HT City Delhi Junction: Catch It Live on 27 June 2025
What: Wild & Peace Catch It Live on Friday, 27 June 2025.(Photo: Anurag Mehra/HT)
Where: Museo Camera, Shri Ganesh Mandir Marg, DLF Phase IV, Sector 28, Gurugram
When: June 28 to July 13
Timing: 11am to 7pm
Entry: Free
Nearest Metro Station: Phase 1 (Rapid Metro) #Staged
What: NSD's Summer Theatre Festival 2025 | Taj Mahal Ka Tender
Where: Abhimanch Auditorium, National School of Drama (NSD), Bahawalpur House, Bhagwandas Road, Mandi House
When: June 27
Timing: 7pm
Entry: www.bookmyshow.com
Nearest Metro Station: Mandi House (Blue & Violet Lines) #Staged
What: Guru Shishya Sanman | Ustad Ghulam Abbas Khan (Ghazal); Guru Sharmila Biswas (Odissi); Guru Sathya Narayana Raju (Bharatanatyam); and Guru Abhimanyu Lal & group (Kathak)
Where: The Stein Auditorium, India Habitat Centre, Lodhi Road
When: June 27
Timing: 7pm
Entry: Free
Nearest Metro Station: JLN Stadium (Violet Line)
#DelhiTalkies
What: Circus Festival
Where: Pandit Deen Dayal Upadhyay Auditorium, Pocket C, Nehru Nagar II, Ghaziabad
When: June 27 to 29
Timing: 1pm, 4pm & 7pm
Entry: www.bookmyshow.com
Nearest Metro Station: Shaheed Sthal (New Bus Adda) (Red Line) #TuneIn
What: Naalayak Live
Where: Zuvaah Terrace Bar and Kitchen, M3M 65th Avenue, Golf Course Extension Road, Sector 65, Gurugram
When: June 27
Timing: 9pm
Entry: www.bookmyshow.com
Nearest Metro Station: IFFCO Chowk (Yellow Line) #LitTalk
What: Have we as adults lost our chance to listen…? – Neha Bansal, Akshay Mathur
Where: Lecture Room II, India International Centre (IIC) Annexe, Lodi Estate
When: June 27
Timing: 6.30pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line) #CineCall
What: Independent Cinema | GAIA (directed by Abhay Kapoor)
Where: ML Bhartia Auditorium, Alliance Française, 72, KK Birla Lane, Lodi Estate
When: June 27
Timing: 6pm to 9pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line) #JustForLaughs
What: Practice ft Manik Mahna
Where: The Laugh Store, CyberHub, DLF Phase II, Sector 24, Gurugram
When: June 27
Timing: 9.30pm
Entry: www.bookmyshow.com
Nearest Metro Station: Cyber City (Rapid Metro) For more, follow HT City Delhi Junction
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The Wire
a day ago
- The Wire
The Quiet Exodus: On Vinod Kapri's 'Pyre'
An old man walks along a craggy mountain path, his back slightly hunched, a small drum in hand. With each tap of the drum he chants, invoking the goddesses. Behind him, an elderly woman follows, wrapped in layers of faded cloth, her steps steady but slow. Mist curls over the stone rooftops of their deserted village as they walk away from it onto a cliff-like rock jutting over the turbulent waters of Kali Taal. This is the opening image of Pyre, Vinod Kapri's stunning film – a world built on silence, ritual and the tender endurance of two people who have refused to leave what the rest of the world is abandoning: the hills of Uttarakhand. From the very first scene, Kapri signals that Pyre will not hurry to tell its story. The pacing of the film is masterful, allowing the viewer to walk among the hills, to experience the mountains in a way that only a director intimate with their rhythms could achieve. I love those hills and have a sense of them more than any other mountain range – not the Aravallis I belong to, nor the Alps I experienced as a child – the Garhwal and Kumaon hills feel familiar like no other, especially as they've been part of my reporting life as well. A still from 'Pyre'. Depictions, by others, of what matters to you – literary or cinematic – often makes you critical. Your natural possessiveness (and sometimes knowledge) push you to notice every real or perceived lapse, every stereotype – something to critique, a way to reclaim what you love from a writer or director. Which is why I'm frankly stunned by how completely this film – and the hills, their people, their life – seem to belong to Kapri. Or perhaps it's the other way around: Kapri belongs to them. He renders their world with such care and fidelity that there's nothing to reclaim, only to recognise. It's not surprising, then, that the film was shot in and around Kapri's father's village, where he grew up. The actors – the lead protagonists who had never faced a camera before – Padam Singh, or Bubu, a retired soldier played by Kapri's uncle and Amma or Tulsi played by Hira Devi, a farmer. Anoop Trivedi, an actor and NSD graduate, worked with these two and in fact, the rest of the cast to produce an authenticity rarely seen. They speak and bicker not as performers, but as people who have lived these lives. This lack of affectation cuts straight to the core of the film's emotional truths. Pyre follows Bubu and Amma, an elderly couple living in quiet isolation, waiting for their son Hariya, who left years ago for the city. Their days pass in everyday routines – tending to the goats, bickering, lighting bidis, fetching wood, trekking down to hospitals, repairing their hut. "He said he would come this year," Amma mutters, more to the wind than to Bubu. Their love plays out in quiet gestures – gentle banter, teasing glances. Each time Amma falls ill, Bubu calls out to a villager, offering a goat in exchange for helping carry her down the mountain paths to a road, the only way to access medical assistance. As the village empties, and their isolation deepens, a question begins to loom – who will be left to help when no one remains? Hariya's return becomes more about holding on to a memory rather than reality. The truths lie in the real-life story of the hills and of people much like Bubu and Amma. Kapri has spoken of how the idea of the film came from a couple he met in Munsyari. The man had a herd of goats – he would give one to anyone willing to help carry his wife down from their home, a steep trek to the main road and on to the hospital. "As long as I have goats my wife will survive," he told Kapri, and that dialogue is verbatim in the film. A still from 'Pyre'. Kapri said it reminded him of Gabriel García Márquez's No One Writes to the Colonel – a very different story, about a colonel waiting in poverty for a pension that never arrives. Despite the distance in geography, language and context, the film and the novel echo each other in spirit: the dignity of agwing, the persistence of hope against all odds, the quiet heroism of enduring. That connection lends the film a universality that reaches beyond its setting. A brief meeting with Hira Devi and Padam Singh reveals how deeply this story is theirs. Hira Devi says she weeps each time she watches the film – it mirrors too closely the grief of those around her. She confessed to fighting with the director, begging for a gentler ending: "At least in cinema, if not in life, I wanted relief." Padam Singh, who has lost his wife and is undergoing cancer treatment, still lives in a village hollowed out by migration. Each thunderstorm eats away not just at homes but at memory, at belonging. One such thunderstorm – a scene of shattering beauty – was captured by cinematographer Manas Bhattacharya. Framed through their blue-painted windows, Bubu and Amma sing old folk songs to pass the night, their voices rising against the sound of wind and rain. By morning, part of the adjacent hut collapses. Without a word, Bubu attempts to repair it. There is no dramatic music, no dialogue – only the quiet act of rebuilding. It is perhaps the most profound expression of love in the film. Kapri's use of sound is as textured and thoughtful as his visual storytelling. The ambient world of the hills – the rustle of wind through pine, the rhythm of goats' hooves, the distant rush of the Kali river – is captured with quiet precision. The music by Oscar-winner Mychael Danna, of Life of Pi fame, and a song penned by Gulzar add to the experience, but it's the use of the folk songs sung by Bubu and Amma that stand out. The music does not draw attention to itself; it deepens the experience. Folk songs – Bubu sings a ballad about the "stars of heaven, moonlit night" – are used sparingly, without exoticising the culture or signalling their "folksiness". Instead, they emerge as part of the world that Bubu and Amma inhabit. A still from 'Pyre'. Kapri has managed to create a love story in the midst of exploring a key issue in Uttarakhand, one that is hard to resolve – the migration away from the hills of its own people. As a Pithoragarhi living and working in Bombay and Delhi, Kapri knows what this entails: A guilt for having left the hills but also an understanding of what endures for people who have stayed behind. The film brought to mind the words of environmentalist and activist Chandi Prasad Bhatt. I last met him in the aftermath of the June 2013 flash floods that devastated the Uttarakhand hills – what is now often referred to as the Kedarnath tragedy. Bhatt, who has spent a lifetime warning against the damage wrought by unchecked development, spoke then of a deeper irony: While development remains the official narrative, the reality is one of steady erosion – the mountains are emptying out, not just by landslides, but by a slow, relentless exodus, compelled by shrinking livelihoods. By situating this predicament, Kapri brings into focus a crisis that few narratives capture, and one that cinema, in its most restrained and empathetic form, is uniquely equipped to reveal. Pyre won the Audience Award at the Tallinn Black Nights Film Festival, along with several other international accolades – for its actors, its director and its deeply affecting story. But awards aside, what this film truly deserves is greater viewing, conversation and love in the country it so intimately belongs to: India. The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
News18
2 days ago
- News18
President Murmu watches Odia movie Shri Jagannath Nka Nabakalebara
New Delhi, Jul 18 (PTI) President Droupadi Murmu watched Odia movie 'Shri Jagannath Nka Nabakalebara' at the Rashtrapati Bhavan Cultural Centre here on Friday, her office said. This devotional and historical film traces the origin of the sacred Nabakalebara ritual of Mahaprabhu Shri Jagannath, it said in a post on X. 'The director, Soubhagyalaxmi Jena, along with the cast and crew of this film, was present at the screening," the post said. The President's office also shared pictures of the event in the post. PTI AKV AKV NSD NSD Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
India.com
2 days ago
- India.com
Meet Anupam Kher's first wife, married a director after him, had 2 failed marriages, now she is.., her name is…
Meet Anupam Kher's first wife, married a director after him, had 2 failed marriages, now she is.., her name is… In the glitzy and glamorous world of Bollywood, many stars come and go. But there is one celebrity whose talent, versatility, and longevity has resonated for years. One such tale is of an actor who has delivered over 500 films in his career. He has worked across Hindi, Tamil, and Telugu industries, and today he is one of the most respected figures in Bollywood. Who is Anupam Kher's First Wife? The person that we are talking about is none other than the legendary Anupam Kher. Anupam Kher is known for his impeccable work as an actor and a director. Besides garnering major fame for his professional life, he has also been in the spotlight for his personal life. Anupam is married to actress and politician Kirron Kher. But before Kirron, Anupam was married to someone else. Her first wife was away from the world of the spotlight. How Did Anupam Kher and Her First Wife Meet? Long before Anupam became an actor, he was in love with his college girlfriend from the National School of Drama (NSD). They both got married soon after their graduation. However, unfortunately, their marriage couldn't sustain itself for long because of the difference in opinions and incompatibility, and the two got divorced. This woman was none other than Madhumalati Kapoor. Madhumalati is also a known name in Bollywood. After her separation from Anupam, Madhumalati focused on building her acting career and later married writer-director Ranjit Kapoor. Unfortunately, her second marriage also ended in divorce. Choosing not to remarry, Madhumalati has been single ever since. Madhumalati Work and More Despite the ups and downs in her personal life, Madhumalati's career was quite successful. Madhumalati is a natural actress. She went on to appear in several notable films, including Gadar: Ek Prem Katha, Sonu Ke Titu Ki Sweety, Ek Ladki Ko Dekha Toh Aisa Laga, and most recently, Brahmastra: Part One – Shiva. Besides being active in industry, Madhumalati is also quite active on social media. She keeps posting about being deeply rooted in spirituality and inner peace. Madhumalati's journey speaks about strength, growth, and resilience.
