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Hrithik Roshan vying for Inshallah?

After the runaway success of Super 30 (2019) and War (2019) at the box-office, Hrithik Roshan wants to do something different and big. Though his name has been linked to a number of projects in the past few months, the superstar has not confirmed anything, except his father Rakesh Roshan’s Krrish 4, the next instalment of the home-grown superhero franchise Krrish.

Buzz had it lately that Junior Roshan was onboard to play the male lead in Farah Khan’s next directorial. But if the latest reports are to be believed, the superstar is unsure of committing to the project which is rumoured to be an official remake of the 1982 film Satte Pe Satta. The latest we hear that he is instead eyeing filmmaker Sanjay Leela Bhansali’s shelved project Inshallah which was originally planned with superstar Salman Khan and Alia Bhatt.


“Hrithik is looking at something that will take him ahead of Super 30 and War, and Satte Pe Satta is not that kind of a project. Sure, it has great commercial potential, but it is not what Hrithik wants at this stage of his career.”, a source told a popular publication.

After Salman Khan walked out of Inshallah, Roshan was the first actor whose name was attached to the project as Khan’s replacement. But Sanjay Leela Bhansali went on to shelve the movie and announced Gangubai Kathiawadi as his next directorial with Alia Bhatt, which Roshan was also being considered for.

Hrithik Roshan, meanwhile, is confirmed only for Krrish 4 which is expected to begin production in 2020. “Whenever (Rakesh) Roshan is ready as and when that happens, Hrithik will clear the decks and concentrate on that one project. As Hrithik once said, “I can work with other filmmakers, but Dad works only with me”.”, the source added.

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Uttera Singh’s Pinch will premiere at Tribeca after a teaser drop and Cannes trailer launch

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Indian filmmaker Uttera Singh’s dark comedy 'Pinch' set for world premiere at Tribeca Festival

Indian filmmaker and actor Uttera Singh is set to make her feature film debut at New York’s Tribeca Festival on 6 June with Pinch, a dark comedy tackling the issue of assault through an unexpected lens. The film has earned a spot in the prestigious International Narrative Competition, selected from over 14,000 global submissions, with just 150 entries making the final cut. Pinch is the only Indian feature competing this year and the first in three years to make it into Tribeca’s main competition line-up.


Set in Indore, rooted in reality

The 83-minute film, shot entirely in Indore over 24 days, follows travel blogger Maitri (played by Singh) and her conservative mother Shobha (played by Geeta Agrawal) as they confront the aftershocks of a local incident that many in their community would rather pretend never happened. Singh describes the film as an exploration of how silence and denial can become part of everyday life. “People call it a ‘small thing,’ but it’s not. Pinch is about those small things that leave a permanent scar,” she explains.

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Locals from Indore played an active role in the shoot, offering their time, spaces, and moral support. Singh, who grew up in the city, says the community stood by her throughout. “Even under the scorching sun, they’d remind me, ‘You just focus on the film, we’re with you.’


A powerhouse cross-continental team

Singh is an alumna of USC’s School of Cinematic Arts, where she now teaches. She’s previously made waves with her short film Fanny Pack, which screened at over 80 film festivals and won 25 awards. With Pinch, she reunites with several creative collaborators. It is co-written and shot by Adam Linzey, with original music by Raashi Kulkarni. The sound design is by Jan Bezouška, and colour grading is done by Natasha Leonnet. Production design is helmed by Madhusudan N., and the editing team features Faroukh Virani, Louise Innes, and Vanessa Ruane.

Uttera's Pinch will premiere at Tribeca


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The film opens with style. A gritty voiceover by Haasan sets the tone, followed by a black-and-white flashback in Old Delhi that is visually stunning and thematically rich. Ravi K Chandran’s cinematography and A. Sreekar Prasad’s editing stand out, creating a slick first act filled with betrayal, tension, and dramatic flair.

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