THE prosecuting authorities in South Africa have filed applications to the International Criminal Police Organization to assist with the execution of arrest warrants for former president Jacob Zuma's allies, the Guptas.
Wanted for fraud and money laundering, Rajesh and Atul Gupta, their wives and a handful of their business associates face charges in connection with a $1.7 million government contract paid to a Gupta-linked company Nulane Investments, to conduct a feasibility study for a state agricultural project.
The money was allegedly laundered and distributed through a scheme of transactions into and through different bank accounts of the company.
Additionally, the National Prosecuting Authority's (NPA) spokeswoman Sindisiwe Seboka in a statement said investigations revealed that Nulane "had no employees on its books", but had subcontracted the work to another firm, Deloitte.
"The NPA is applying to Interpol to assist with the execution of arrest warrants in respect Atul Gupta and his wife, Chetali, Rajesh Gupta and his wife, Arti," said the Investigating Directorate head, Advocate Hermione Cronje.
Four others were officially charged at the Bloemfontein Magistrates' court later this week.
Prosecutors announced they would proceed separately against the accused currently in the country and those abroad, "as the process of arrest and extradition may unduly delay the trial".
The wealthy Gupta family headed by three brothers -- Ajay, Atul and Rajesh, has been accused of vast corrupt dealings with former president Zuma and receiving favourable government contracts.
The brothers are at the centre of a 2016 graft report by South Africa's anti-corruption watchdog, which claims they paid bribes to influence ministerial appointments and plunder state organs.
They fled South Africa shortly after a judicial commission tasked with investigating allegations of fraud known as "state capture" started in 2018, and their whereabouts are unknown.
From commanding television screens in powerful dramas to headlining box office hits, the acclaimed actor and producer has built a formidable reputation through instinct, charm, and a commitment to relatable storytelling. Along the way, he has picked up numerous awards, loyal audiences across the globe, and even crossed into international territory with his nuanced portrayal of Dr Hasnat Khan – Princess Diana’s real-life love interest – in the globally acclaimed Netflix series The Crown.
Now, Saeed returns to the big screen with this week’s Eid al-Adha release Love Guru. The romantic comedy, opposite Mahira Khan, features him as a matchmaker-turned-marriage-saboteur on a surprisingly unorthodox mission of love. Extensively shot in the UK and laced with a contemporary sensibility, the Nadeem Baig-directed comedy marks a distinct tonal shift for an actor best known for culturally rooted blockbusters.
Calm and composed during his recent London visit to promote the film, the massively popular star sat down with Eastern Eye to reflect on his celebrated journey, the making of Love Guru, reuniting with Mahira Khan, and the secret to his high success rate.
Humayun Saeed and Mahira Khangetty images
How do you reflect on your distinguished three-decade career? (Smiles) That is a tricky question. I do not have a short answer, Asjad. I have been fortunate to work across diverse genres in both film and television, as an actor and producer. I have been part of successful projects I believe in. Now, I feel ready to take on something really big – like an international production that the whole world will watch.
You have a high success rate. How do you choose your projects? I have always gone with my gut whenever possible, and it has served me well. I am instinctive and often have a sense of how an idea will take shape. I am drawn to stories that are emotionally relatable. For example, when I received the script for Mere Paas Tum Ho, I had a strong belief that it would resonate with audiences. It was emotional and grounded – that is essential for a television drama.
As a sought-after star and successful producer, what other key elements do you look for in a project? The story must be backed by strong writing, a talented cast, and a capable director. I consider all those factors. I always begin a project with the aim that it will succeed and connect with viewers. But at the heart of it, there must be a relatable story. Each character should serve a purpose – not just the lead.
Tell us more about that. You often see projects where some characters feel unnecessary – I do not believe in that. In strong dramas, every character, including those in smaller roles, must matter. If the idea is good, the story is relatable, and the cast is strong, the project will work.
Your drama serials are especially known for strong writing. Yes, that is very important. Writing comes first – the performances follow. Mere Paas Tum Ho was a massive success largely because of the powerful dialogues.
What attracted you to your new film Love Guru? Television dramas are usually serious, so I enjoy delivering fun, entertaining films for cinema audiences. I have noticed that the more entertaining a Pakistani film is, the better it performs. Love Guru is a fun, contemporary film.
This film is different from your usual work. Were you encouraged by the trailer’s positive response? Audiences enjoy my culture-specific films like London Nahi Jaunga and Punjab Nahi Jaungi, but this time I deliberately chose a contemporary romantic comedy. The trailer response gave me a lot of confidence. People said the visuals looked fresh and the cast looked great. The music and locations were also well received. It is very different from my earlier films, and I am hopeful audiences will turn out for it.
Love Gurugetty images
Tell us a little about the film. The trailer captures the essence. I play a love guru who helps people find love and get married – until he is tasked with breaking up the forthcoming wedding of the character played by Mahira (Khan). What happens next, you will have to see in the film.
What is Mahira Khan like as a co-star? She is very good and easy to work with. We have been friends and colleagues for a long time, and this is our third project together. That comfort level is there. She knows her craft, works hard, and never throws tantrums – which can happen with some co-stars. Mahira remains focused and professional, and that makes the entire process more enjoyable.
You have formed a dream team with Love Guru director Nadeem Baig, with all your films together doing well. What makes him stand out? He is a gifted storyteller and supported by a great team. We have strong mutual understanding – if I do not like something, he listens, and vice versa. I also share a strong rapport with the writer, so we have a solid creative team. Nadeem does not rely on flashy camera work for the sake of it – he focuses on content, making sure everything shown on screen feels real.
Could you elaborate on that approach? Even when a scene is far-fetched, he presents it in a believable way. In some comedies, things can become mindless – but with Nadeem, it still makes sense. That is his strength – presenting things in a way that feels like they could actually happen, which makes it more relatable.
What was it like shooting this film in the UK? (Laughs) Very expensive. Thankfully, many of our friends in the UK helped us. We had a brilliant production team who worked hard and kept us on schedule. Sometimes we travelled up to three hours for a shoot, but we always managed. The weather was a challenge – it was cold and raining – but it turned out well. We filmed in October and captured the beauty of autumn. The film has some stunning visuals.
How do you view the progress of Pakistani cinema in recent years? It was strong from 2015 to 2019. Then, it slowed down due to Covid. Films like London Nahi Jaunga and The Legend of Maula Jatt showed the potential of Pakistani cinema. If people like a film, they will come to the cinema. Streaming is great, but nothing compares to watching a film with 200–300 people on the big screen. Cinema still has that larger-than-life magic.
What was your experience like working on The Crown? I loved the entire experience. It was a completely different world. I have never seen such professionalism before. It was enriching, both as an actor and a producer. An interesting part was working on two separate episodes, each directed by different people. Season five had five directors, each handling two episodes. Each director focused only on their specific episodes, so it was fascinating to work on one role with two distinct directing styles.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.
The portrait is painted by British artist Clare Leighton (Photo: Bonhams auction house)
AN OIL painting of Mahatma Gandhi created during his 1931 visit to the UK will be sold at auction in London next month.
Painted by British artist Clare Leighton, the portrait is being described by auction house Bonhams as "thought to be the only oil portrait that Gandhi actually sat for", reported the BBC.
Leighton created the work when Gandhi came to London for the second Round Table conference, which aimed to discuss constitutional reforms and India's demands for self-governance.
The painting will go under the hammer in the second week of July at Bonhams auction house.
"This is a painting of unique historic and cultural significance. It would be great if it could be seen and appreciated more widely, whether in India or elsewhere," said Caspar Leighton, the artist's great nephew.
According to Bonhams, Leighton "was one of the very few artists admitted to his office and was given the opportunity to sit with on multiple occasions to sketch and paint his likeness".
Report said that Leighton gained access to Gandhi through her partner Henry Noel Brailsford, a British political journalist who strongly supported India's independence movement.
In November 1931, Leighton displayed her Gandhi portraits at an exhibition at the Albany Galleries in London. Though Gandhi did not attend the opening, several Indian delegation representatives from the Round Table conference were present, including prominent independence leader Sarojini Naidu.
The exhibition featured both the oil portrait now being auctioned and a charcoal sketch of Gandhi sleeping in his office.
British journalist Winifred Holtby wrote about the painting: "The little man squats bare-headed, in his blanket, one finger raised, as it often is to emphasise a point, his mouth parted for a word that is almost a smile".
Gandhi's personal secretary Mahadev Desai later wrote to Leighton, saying: "many of my friends who saw it [the oil portrait] in the Albany Gallery said to me that it was a good likeness".
According to the BBC, the portrait remained in Leighton's collection until her death in 1989 in the US, when it passed to her family.
After the 1931 London exhibition, there is no public record of the oil portrait being displayed again until 1978, when the Boston Public Library organised an exhibition of Leighton's works.
However, the artist's family believes the portrait was shown in the US during the 1970s, where it was allegedly damaged in a knife attack carried out by a right-wing Hindu activist. A label on the painting's backing shows it was restored by the Lyman Allyn Museum Conservation Laboratory in Connecticut in 1974.
Keep ReadingShow less
He have been seen alongside members of the royal family on several occasions
David Beckham is expected to receive a knighthood in King Charles III’s upcoming birthday honours list, according to reports. The former England footballer, now 50, is said to be among those recognised for their contributions to sport and charitable work.
Beckham, who earned 115 caps for England and captained the team for six years, has long been tipped for a knighthood. His name is expected to appear on the honours list set to be released next week, with the title of ‘Sir’ to be conferred. His wife Victoria Beckham, former Spice Girls member and fashion designer, will subsequently be known as Lady Beckham, reports The Sun.
The couple have been seen alongside members of the royal family on several occasions. Most recently, they were photographed with King Charles and Queen Camilla at the Chelsea Flower Show. In February, the Beckhams also attended a formal dinner at Highgrove, the King’s private Gloucestershire residence, to support Anglo-Italian relations.
Beckham is an official ambassador for The King’s Foundation, an organisation focused on education and environmental awareness among young people. His role supports the foundation’s programmes, including efforts to promote youth understanding of nature.
In recent years, Beckham has publicly expressed his appreciation for the natural world. In the Netflix documentary Beckham, he spoke about his beekeeping hobby at the couple’s countryside estate in Great Tew, Oxfordshire.
The former Manchester United and Real Madrid star was previously honoured with an OBE (Order of the British Empire) in 2003 for services to football. He was initially considered for a knighthood in 2011, following his efforts to support London’s successful bid to host the 2012 Olympic Games.
David Beckham is expected to receive a knighthood in King Charles III’s upcoming birthday honours listGetty Images
However, his advancement to knighthood was delayed due to his alleged involvement in a tax avoidance scheme. Beckham was one of 140 public figures named in the 2013 Ingenious scheme, which was investigated and blacklisted by HM Revenue and Customs. Sources at the time claimed Beckham had no knowledge of the financial arrangements. The company later won an appeal against HMRC in 2021, reportedly clearing any remaining obstacles to Beckham’s eligibility for honours.
Outside of football, Beckham has been a dedicated supporter of various charitable causes, particularly those focused on children. He has served as a Unicef special ambassador for over two decades. Earlier this year, he received the Crystal Award from the World Economic Forum in recognition of his advocacy for children’s rights.
During his speech at Davos, Beckham emphasised the importance of gender equality, particularly in education and opportunity. Speaking about his 13-year-old daughter Harper, he called for girls around the world to be given the same prospects as boys. “They need opportunities. They need collective action and they need investment,” he said. He cited poverty, violence and discrimination as key barriers still affecting young girls globally.
In May, Beckham expanded his involvement in football by becoming part of a nine-member consortium taking over League Two side Salford City, alongside his former Manchester United teammate Gary Neville. The group aims to transform the club and eventually secure a place in the Premier League.
“I always dream big so I’m always going to want us to get to the pinnacle of football and be in the Premier League,” Beckham told The Athletic. “But there’s a lot of hard work and a lot of investment to be done up until that point.”
If confirmed, Beckham’s knighthood would be a formal recognition of his lasting influence both on and off the pitch, celebrating a career marked by sporting excellence and long-standing philanthropic commitment.
A NEW play explores the issues faced by this current generation of immigrants and questions the definitions of freedom and liberation, its playwright has said.
Permission, written and co-produced by Hunia Chawla, casts a questioning eye on the trope of ‘the oppressed Muslim woman’ and examines the links between patriarchy, protest, and the global political order.
In an interview with Eastern Eye, Chawla said, “There are not many voices of contemporary immigrants in today’s world. The immigrant stories we hear are from the 1950s and 1970s.
“There is not much discussion taking place, and I believe it is an important discussion to have, given everything that is happening in the world. What is the role of protest? Who gets to decide what freedom is? This tension between the West and the East that we often observe offers a new way of looking at these issues.”
Through the stories of Hanna (played by Anisa Butt) and Minza (Rea Malhotra Mukhtyar), the 70-minute play, which moves between a Heathrow immigration queue and a rooftop in Karachi, explores themes such as friendship, sisterhood, identity politics, and state violence.
“I believe this trope (the oppressed Muslim woman) holds significant importance because it is frequently employed to justify numerous oppressive measures against people from the global south, Muslims, and specific nations,” Chawla, who is in her late 20s pointed out.
“Consider, for instance, the situation in Afghanistan. There exists considerable outcry regarding the Taliban, and quite rightly so, as they are indeed oppressive towards women. However, the response to this oppression is the assertion that “we must save Afghans from the Taliban,” which then leads to sending weapons and dropping bombs on that very country under the guise of liberation. One ends up killing the same people one purports to liberate, and the irony of this situation is not lost on observers
“Similarly, regarding the Israel-Palestine conflict, much of the propaganda centres on the claim that all Palestinians are oppressive towards women and gender minorities, and this assertion is then used to justify genocide. Identity politics has become so divorced from actual political violence that it proves harmful at times – indeed, it is sometimes weaponised in deeply damaging ways.”
Hunia Chawla
According to the writer, who is from Karachi and lives in Yorkshire, the solution to the issue lies “simply in maintaining awareness”.
“It is crucial to recognise that Muslim women are not the only ones facing oppression, patriarchy exists everywhere. It is present here in the UK and across the globe, merely manifesting in different forms. The critical factor is determining who tells the story and who it serves.
“Currently, I observe a narrative structure featuring a saviour and the oppressed, with engagement conducted in a manner that serves the so-called saviour, who are, paradoxically, also the oppressors. This approach proves unhelpful and reinforces a colonial mentality of “we are modern and shall liberate you,” while considerable harm is being inflicted that remains largely unacknowledged,” she added.
In the play, Hanna tries to balance her political beliefs and personal choices by presenting herself as a ‘proper’ Pakistani woman. Her best friend, Minza, doesn’t care about appearing respectable to others. Their close friendship, played out in the busy city of Karachi, faces a major challenge when Hanna relocates to London seeking personal freedom and independence, meanwhile Minza stays behind in Karachi to campaign for political change through protests.
Chawla explained that while the play follows a chronological structure, showing Hanna’s journey from Karachi to London, it incorporates numerous flashbacks to her childhood and teenage years, creating a non-linear narrative.
She expressed her fascination with magical realism, noting that incorporating less naturalistic elements allows for greater character dimension and environmental shifts.
The play explores two distinct approaches to seeking freedom through its protagonists. Originally created as a 20-minute one-woman show and performed to a packed audience at The Space in London, Chawla developed the play into its current form over two years. She collaborated with director Neetu Singh to provide a “new vision” for the play.
She explained that Permission initially told the story of an immigrant girl from Pakistan dealing with the contemporary immigration process.
“The story expanded to explore the broader politics of immigration and questions of liberation and freedom, particularly for south Asian women navigating the immigration process and the complexities of dual identity between Karachi and London,” she said.
“Permission came from the essential question of what liberation means and who gets to define it,” Chawla said.
A still from rehearsal
She noted that Western media often presents reductive narratives, such as in Bend It Like Beckham, where a brown girl from a conservative family becomes “liberated” through western ideas, reinforcing a colonial mindset that positions the west as the standard for modernity and liberation.
The British Pakistani artist highlighted the hypocrisy within this narrative, explaining that while the main character Hanna may feel more secure as a woman in the UK, she encounters censorship when attempting to speak about state violence, Palestine, or western complicity in global conflicts.
“The liberation question becomes complicated – you’re not free to do everything. There’s a condition to that freedom,” she observed.
The Asian actor-writer developed an interest in poetry from a very young age. She studied at the University of Warwick and pursued a career in the financial sector upon completing her studies. She completed the Old Vic Theatre Makers programme and is currently part of the Soho Writers Lab.
Chawla added, “Viewers don’t need to be politically engaged to appreciate the production, as the play’s strength lies in intimate moments and the beautiful portrayal of friendship and sisterhood between its characters. Permission operates on multiple levels, combining serious political themes with genuine entertainment value. It is genuinely funny and engaging.”
She expressed confidence in the production’s broad appeal, noting that previous performances attracted diverse audiences who responded enthusiastically.
Keep ReadingShow less
Scottish Labour leader Anas Sarwar and deputy Jackie Ballie react after Davy Russell, Scottish Labour candidate, won the Hamilton, Larkhall and Stonehouse by-election on June 06, 2025.
LABOUR won a surprise victory in a Scottish parliament by-election on Friday, defeating the Scottish National Party (SNP) in Hamilton, Larkhall and Stonehouse. The result delivered a rare boost to prime minister Keir Starmer and his government, who have seen a decline in support since taking office last July.
The by-election was triggered by the death of SNP lawmaker and government minister Christina McKelvie in March. Labour’s candidate Davy Russell secured 8,559 votes, overturning the SNP’s 2021 majority of 4,582. The SNP, who were favourites to retain the seat, received 7,957 votes, while Reform UK finished third with 7,088 votes.
"People in Scotland have once again voted for change," Starmer said on X. "Next year there is a chance to turbo charge delivery by putting Labour in power on both sides of the border," he added.
The Labour win came after what was described as one of the most bitter election campaigns in Scotland in recent years. Race became a central issue after Reform UK, led by Nigel Farage, repeatedly referred to the ethnicity of Scottish Labour leader Anas Sarwar, who is of Pakistani heritage. Farage visited Scotland on Monday, shortly after a row erupted over an online video from his party that falsely claimed Sarwar would "prioritise" the Pakistani community.
Labour called the video “blatantly racist,” and SNP leader John Swinney urged voters to reject Reform’s “gutter politics”. In response, Farage accused Sarwar of bringing sectarianism into Scottish politics.
Despite securing the seat, Labour’s share of the vote fell slightly compared to 2021, ending at 31.6 per cent. The SNP’s vote share dropped by nearly 17 per cent. Reform UK gained 26.1 per cent, making a significant entry into Scottish politics. The Conservative party finished with just six per cent of the vote.
The betting odds before the by-election had predicted a comfortable SNP victory, with Labour expected to come third behind Reform.
After his win, Russell addressed supporters and said the result had “sent a message to Farage and his mob, the poison of Reform isn't us, it isn't Scotland and we don't want your division here”.