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Alia Bhatt opens up about working with father Mahesh Bhatt in Sadak 2

On the eve of his 70th birthday, Mahesh Bhatt announced his return to direction after a huge gap of two decades. The renowned filmmaker last helmed the Sanjay Dutt, Manisha Koirala and Jackie Shroff starrer Kartoos in 1999. Bhatt is making his comeback to direction with upcoming film Sadak 2, a sequel to his 1991 musical hit Sadak.

The remake stars Sanjay Dutt, Pooja Bhatt, Alia Bhatt and Aditya Roy Kapur in lead roles. While Sanjay and Pooja also headlined the original film, Alia Bhatt and Aditya Roy Kapur are the newest addition to the cast. It is the first time when Alia Bhatt is working with her filmmaker father Mahesh Bhatt.


Speaking about working with her father in Sadak 2, Alia told a publication, “Working with family is amazing. The whole vibe is that of fun and excitement. The character I am playing is both different and difficult. A lot of effort is required. Also, my father is so emotionally charged and high all the time that it is another experience altogether. Initially, I was a little nervous but now I am in the flow, enjoying every bit of the journey and more excited to see this film release. Once the release date nears, I’ll be nervous again.”

Talking about Sadak 2, Mahesh Bhatt had earlier said, “Like the spider gets its thread from his own guts, the narrative of Sadak 2 is pulled out from my lived life. It's a film about living, loving and dealing with the anguish of the loss of a loved one,” he had said.

Presented by Mukesh Bhatt and directed by Mahesh Bhatt, Sadak 2 is a Vishesh Films Production. The much-awaited film is slated to hit the marquee on 25 March, 2020.

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Relies on body horror, sound design and shock value over spectacle

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How Lee Cronin’s 'The Mummy' turns a classic adventure into a domestic horror

Highlights

  • Moves away from the adventure tone of The Mummy (1999) into possession-led horror
  • Shifts the setting from desert tombs to a family home in Albuquerque
  • Focuses on parental fear and a “returned” child rather than treasure hunting
  • Relies on body horror, sound design and shock value over spectacle
  • Critics call it bold and unsettling, but uneven in storytelling

From desert spectacle to domestic dread

For decades, The Mummy has been tied to adventure, romance and spectacle, most famously in The Mummy (1999). That version thrived on sweeping desert landscapes, archaeological intrigue and a sense of escapism.

Lee Cronin takes a sharply different route. His reworking strips away the sense of adventure and relocates the horror into the home. The story still begins in Egypt, anchored by an ancient sarcophagus, but quickly shifts to the United States, where the real tension unfolds inside a family house.

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