Kaalakaandi had to postpone its release date indefinitely. CBFC denied it the right to release, considering it scandalous and vulgar. But unlike the buzz of a Padmaavat or even Udta Punjab, the film came out terribly unobtrusive. It did not benefit from what could have been a publicity stunt.

It was released in January between a mediocre horror series (1921) and the latest Kashyap creation but just as ignored by the public (Mukkabaaz). But beyond its anonymous release and its failure in theaters, Kaalakaandi also did not convince the critics with very average or sometimes negative ratings.

There were a few exceptions, including Aamir Khan who expressed his love for the film on social networks. And yet we could have great hopes seeing such a talented cast filmed by the screenwriter of the cult Delhi Belly. Especially as this new project also typed in the dark and provocative humor that made the triumph of his previous film.

Rileen (Saif Ali Khan), a man of exemplary lifestyle, learns that he has end-stage stomach cancer on his brother's wedding day. Destroyed by the news, he decides to commit all the excesses they had hitherto forbidden, from alcohol to LSD. A hallucinatory night has just begun.

So is Kaalakaandi vulgar falsely transgressive or underestimated nugget? The character of Saif Ali Khan crosses a calm and dull Mumbai driving his car. The serious look, no music, locked between the doors of his luxury vehicle and the gates of a bridge that seems to hold him prisoner.

The very first seconds of Kaalakaandi is marked by its sobriety and the seriousness. It only needs a few seconds to ask us the psychology of the main character. A man living until then a limited existence, comfortable but without any real pleasure out of a meticulously drawn frame.

And when the news falls, the reaction is sadly laughable. He justifies himself, rationalizes, accuses the space cake that his friends had given him unbeknownst to him being younger. Until he fell into an awkward vulgarity that he did not even fully assume.

He apologizes quickly as if to recall that he still does not believe that staying in the ranks still makes sense. And behind his simple, rather classical look in the execution, Kaalakaandi has just set the scene with force. It already demonstrates an obvious mastery in its director.

It will also be one of the major strengths of the film to say things without seeming. Because if many remember Delhi Belly as a major comedy, the force is to recognize that it had no major message to tell. Yes, there was the talk of the confinement of traditions, of social hypocrisy, and of many subjects returning to Kaalakaandi, but everything remained on the surface.

All was just an excuse to follow on the next punchline, the next laughter of the viewer. Here, that is not the case. Lovers of mainstream humor will be too offended to laugh heartily anyway. Even those who were expecting trashy and bold humor after a trailer that was not subtle may be disappointed.

Because if Kaalakaandi contains a lot of hilarious sequences and is clearly positioned in a current politically incorrect compared to everything from Indian comedy, the film focuses primarily on its story. Humor will come from situations and reactions. It will often slip with subtlety behind a dramatic sequence.

We will laugh embarrassed by the misery of people. There are random and catastrophic reactions that follow one another. The top of this tribute to the two filmmakers will be made in the last minutes of the feature film where quiet poetry rubs absurd violence hazardous.

On the humor side, do not expect the slapstick nor the vulgar ones. Even sequences that could have easily gone into bad taste always seem (with few exceptions) to emerge with the story. The pun is justified but sometimes improbable.

What seemed to be a pretext for humor at the bottom of the belt when the character of Akshay Oberoi receives the fiery call of an ex will become an existential questioning of a man in prey to doubts the night of his wedding. The long sequence of the escape of Saif Ali Khan with a transgender will also avoid the many possible pitfalls.

It turns into a lesson of life and the strange complicity that the two characters discover is one of the highlights of the film. Even one of the first sequences of vulgar and stupid appearance showing Neil Bhoopalam accidentally shooting himself in the testicles while playing cowboy in front of his TV finds his way into the story.

So yes, it's not always an end. Some sequences would have won in subtlety. Kaalakaandi is already very strong in mixing poetry with ugliness. The poetry is seemingly gratuitous and comes out almost inevitably. And then with the detour of some sequences, the film also allows moments of lighter laughter, in particular with the dialogue on Emraan Hashmi, a mixture of absurdity and repetition.

For poetry, it is both obvious and subtle. Sometimes overtly visual, she transpires hallucinatory shots showing us what Saif sees once the LSD takes effect. Certainly, it would be better without the messages imposed by the CBFC that spoil the unity of the plans. The special effects are not extraordinary.

Some scenes remain superb like the water rising in the elevator and the imaginary waterfall near the pool. There are so many shots that mark the eye of the viewer and release an unexpected depth. What is appreciable is the honesty with which Akshat Verma approaches psychotropic visions.

Rather than looking for realism or falling into the ridicule of the man who does not know what he is talking about and who is filming LSD such as he imagines, he immediately takes a dreamlike postulate that borders on the fantastic. It makes us understand that what we see is not so much the fruit of a hallucinogenic drug that the new look that a man at the end of life on what surrounds it.

The prospect of an imminent end leads him to push his limits but gives him this new vision. It is a sort of filter of denial behind which everything is luminous and magical. The subject of Kaalakaandi is not the drug but rather the look. The look at our life, our conscience, our guilt, our past. Emancipate yourself or be a prisoner of your eyes, this is the choice that all characters will have to make.

And poetry is also spawning a place in the unsaid. All the nonverbal communication, the secrets, and wounds that one guesses behind the character of Saif, but also in characters more secondary. The flight ahead of Sobhita Dhulipala also hits hard with appreciable sensitivity.

Of course, Kaalakaandi is not perfect. The film seems to juggle with too many characters and tries to justify them with a rather superficial link. But again this has its advantages since the different stories all provide a reading grid at least interesting. We could locate four main narrative arcs.

Saif and his hallucinated flight will lead to three major interactions. It is with his brother, the transgender and the photographer, Akshay Oberoi. There is his crucial questioning concerning the future of the couple, Sobhita and the stakes of his flight ahead. Finally the duo Vijay Raaz and Deepak Dobriyal who seems to serve only a comic spring. It is not always convincing before justifying their presence as the story advances.

What is also surprising is the gradually serious tone that the film adopts. Despite some flashes here and there the final brilliantly illustrate the comical tragedy that has been played all along. The more we advance and the more the crazy humor is calm. Be careful, not that the film falls into a wise and linear story, far from it! Its madness remains intact but it takes the time to focus on the psychological development of his characters.

kaalakaaandi pictures images

For the actors, nothing to complain about. Saif Ali Khan flies over the film with a delirious performance, hallucinating and touching. Few actors of his rank would have accepted a role of being under LSD during about 80% of the story all with a more than particular look in the second part!

But it proves once again that the experimental cinema is doing very well. Too often underestimated, Saif is one of the major talents of the Hindi industry and proves it again. Akshay Oberoi is convincing. Sobhita Dhulipala captivates with charisma and talent. She confirms that her debut in Raman Raghav 2.0 indeed announced a new great actress unearthed by Kashyap.

Vijay Raaz is an actor for whom I have immense sympathy and he delivers here once again a solid performance with his unique charisma. Deepak Dobriyal is standing up to him. Isha Talwar is a promising photographer, an outsider in Saif's eye-gazing story. Kunaal Roy Kapur confirms that he masters the role of the friendly son-in-law to whom one can only want good.

On the other hand, we will emphasize the talent of Amyra Dastur who only needs a few lines of dialogue to confirm her total lack of ability to play comedy. In the end, Kaalakaandi is a really good surprise. I was hoping for a film with a rather vulgar but friendly black humor. I attended a black comedy that offers real moments of poetry and strong existential reflections.

The experiment is too nerdy for the general public. The comedy is too trashy and irreverent for fans of more legitimate films. The film could only be rejected because it lacks a target audience. And that's exactly what makes it unique and endearing. It does not look like anything and does not try to imitate anything!

Akshat Verma is perhaps only in his first direction but he will undoubtedly gain to be followed very closely. Thanks to its solid story, its careful direction, Kaalakaandi, therefore, joins the list of Indian quirks that make you want to continue to love the cinema of this country. It is one of those uncalibrated products that are bursting with creative freedom. Lovers of genre cinema and original experiences, do not miss this chance!

We have seen him shine in the intimate family drama with Udaan. We have seen him in the romantic tragedy with Lootera. We have also seen him in the anxiety-provoking behind-the-scenes with Trapped. Vikramaditya Motwane is back in a new style. It is with a superhero movie! Bhavesh Joshi Superhero is a project that was born right after Lootera and that should have starred Sidharth Malhotra in the title role.

Inspired freely from an Indian comic book character, the film has long been stalled before being resuscitated by the filmmaker. It is co-produced by Phantom and Eros. On the cast, it is the young Harshvardhan Kapoor who is in the main role, who will hope to revive his early career after the sinking of Mirzya. So what is the film about?

Bhavesh Joshi Superhero

To tell the truth, Motwane wanted to keep the secrecy around his project as long as possible and very little information leaked in the media. The director has now broadcast two posters of the film with a strong visual in comic books style. The aesthetic is luminous and almost cartoonesque, and yet very adult. And to raise a little more buzz, today the producers have just released a first teaser that we find here:

Even if the super-heroic genre has hijacked Hollywood for many years, it has not really caught on in India. Aside from the Krrish franchise, no movie has really attracted a loyal audience. RA.ONE had been much criticized despite a more than respectable box office collection. We hardly remember the industrial tragedies that were Drona, A Flying Jatt and the few mashed series that tried.

It is in this context that Bhavesh Joshi Superhero arrives and one thing seems clear. Vikramaditya Motwane intends to add his touch of auteur cinema to a genre battered by the hollow codes of current blockbusters! Ultra-neat aesthetics, dark and raw atmosphere, the adult universe and the promise of realistic combat. This places Bhavesh Joshi Superhero far from the kitsch and childish good humor of Krrish.

But beyond a style that seems radically more mature than what has been done in India in the genre until now, the film seems to have a more American aspect. Story to finish with the cardboard masks of Krrish and A Flying Jatt we are entitled here to a truly original and technological design.

Not sure that the Indian public is ready to adapt, but Bhavesh Joshi Superhero promises to be an extremely promising project from one of the best filmmakers of the young Indian generation.

In 2012, Karan Johar directed Student Of The Year, a film that was very different in his career. It was the first feature film he directed without having Shahrukh Khan in the main role. The film was also intended to be younger, and lighter. It launched the careers of three beginners like Alia Bhatt, Sidharth Malhotra, and Varun Dhawan.

Although the film by far got the worst critical reception for a direction of Karan Johar, it was a commercial success with the target audience. Six years later, the franchise resumes with a new start, a new story and a completely renewed cast.

Another change to note is Karan Johar will no longer be the director but will this time simply produce the project. He has entrusted the direction to Punit Malhotra, who earlier directed I Hate Luv Stories as well as Gori Tere Pyaar Mein. But what intrigued the media and the public was obviously the cast.

Karan had announced that this time two actresses would accompany the main actor. Tiger Shroff has been confirmed in the cast for several months already. But what about the female cast? To keep a link with the first part, Student Of The Year 2 will also launch new faces on the front of the stage. We can discover two new actresses like Ananya Pandey and Tara Sutaria.

Principal trio officialized for SOTY 2

In line with Karan Johar's taste for nepotism, Ananya Pandey (left of Tiger on the poster) is indeed a "daughter of..." since she is the daughter of actor Chunky Pandey. And apart from the merit of being the daughter of an actor, Ananya has for the moment nothing to prove her ability to be followed on social networks.

For her part, Tara Sutaria is best known as a dancer and singer. She has done several international concerts. As a young actress, she made some quick appearances in several TV series. Tara is the only casting talent that does not come from a famous family and has no connection with the sphere of Dharma Productions.

Of course, as expected, social networks quickly emerged from the nepotism debate with the Tiger and Ananya combo. Despite the bad buzz, this should not prevent the film from silencing critics from the launch of the true marketing campaign - as almost always with Dharma Productions.

After appearing in only one film last year in Badrinath Ki Dulhania, Alia Bhatt is back on the big screen with a less mainstream film. No sequins or colorful dances here, but rather a sober thriller on a background of patriotism. The actress is trying here the role of a young Indian spy married to a Pakistani in the 70s to spy on his family.

Raazi is taken from the novel Calling Sehmat written by Harinder Sikka. The film is directed by Meghna Gulzar, director to whom we owe the excellent thriller Talvar released in 2015. The film is produced by Karan Johar under the Dharma Productions banner. It is a project that illustrates the desire to change direction at Dharma.

Trailer of Raazi Alia

Since the firm so far known primarily for its romantic comedies now brings us thrillers, action blockbusters and superhero movies in the months and years to come. Finally, on the cast, the film also has Vicky Kaushal on its poster. The young talent who has so far been mainly been seen in auteur cinema in Kashyap's productions will try to reach a wider audience this time. Here is the trailer:

It is repeated more and more but the fashion of the moment is patriotism. One of the pioneers of this wave of patriotic thrillers is certainly Neeraj Pandey. Now more and more producers and directors are feeling the good deal and are trying to attract the public. And that's not necessarily for the better. Hollywood has shown us what can become of an industry that drowns its blockbusters of pro-nationalist messages that are pure propaganda.

That's not really what we want to see with the Hindi industry. And it's a shame for Raazi. Raazi seems to have a careful, tense direction, and especially an exceptional performance from Alia Bhatt. The young woman seems to hit hard again with a sensitive, intense and powerful performance in perspective. The story will certainly give rise to situations of high tension and if the suspense is well managed can be a devilishly effective thriller.

But it's on the side of dialogue that this trailer disappoints. Once again we are entitled to whining about the values ​​of the country, and fabulous patriots who risk his life for the motherland. Let's hope that these are only a few lines exposed in a highly touted way to appeal to the general public. Because Raazi is an extremely promising project that we would like to see without receiving a lesson in nationalist morality.

Long announced but postponed, 102 Not Out has indeed been completed and is now preparing for release in theaters. The film was directed by Umesh Shukla (OMG - Oh My God!). It attracted attention for its casting of two superstar superstars: Amitabh Bachchan and Rishi Kapoor. In addition, 102 Not Out is part of an original and exotic postulate. A 102-year-old man wants to send his 75-year-old son to an old age home because he thinks he is too old!

102 Not Out

After having had fun with blind religious fervor, Umesh Shukla is, therefore, playing with age and stereotypes. But is the mere presence of a talented director and a solid cast enough to guarantee an interesting project? The first posters of the film left a doubt, not necessarily wanting to know more. It is therefore high time to get a better idea of the trailer that has just been unveiled by the producers. You can discover it here, subtitled in English:

What about this trailer? If the project did not excite me more than that, my opinion has changed radically! To treat a subject at once improbable and delicate because on the edge of the morbid, Umesh Shukla seems to show a subtle lightness and an effective absurd humor. 102 Not Out brings out the marginal poetry of R.Balki's films.

The comic subtlety with which it evokes family drama can also remind us of Shoojit Sircar's efforts in Piku and Shakun Batra's with Kapoor & Sons. What glowing names and striking comparisons that can only make us want to know more! As expected, Amitabh Bachchan once again devours the screen and all those around him.

Rishi Kapoor is a quality actor, and there is no doubt about it. Here he has a more sober, withdrawn role, which will certainly allow him to give a subtle performance. But the exuberance of Big B flies over the entire trailer until he upsets us during a few excerpts announcing sequences of emotions that are purer.

For balance we can say that if 2018 has started well on the critical level at the box office, we would very much like this 102 Not Out adds to the list of surprise triumphs of the year. See you on May 4th.

Salman Khan is a child of a star, whose father Salim Khan is none other than the co-writer of Sholay, Deewaar, and Zanjeer. Salman Khan has a beautiful youthful ardor, a real sensitivity, an exposed musculature and he is nicknamed the Rambo.

He began his career with a supporting role that went unnoticed in a minor film. But in 1989 a new director, Sooraj Barjatya, gives him the lead role in Maine Pyar Kiya. The movie is a popular success, propelling the director and the actor on the front of the Bollywood scene.

Salman Khan continues with what remains one of his best films with Saajan. Here he shared the screen with Madhuri Dixit and Sanjay Dutt. He specializes in the romantic comedies and becomes the pillar of its revival with Hum Aapke Hain Koun in 1994, directed by Sooraj R. Barjatya with Madhuri Dixit. This film is a huge success that marks in a way the great return of the genre.

Rakesh Roshan made him share the stage in 1995 with Karan Arjun with two other rising stars, Shah Rukh Khan and Kajol. Salman Khan has shot more than 70 films in less than 20 years, sometimes chaining several flops in a row but returning with a strange ease at the top of the box office. He remained the favorite actor of the most demanding directors like Sanjay Leela Bhansali. With him, he stars in Khamoshi: The Musical, Hum Dil De Chuke Sanam, and Saawariya.

When in 2003 one believed him to be finished after three years of legal battles, mediocre films and roles in Hum Tumhare Hain Sanam and Baghban, he surprised the public and critics with dramatic roles in Tere Naam, Garv and Phir Milenge in 2004 before returning to uninhibited comedy and success in No Entry, Partner and romantic movies like Lucky, Jaan-e-Mann, Baabul and Salaam-e-Ishq.

Salman Khan shares with Sanjay Dutt the image of the bad boy of Bollywood. He regularly had to deal with the police and justice. In 1998, he was arrested while filming of Hum Saath Saath Hain for killing blackbuck, a protected species. Then, in September 2002, he was tried for an accident that killed one person and wounded two others while driving.

In 2001, while he was the official boyfriend of Aishwarya Rai, she complained about his violent attitude. He yelled under her windows. Aish's parents filed a complaint in January 2002 with the police because Salman broke the furniture. He then harasses her on the set of Kuch Naa Kaho and then Chalte Chalte, managing at the same time to fight with Shah Rukh Khan. Since 2002, Salman Khan has been juggling convictions, appeals, and releases. He was imprisoned for a few days in February 2006 and then in August 2007 for killing black bucks.

The bad boy seems to have calmed down since 2004. The press regularly talked about his marriage with Katrina Kaif, but the couple separated. And since the grapevine is ripe with Lulia Vantur. Salman Khan regularly sings praises of his female co-stars, including the latest, Sonakshi Sinha for Dabangg. More importantly, the actor began to paint and created in March 2007 a charity called Being Human. It helps children, to which he pays a particular sum of money from sold paintings, for which he regularly organize events and fashion shows. He even created a Being Human watch.

Even if one is not particularly a fan of the actor, it must be recognized that he has a real presence on the screen. There is in him a kind of a little childish energy, that is confusing but endearing, especially put in value in the comedy Pyaar Kiya to Darna Kya, with Kajol, Kyon Ki with Kareena Kapoor, where he played the role of a mental patient or Jaanemann with Preity Zinta. Salman Khan is probably better than what is expected of him.

Since January 2008, Salman Khan has his statue in the wax museum of Madame Tussauds in London. He joined a very closed circle among the Indian stars, where only Amitabh Bachchan, Shah Rukh Khan, and Aishwarya Rai also had their statue.

In recent years, he alternated between commercial successes like Ek Tha Tiger and Kick. And disappointments at the box office with the disastrous Veer and Jai Ho. But his ability to break new records earned him the confidence of producers and directors. In 2015 he even won critics with his performance in Bajrangi Bhaijaan, the success of the year.

This film tells of a magnificent human adventure of a man who helps a little girl to find her family in Pakistan. A few months later, he returned with Prem Ratan Dhan Payo by Sooraj Barjatya, who made him a star in the early 90s with Maine Pyar Kiya. However, the sumptuousness of this production does not carry so much with the public. 2015 nevertheless remains a good year for the actor who was acquitted in the case of the car accident.

In 2016 he won critics with his performance in Sultan. Salman Khan is to this day one of the actors on which the producers bet. His films are successful and time seems to have no hold on him and even if the critics are severe, the public is there.

While many are aware of the 2002 car accident for which Salman Khan was accused of negligent homicide, the actor did not wait until the 2000s to have trouble with Justice. Indeed, his first scandal of great importance dates back to 1998. On the set of Hum Saath Saath Hain, the actor was accused of poaching for hunting and shooting gazelles and an antelope - two protected species. With him, Saif Ali Khan, Sonali Bendre and Tabu were suspected of having participated in the illegal hunting.

And as absurd as it may seem, the trial is still not over, illustrating in passing the excessive slowness of the Indian judicial system. Still, the trial was held today and the stakes were high. Especially since over the years, the versions given by the defense of Salman Khan were only changing. From he was not armed, to he had a rifle that could not kill such animals. The absurd gem of the lot is that they had been killed by dogs.

All the defendants were facing up to six years in prison. And it is first of all the other accused who received their verdict. At 11:45 am Saif Ali Khan, Sonali Bendre and Tabu were acquitted by the Jodhpur court for lack of evidence. And it was shortly before noon that the verdict fell for Salman Khan. He was found guilty, the actor is sentenced to prison by the Court of Jodhpur.

No fewer than 28 witnesses claim to have been alerted by the shots, and many claims to have recognized the actor. The actor's lawyer was able to make a final plea before the conviction fell at 14:13. Salman Khan is sentenced to 5 years in prison by the Jodhpur Court. The actor spent two nights in Jodhpur central prison before getting bail. The actor also paid a fine of 10,000 rupees.

Let's admit that it would be oddly ironic to see the actor convicted of poaching when the death of a human being did not stop his release!

Nothing particularly destined little Kangana Ranaut to become an actress. She was born and raised in the large and rich family home of a village in Himachal Pradesh, in the far north of the country, not far from the Himalayas. Her mother is a teacher and her father is a construction contractor. She has a big sister Rangoli, and a brother of one year younger. After a childhood she describes as simple and happy, she is destined to become a doctor.

She thus carries out her secondary schooling in Chandigarh in the scientific field. She was a brilliant student, but at the age of 16, she suddenly lost interest in studying. She ends up throwing in the towel and will not even show up for exams, much to the despair of her parents. At the same time, relations with her father get tense. She did not support the place reserved for women, she says in interviews years later.

It is highly likely that many other topics have been a source of conflict as Kangana is rebellious. Still, she slams the door in 2004 and leaves for New Delhi without a penny in her pocket. Her parents are reluctant to help her financially in the bohemian years ahead. But at the same time, she refuses their help and intends to live a good life.

She had won some beauty pageants in her younger years. So she tries her luck in modeling. She is hired by the prestigious agency Elite, but contracts are rare. Too small, too big, too curly hair; everything is right not to make it work. She tries to paint, but it's still a failure. And then one day, while walking with a friend in a cultural center, she sees an ad for theater classes. She enrolled and quickly became a star of the troupe. After a few months, the director Arvind Gaur advises him to go to Bombay to try her luck in the cinema.

As soon as she arrives, she takes drama lessons in Andheri while listening to the auditions. It will take Mahesh Bhatt and Anurag Basu to finally consider engaging her in Gangster. Chitrangada Singh was scheduled for the role, but she had just married and had to give it up. This was Kangana's chance. The film released in April 2006 is a commercial and critical success.

The performance of a rare intensity of the beginner, who was only 18 years old at the time of filming, forces admiration. She wins numerous awards including her first Filmfare Award. On the other hand, her relations with her father do not improve, on the contrary. Not content to become an actress, her daughter showed her bare back and exchanged a kiss on the screen.

Kangana Ranaut images Instagram hot sexy

As if that were not enough, she openly displays her relationship with Aditya Pancholi, who is married, moreover. Never mind, even before the release of Gangster, Kangana continues with Woh Lamhe and Life in a Metro. The first presents a fictionalized version of the dramatic relationship between Parveen Babi and Mahesh Bhatt. The second is a modern semi-choral film by Anurag Basu. In both cases, her work as an actress is still hailed by critics.

Her sister Rangoli was 23 in October 2006. She was a student in Dehradun and was getting married. A rejected lover did not endure the news of her marriage and hired a henchman to throw acid on her face. She is severely burned. This crime brings the two sisters closer who will be inseparable from then on. Kangana brings Rangoli to Bombay and gets police protection.

Kangana is covered in prizes and her talent is unanimously recognized, but the phone stops ringing at the end of 2006. She no longer receives movie offers. Then begins for her a difficult period. She goes back to modeling, shows up a lot, gives countless interviews, but nothing works. Her early films have strongly connoted her as a serious film actress, far removed from commercial Bollywood cinema.

It must also be admitted that she put a little of hers by opposing producers in the only light film she made at the time, Shakalaka Boom Boom with Bobby Deol. It is a mediocre work that did not live up to its expectations. She let it know. Finally, in October 2007, she is offered the role of Shonali in Fashion. It is that of a tortured woman who this time embodies the dark side of the world of fashion.

Kangana hesitates when she realizes that she is in a secondary character on the same level as a newcomer. She accepts. Her brilliant performance earns her second Filmfare Award and a first National Award. Relations relax a little with her family but the cinema still sulks. She only gets small roles in movies that will not go down in history. She thus appears in Kites and No Problem in 2010.

In Once Upon a Time in Mumbaai that same year, she shows again the whole extent of her talent. She gets impatient, pokes her nose and inflate the chest, runs the podiums, tries to post sexy photos, floods the covers of magazines. Lost, she is only offered second roles she considers insignificant. She acquires a reputation of a dead diva alive.

Besides Game and Rascals, which are for her like so many stations on her way, luck finally smiles. In 2011, she won the leading role of Tanu in Tanu Weds Manu by Aanand L. Rai. This original romantic comedy based largely on her pretty shoulders is a true commercial success, the first of her young career. Yet the industry is running away from her. In 2012, she participates only subliminally to the pitiful Tezz. It's her only movie that year.

2013 is a little better because she won a small role very noticed in Krrish 3, but she goes astray in Rajjo where she was headlining. Then comes finally Queen of Vikas Bahl. She is there as Rani, rejected by her future husband on the eve of the wedding, and who will make her honeymoon in Europe alone. She wrote a part of the dialogues and improvised some scenes from a movie where we only see her. It is a commercial and critical triumph.

While she had clearly indicated that she would not attend the Filmfare Awards, she was awarded the Best Actress Award. The great Rekha will bring her the statuette at home. As if that were not enough, she also gets her second National Award. She presents herself at the ceremony in a modern dress, while it is traditional to be in the sari. What would have been seen as a provocation a year ago becomes an interesting originality?

She even returns to her parents, but she has not changed. She half-heartedly rejects all the films she took part in between Life in a Metro and Queen. Her next film, Revolver Rani, is a failure. The expectations of the public may have been too great. After Ungli where she is once again an alibi, she returns in a bang with Tanu Weds Manu Returns. This sequel to Aanand L. Rai is simply the biggest commercial success of a film taken by a woman. The audience rushed into the dark rooms to see Kangana the chameleon.

After the moderate success of Rangoon, she was seen in Simran where her character is an immigrant involved in illegal activities. She will now be seen as Rani Laxmibai in Manikarnika as a patriotic and warlike queen during the British Raj. There is also Sanjay Leela Bhansali's upcoming film with Shah Rukh Khan. It is hard to imagine that she will not be rewarded again in future seasons of the awards.

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