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From Assam roots to the silver screen: Adil Hussain s artistic journey

Michael Gomes/Dubai Filed on February 25, 2021 Adil Hussain was quarantined at a hotel in Delhi before he could go home, as he’s been out of the Indian capital for a shooting schedule in Birmingham and has since returned to his adopted hometown. “I’m just trying to fix this,” says the 57-year-old actor, as he adjusts his mobile phone for our online interview from his Delhi home. “I don’t have my laptop with me, a reason why I’m talking to you on my mobile,” he says. “This is the same phone I’d used to record my audition for

Those seeking salvation want Mukti Bhawan to reopen

Those seeking salvation want Mukti Bhawan to reopen By IANS|   Published: 29th January 2021 1:22 pm IST By Amita Verma Varanasi (Uttar Pradesh), Jan 29 : Sumitra (name changed) is waiting for ‘Mukti Bhawan’ to reopen so that she can go to Varanasi and spend her last days in peace. At 83, she is living with her sons and their families in Lucknow but has lost the will to live on. She is completely dependent on others for her own chores and needs help to move around. “I know I am a burden on my sons’ families. My husband died last year and I also want to leave this world. I am a heart patient and a diabetic. My friends in Varanasi have told me about Mukti Bhawan, also known as Moksh Bhawan, and I am desperate to go there,” she says.

Geetanjali Kulkarni discusses Gullak, invisibility of mothers, and why this season was cathartic for her

Geetanjali Kulkarni discusses Gullak, invisibility of mothers, and why this season was cathartic for her My character was loud and grumbly, because if she wasn’t ‘nobody would hear her’, says Geetanjali Kulkarni. Manik Sharma January 26, 2021 08:00:16 IST In the final moments of Gullak’s second episode titled ‘ Cheeni Kam, Paani Zyaada,’ the mother of the Mishra household, for a change, grabs a locus of identity that is internal. Teary-eyed, she tells the three men of the house, just what it takes to support the banality of their everyday lives. “ Mard bas din mein khana banaenge,” she stutters, pointing to the performative aspect of men taking over household chores for the sake of social applause. That in the vacuum of night, in the absence of a witnessing world, they recede to playing their entitled selves. TVF’s

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