Veteran Indian actor Chiranjeevi, who predominantly stars in Telugu-language films in India, was conferred the prestigious Padma Vibhushan Award for his contribution to Indian cinema by the Government of India on the eve of the 75th Republic Day.
Expressing his gratitude for receiving the honour, the actor wrote on X, “After hearing this news, I became speechless.”
And to mark the special honour, two of his devoted fans paid a special tribute to the megastar at Times Square in New York, US.
Kundavarapu Srinivas Naidu and Timmy Cheedala expressed their admiration for the superstar by displaying his photograph at Times Square.
The video of the same has been doing the rounds of social media and has gone viral since then.
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In the video shared by fans, Chiranjeevi’s picture can be seen displayed prominently at Times Square. The actor is seen dressed in a white traditional attire in the picture.
Also displayed on the billboard is the message, “Congratulations Megastar Chiranjeevi Garu for achieving India’s most prestigious and highest civilian award - Padma Vibhushan.”
Jr NTR, Mammootty, Mahesh Babu, and other celebrities also congratulated the superstar on the honour.
Meanwhile, on the work front, Chiranjeevi is gearing up to start filming for director Vasshista Mallidi’s next directorial venture Vishwambhara. Bankrolled by UV Creations, the socio-fantasy film is due in cinemas on Sankranthi 2025.
He was most recently seen in Meher Ramesh’s Bholaa Shankar, a Telugu remake of the successful Tamil-language film Vedalam.
After a last-minute cancelled theatrical release and a court order forcing a limited cinema screening weeks later, the Bollywood comedy Bhool Chuk Maaf is now finally available on streaming platform Amazon Prime.
The film follows a man desperate to marry the love of his life. In order to win over her father, he goes to great lengths to impress him. Everything goes according to plan – until the haldi ceremony, which takes place the day before the wedding. He suddenly finds himself stuck in a time loop, reliving that exact same day over and over again. No one believes him, and tensions begin to mount.
What could have been a wildly entertaining blend of comedy, emotion, introspection, and unexpected twists quickly runs out of steam. Time-loop comedies have worked well in global cinema, largely due to strong writing that brings new dimensions to a familiar concept. Unfortunately, writer-director Karan Sharma is unable to build on the promising premise, and the novelty wears off early. Instead of using the loop to explore characters or drive inventive storytelling, the film falls into a repetitive cycle – in soul, structure and spirit.
A talented cast, led by Rajkummar Rao, tries to breathe life into the film with spirited performances, but they soon devolve into irritating caricatures. Rising star Wamiqa Gabbi is as watchable as ever, but is ultimately underused. Even the music disappoints, with forgettable tracks that lack emotional weight or energy. The only mildly engaging song, Chor Bazari Phir Se, turns out to be a weaker cover version of a past hit.
Like its title, which means ‘forgive my mistakes’, Bhool Chuk Maaf is a cinematic error that is best forgotten. Instead of fulfilling its potential, this time-loop romantic comedy ends up going in circles – without landing anywhere meaningful or entertaining.
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When Yung Sammy arrived in India from Nigeria as a 12-year-old, he would not have expected to redefine hip hop in the country, but that is exactly what has happened.
The son of a Nigerian priest went from being an outsider, who learned to speak Hindi, Punjabi, Haryanvi and Gujarati, to becoming a popular rapper. Having also absorbed the musical language of the streets, the Delhi-based artist, now in his late 20s, is adding new layers to commercial Indian music with a genre-bending sound that blends Nigerian Pidgin, desi dialects and sharp-edged lyricism.
By shaking up expectations and breaking down stereotypes, he is flipping the script on what it means to be an African artist in India. He recently added to his growing catalogue of high-energy hits with the bilingual anthem Mr Rambo, a track that showcases both his confidence and cultural versatility.
Eastern Eye caught up with the proud Indo-Nigerian talent to talk about his unique musical journey, latest release and future hopes.
Music just came naturally. At first, I was just a listener. I guess I was kind of built for it, but I did not know whether I would pursue it with passion. Then one day everything about music – even the language – became interesting to me.
What about Indian music specifically?
I came to India as a kid and grew up here. I learned the language and everything. Then I heard Yo Yo Honey Singh. As I said, I was initially just a listener, but rap really connected with me. I started digging deeper into the genre and thought, ‘okay, this is for me.’ That is when the ride really started.
What drew you to hip hop in particular?
Honestly, I did not know much about hip hop at first. I was just listening to rap. But then I kept exploring and began learning more, including about underground Indian artists. Of course, I also listened to Eminem, Tupac, Jay-Z and others. The more I learned, the more I realised that hip hop is a whole different world. I wanted to be a part of it.
How do you reflect on your rapid rise in music?
By God’s grace, it has been an amazing journey so far. But it has also taken a lot of hard work. With blessings, things have gone well, and there is still so much more to come. Sometimes I just sit and think about all the unreleased music I have and where I am now. It feels like all eyes are on me, and with God’s grace, there is still a long way to go.
What has been your most memorable moment?
There have been so many great moments that I cannot name just one. From appearing on Fire in the Booth (hip hop platform), to signing a record deal, to getting on the radar – it has all been surreal. I have done some epic stage performances and met idols like Karan Aujla, who I really look up to. One day I just woke up and saw Karan Aujla and Honey Singh following me. Those are big achievements for me. When moments like that happen, you know you are on the right path.
How would you describe your unique brand of hip hop?
I feel like my brand of hip hop is just Yung Sammy. I want people to know my name – even if it’s my real name. People said I shouldn’t do that and choose a different name, but I did not want that. I kept it real with Yung Sammy, and it has become a brand now. If you see that name anywhere, you can expect something fresh and unexpected. It is building, and it will go further.
Which of your songs is closest to your heart?
I am connected to all of my songs – even the ones that are not released yet. But yes, The Intro is one of my favourites. I have also been listening to Silence a lot lately. Bounce, from my EP In The Building, is special too. And Mudda, the track I did with Seedhe Maut, is just crazy.
What inspired your most recent song, Mr Rambo?
With Mr Rambo, I wanted to play a character. Something different. So I stepped into the role of a G, having fun and thought, okay, that is Mr Rambo. It became this charismatic, energetic song built around a larger-than-life persona.
What is your master plan moving forward?
Right now, I am sitting on a lot of unreleased tracks. The next one coming out is Top Boyz with BBB. After that, we have a remix of the same track with someone special – I will not name them just yet. Then there is another track with Seedhe Maut, and my EP will follow. I am already working on that. It is going to be something big for the whole hip-hop scene.
Who would you love to collaborate with?
My dream collaborations would be with Karan Aujla and Central Cee. These two are at the top of my list. The day I work with both of them will be the day I can say I have really made it. I admire the way they express themselves and speak real truths.
Tell us something not many people know about you.
There is a lot people do not know. One thing is that I am actually a very simple person, both as a person and an artist. I said it in Intro – I might seem calm and quiet, because I am a bit nonchalant by nature. But when I get on stage, it is different. That is where all my emotions come out. That is who I really am.
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Wilson built bridges between styles that rarely met
Brian Wilson, who died this week aged 82, is best remembered as the sonic architect of the Beach Boys and the laid-back "California sound" that swept the world in the 1960s. But to stop there would be to miss the scale of his ambition. Behind the striped shirts and sun-soaked harmonies was a composer and producer who transformed pop music, often by refusing to stay in one genre.
From symphonic pop to soul and psychedelia, Wilson built bridges between styles that rarely met. Here’s a look at six genres that define his legacy and show how much more there was to the man who gave us Good Vibrations.
1. Surf music – but deeper than it seemed
Wilson may have helped define surf rock, but his early work was far from novelty. Tracks like Surfer Girl and In My Room carried emotional weight and complex arrangements, showing Wilson’s desire to blend catchy hooks with rich harmonies. The Beach Boys' 1963–65 catalogue offered a polished, heartfelt counterpoint to the rawness of garage bands and early rock’n’roll.
2. Baroque pop – Pet Sounds and pop perfection
If one album changed the idea of what pop music could be, it was 1966’s Pet Sounds. Incorporating strings, woodwinds and intricate vocal layering, Wilson created a lush, introspective masterpiece that directly influenced The Beatles’ Sgt. Pepper. God Only Knows is still considered by many, including Paul McCartney, to be one of the greatest songs ever written.
3. Psychedelic experimentation – Smile and beyond
If one album changed the idea of what pop music could be, it was 1966’s Pet SoundsGetty Images
Wilson’s most ambitious project, Smile, was meant to be a “teenage symphony to God”. Though shelved for decades, its fragments (like Heroes and Villains and Surf’s Up) revealed a composer playing with modular recording, avant-garde techniques, and surreal lyrical structures. When Wilson finally completed it in 2004, it was hailed as a lost classic of psychedelic pop.
4. R&B and soul – stripped back and heartfelt
By the late 1960s, the Beach Boys had shed their surfboards. Albums like Wild Honey (1967) reflected Wilson’s love for rhythm and blues, with tracks like Darlin’ showing a rougher, more soulful edge. The stripped-down production was a deliberate pivot away from the excess of Pet Sounds, but still brimming with melody and feeling.
5. Americana – the spiritual core of Smile
Even as he experimented, Wilson remained fascinated by America’s musical past. Smile included references to spirituals, cowboy songs, and folk traditions, blending them into a surreal journey through the country’s cultural memory. Cabin Essence and Wonderful offer glimpses into a deeply introspective version of American identity, filtered through Wilson’s fragile genius.
6. Adult pop balladry – the gentle strength of Love and Mercy
As dementia affected his final years, it’s this kind of understated emotional honesty that enduresRolling stone
In later years, Wilson’s solo work embraced vulnerability. His 1988 single Love and Mercy has become his personal anthem—gentle, aching, and hopeful. As dementia affected his final years, it’s this kind of understated emotional honesty that endures. “There’s a lot of people out there hurting,” he once said. “And it really scares me.”
A final chord
Wilson’s music lives on—not just in sun-drenched nostalgia, but in the emotional complexity he brought to modern music. His impact stretches from the Beatles to Bowie, from punk to dream pop. His life was often marked by personal turmoil, but his compositions soared beyond it.
Brian Wilson didn’t just soundtrack the beach. He gave pop music a soul, a brain, and occasionally, a nervous breakdown. And through it all, he kept writing.
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Weinstein is currently serving a 16-year prison sentence in California
Disgraced Hollywood producer Harvey Weinstein has been found guilty of committing a criminal sexual act against one woman in his New York retrial. The 73-year-old was acquitted of another count of the same charge relating to a second woman.
The jury did not reach a verdict on a third charge of rape involving a third woman. Weinstein had pleaded not guilty to all three charges, maintaining that all sexual encounters were consensual and denying any assault.
Conviction follows overturned 2020 verdict
The retrial followed a decision by a New York appeals court to overturn Weinstein’s 2020 conviction last year. Prosecutors presented three charges during the retrial—two of which were from the original trial, and a third added last year, accusing him of forcing oral sex on a separate woman.
The charges related to incidents in 2013, including the alleged rape of aspiring actress Jessica Mann in a New York hotel room and sexual assaults against two other women.
Courtroom tension as jury deliberates
The partial verdict came after a tense day in court. The jury foreperson asked to speak to the judge privately about an unspecified “situation”. Earlier in the trial, the same juror had raised concerns about pressure within the jury room and discussions straying beyond the scope of the charges.
The 73-year-old was acquitted of another count of the same charge relating to a second womanGetty Images
Weinstein addressed the court directly before any verdict was announced, pleading: “My life is on the line and you know what? It's not fair... It's time to say this trial is over."
This week also saw calls for a mistrial from Weinstein’s legal team after a juror complained another was being treated unfairly. The judge denied the request.
Weinstein is already serving a California sentence
Weinstein is currently serving a 16-year prison sentence in California after being convicted of rape in 2022. He also denied those charges.
The former film producer became a central figure in the #MeToo movement after multiple women came forward with allegations of sexual misconduct nearly eight years ago. Some of these allegations led to criminal convictions on both US coasts.
Weinstein faces further sentencing in relation to the latest New York conviction.
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Ten buzzworthy indie films that could shape the TIFF 2025 conversation
As the Toronto International Film Festival (TIFF) 2025 draws near, a wave of independently made films is already dominating conversations among critics, programmers, and distributors. These are not your typical star-studded blockbusters. In fact, they’re character-driven, stylistically bold, and often politically or emotionally charged stories. Many have already premiered at Cannes or Sundance, while a few are TIFF-bound discoveries. One Indian film, in particular, is catching the attention of international curators with its quiet force.
Here’s a look at 10 indie titles being talked about before the TIFF line-up is even announced.
Kristen Stewart steps behind the camera for her first feature, adapting Lidia Yuknavitch’s emotionally intense memoir. The story centres on a young woman navigating trauma, sexuality, and swimming, all told through a non-linear, stream-of-consciousness narrative. Imogen Poots plays the lead, and the film’s visual style has already drawn comparisons to Derek Cianfrance. It premiered out of competition at Cannes 2025 and is generating serious interest from indie distributors.
Lynne Ramsay’s return after an eight-year hiatus is being hailed as one of the most anticipated auteur-driven works of the year. Jennifer Lawrence stars in this adaptation of Ariana Harwicz’s novel about a woman struggling with postpartum psychosis. The script is by Alice Birch, and early responses from Cannes suggest this is Ramsay at her most unrelenting. A24 and Apple reportedly battled over rights, hinting at serious awards potential.
After Beau Is Afraid, Ari Aster switches tone again with this “modern Western,” featuring Joaquin Phoenix and Pedro Pascal. The film debuted at Sundance 2025 and won the Grand Jury Prize, making it a serious contender for further festival attention. The story follows two estranged brothers forced to reunite in a post-capitalist landscape. It’s moody, slow-burning, and already being called one of Aster’s most emotionally mature works.
Solondz is back with a genre twist. Dangerous Animals takes on his trademark bleak humour with a surreal, body-horror narrative that drew comparisons to Julia Ducournau’s Titane during early Cannes market talks. It follows a child star turned recluse who becomes the subject of a bizarre suburban experiment. Programmers expect this one to land in TIFF’s Midnight Madness section due to its provocative tone and overall risk-taking structure.
Celine Song’s follow-up to Past Lives is a sharp, darkly comic look at art, commerce and class. Starring Dakota Johnson and Pedro Pascal, Materialists premiered at Cannes 2025, where its razor-sharp satire of luxury culture and beauty standards won Best Screenplay. Industry insiders say its strong aesthetic and festival reaction make it a top Vanguard or Discovery pick for TIFF 2025.
A quiet surprise from India, Sabar Bonda is the first Marathi-language feature to screen in Sundance’s World Cinema Dramatic section. Directed by queer filmmaker Rohan Kanawade, it explores the relationship between a young boy and his teacher in a rural village, subtly exploring themes of gender, caste, and queerness. With TIFF’s history of championing regional Indian cinema, especially post-All We Imagine As Light, this is one of the most likely South Asian entries to break through.
Linklater’s latest film is a love letter to French cinema, both stylistically and thematically. Nouvelle Vague is set in 1960s Paris and follows a young American student who becomes entangled in a world of cinephiles, protests, and fleeting romance. It's less a plot-driven film and more an ode to a particular cinematic moment. Industry insiders say it’s tailor-made for TIFF’s cinephile crowd, possibly as part of a Cinema Makers tribute.
Wes Anderson returns with a twist on the heist genre. The Phoenician Scheme features an ensemble cast trapped in a fictional desert state during a crumbling political regime. It was screened privately during Cannes Village and quickly became one of the most talked-about titles among buyers. TIFF might host its North American premiere, offering a major red carpet moment while still fitting its indie tone due to Anderson’s distinct auteur status.
Scarlett Johansson’s first feature as a solo director was selected for Cannes Jury Screening and was met with strong praise. The story follows a reclusive former stage actor navigating grief and late-life reinvention in New York City. It’s intimate and character-focused, with a restrained visual style that allows its performances to shine. TIFF’s interest in debut directors makes this a strong candidate for a Platform slot.
Trier reunites with Renate Reinsve for Sentimental Value, a film that builds on the emotional resonance of The Worst Person in the World. The narrative centres around a family dealing with the return of a long-absent parent, told with Trier’s signature emotional clarity and subtle humour. It received warm reviews at Cannes and could emerge as one of TIFF’s most acclaimed European entries.
Why this matters?
Unlike blockbuster-heavy seasons, TIFF 2025 is shaping up to be a filmmaker’s festival. From deeply personal stories to hybrid genre experiments, this year's buzzed-about indie titles reflect a shift toward narrative risk and regional specificity. And with the inclusion of Sabar Bonda, there’s a clear sign that Indian independent cinema is no longer confined to the margins. It’s earning its seat at the global table.
TIFF 2025 runs from 4–14 September, with the official lineup dropping later this summer. Until then, these are the names to watch.