say goodbye to her,” Sami said, visibly emotional.
Adnan Sami was born in London in 1971. His father, Arshad Sami Khan, was a decorated officer in the Pakistan Air Force and also served as a diplomat. His mother was Indian by birth. Though he spent much of his early life in Pakistan and the UK, Sami moved to India and officially became an Indian citizen in 2016.
There has long been speculation about his reasons for giving up Pakistani citizenship. Responding to this, Sami said money was never the reason. He came from a privileged background and left behind property worth crores. What he sought was creative freedom and a space to grow. “An artist needs an audience that supports growth,” he said. “India gave me that.”
Despite having deep ties with Pakistan, his son lives there, Sami says he never felt he could fully be himself in that environment. His decision to live in India was not political, he insists, but personal. And yet, politics managed to interfere in the most private moment of his life, his mother’s farewell.
This episode, according to Sami, was not just a personal heartbreak. It showed how borders can sometimes block even basic human grief.
Amar Kanwar is getting a huge London show in 2026.
Will host a site-specific, immersive installation.
Feature both new and existing films, transforming the entire building.
A new catalogue will feature unpublished writings and a long interview.
Indian filmmaker and artist Amar Kanwar, a quiet but monumental figure in contemporary art, is getting a major retrospective at Serpentine North. Slated for September 2026 to January 2027, this Serpentine Gallery retrospective won’t be a standard exhibition. It’s being conceived as a complete, site-specific art installation that will turn the gallery into what organisers call a “meditative visual and sonic environment.”
Amar Kanwar’s immersive films and installations will fill Serpentine North next year Instagram/paolamanfredistudio
What can visitors expect from this retrospective?
Don’t walk in expecting to just sit and watch a screen. Kanwar’s work has never been that simple. The plan is to use the entire architecture of Serpentine North, weaving his films into the very fabric of the space.Yeah, the Serpentine's been tracking his work for years. He was in that 'Indian Highway ' show back in 2008. Turns out that was just the start.
What it is about his work that gets under your skin?
He looks at the hard stuff. Violence. Justice. What we’re doing to the land. But he does it with a poet’s eye. That’s his thing. And it’s put him on the map. You see his work at big-league museums like the Tate, the Met. He’s a fixture at major shows like Documenta. You don't get invited back that many times by chance. His work just has that weight. His art isn’t easy viewing; it asks for your patience and focus. The upcoming Serpentine show is being built specifically to pull you into that slow, deep way of looking.
Alongside the films, the Serpentine will publish a significant catalogue. It’s not just a collection of images. It will feature a trove of Kanwar’s previously unpublished writings, giving a deeper look into his process. The book will also contain an extensive interview between the artist and the Serpentine’s artistic director, Hans Ulrich Obrist.
The gallery is betting big on an artist who works quietly, but whose impact resonates for years. As one staffer put it, they’re preparing for an installation that changes how you see, and hear, everything.
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