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Mint
08-06-2025
- Entertainment
- Mint
Two films show our present is the future we once feared
If Hindi films often turn to dystopia to grapple with technological dread, then filmmakers Udit Khurana and Aranya Sahay chart a more unsettling course—rooting their narratives in real-life premises. For Khurana, the starting point for Taak lay in 2020 headlines that detailed how Chandigarh's sanitation workers were being forced to wear GPS-enabled tracking watches under the guise of efficiency. Sahay's Humans in the Loop on the other hand, draws from reporting that illuminated the invisible workforce sustaining artificial intelligence: indigenous women employed in data-labelling offices set up by tech companies across rural India. Both films don't imagine the future as much as reveal the overlooked realities of the present where the burdens of surveillance and automation fall most heavily on marginalised lives. Since its premiere at Mumbai MAMI Film Festival last year, Sahay's 72-minute feature debut has had an award-garlanded festival run, most recently winning the Grand Jury Prize at Indian Film Festival of Los Angeles (IFFLA) in May. Set in Jharkhand, Humans in the Loop follows Nehma (Sonal Madhushankar), a tribal woman who returns to her ancestral village after a separation. In order to gain custody of her teenage daughter and infant son, Nehma—a college graduate—takes up a job as a data-labeller at a nearby centre, effectively feeding information into systems that power an American tech company. Alongside other women hunched in front of their computer screens, Nehma spends her time labelling images of crops, weed and pesticides. On some days, she marks parts of the human body—right arm, left knee—so that when the algorithms are eventually shown a hand or a leg, they know what they are looking at. And on others, she is training it to recognise a football foul or differentiate between turmeric and ginger. It's slow, repetitive work, but essential. For all its promise, artificial intelligence can't build itself. Instead, it is realised through countless hours of 'ghost work", a term coined by American anthropologist Mary L. Gray to address the kind of underpaid back-end labour that propels the artificial intelligence revolution. Yet as Nehma delves deeper into the job, she begins to see the limiting worth of her own intelligence. Her American clients don't define her labour as knowledge—even though the job routinely necessitates her judgement and insight. When she refuses to label a caterpillar as a pest, arguing that it only feeds on rotting parts of the plant thus protecting it, her manager receives a complaint about poor data quality. Even when Nehma likens artificial intelligence to a child, saying it will learn the wrong things if fed the wrong input, she is told to stop using her brain. 'If the client says it's a pest, it's a pest," her supervisor snaps. A graduate of Film and Television Institute of India (FTII), Sahay directed short films and assisted Patrick Graham and Imtiaz Ali before helming Humans in the Loop. With the film, Sahay set out to examine how new, cutting-edge tech still echoes old hierarchies, prejudices, and inequalities. As Humans in the Loop suggests, when algorithms are built almost entirely on data sanctioned by the West, marginalised voices and knowledge systems disappear and progress becomes just another name for exclusion. With his directorial debut Taak, Khurana, much like Sahay, turns his gaze toward the politics of technology—how it becomes a tool that weaponises and perpetuates class and gender divisions in society. Like Humans in the Loop, the action in Taak, which also showed last year at MAMI Mumbai Film Festival, is located in the workplace. The 39-minute short revolves around Shalini (a magnetic Jyoti Dogra) and Komal (Ambika Kamal), two former wrestlers now working as bouncers at a testosterone-soaked Delhi nightclub. After a serious security breach one night, the club's management responds with a new rule: all staff members must now wear smartwatches, supposedly for safety—but clearly for control. Held accountable for her team's lapse, Shalini—the older of the two women—is pressured to ensure that no one resists the new rule. She complies immediately, believing the management's pitch that the watches are there to boost efficiency with location-tracking and attendance-clocking. But Komal, younger and more wary, sees it for what it really is: constant surveillance. She's hiding from a violent past and her safety depends on staying unseen. With the watch, which has facial recognition built into it, being found becomes all too easy. Komal's resistance ends up as a sore point between the two. But more crucially, Taak underlines, it also turns Shalini into both a victim of constant monitoring and the oppressor expected to enforce it. In that, Taak reveals a disturbing truth: in today's digital world, the working class is often made complicit in their own subjugation. Khurana, who previously shot Chhatrapal Ninawe's Ghaath (2023) and Sumanth Bhat's Mithya (2024), transforms the nightclub and the cramped bylanes of the Capital into a sharp metaphor for a surveillance state. A sense of danger pervades every exchange, every gesture in the film. By interweaving the plot with CCTV footage, the filmmaker employs sound and image to heighten this sense of entrapment and alienation—creating the feeling of being cornered in plain sight. In a way, most films consumed by the idea of a dystopian future often get caught up in their own dazzling visions. So it's oddly moving to see two independent films—made outside of the constraints that plague the Hindi film industry—resist framing technology's threats as a sudden catastrophe. Instead, they lavish attention on structures and spaces designed to ensure that technology's grip tightens little by little, settling into workplaces, into homes, and into bodies. Few Hindi films respond to our anxieties as they unfold. Taak and Humans in the Loop go one step further and remind us that our present is the future we once feared. 'Humans in the Loop' and 'Taak' screen at the New York Indian Film Festival this month. Poulomi Das is a freelance film and culture writer based in Mumbai.
Indian Express
04-06-2025
- Business
- Indian Express
Jaideep Ahlawat, wife Jyoti Hooda buy Rs 10 crore luxury apartment in Andheri West, pay Rs 60 lakh in stamp duty
Jaideep Ahlawat is no longer just another name in Bollywood's long list of actors and ranks among the industry's finest talents now, having set a benchmark in screen acting with exceptional performances one after another. A complete outsider who broke into show business through sheer hard work, Jaideep is finally receiving due recognition, offering hope to many aspiring actors who dream of entering the world of cinema. After years of struggle, Jaideep and his wife Jyoti Hooda recently purchased a luxurious apartment worth a whopping Rs 10 crore in the posh and upscale area of Andheri West, Mumbai. According to property registration documents reviewed by Square Yards, Jaideep and Jyoti registered the transaction on May 22, 2025. Located in Poorna Apartments, the apartment features a carpet area of 1,950 sq ft and a built-up area of 217.47 sq m. The purchase also includes four car parking spaces, and the couple paid Rs 60 lakh in stamp duty and Rs 30,000 in registration charges. The complex is situated in the heart of Andheri West, just 3 km from the Western Express Highway. Also Read | Archana Puran Singh, Parmeet Sethi travelled by business class, made sons fly economy: 'We made a rule, they had to earn it' Hailing from the Rohtak district in Haryana, Jaideep is an alumnus of the prestigious Film and Television Institute of India (FTII), Pune. Though he began gaining attention early in his career itself in films like Khatta Meetha (2010), Aakrosh (2010), Chittagong (2011) and Rockstar (2011), it was director Anurag Kashyap's epic two-part crime drama Gangs of Wasseypur (2012) that truly brought him into the limelight. His performance as Shahid Khan, despite the limited screen time, earned Jaideep widespread acclaim, and he soon landed a key role in Kamal Haasan's action thriller Vishwaroopam (2013). Since then, Jaideep has delivered many notable performances in films such as Commando: A One Man Army (2013), Gabbar Is Back (2015), Raees (2017), Lust Stories (2018), Vishwaroopam II (2018), Raazi (2018), Ajeeb Daastaans (2021), Three of Us (2022), Jaane Jaan (2023) and Maharaj (2024). He also received global recognition for his performance in the widely acclaimed streaming series Paatal Lok.
Time of India
01-06-2025
- Entertainment
- Time of India
Subhash Ghai opens up about his friendship with Shatrughan Sinha
Filmmaker Subhash Ghai cherishes his 60-year friendship with veteran actor and politician Shatrughan Sinha, stemming from their Film and Television Institute of India (FTII) days and first film, Kalicharan, which released in 1976. Filmmaker Subhash Ghai cherishes his 60-year friendship with veteran actor and politician Shatrughan Sinha, stemming from their Film and Television Institute of India (FTII) days and first film, Kalicharan, which released in 1976. Subhash went on to reflect on a joyful dinner at Shatrughan's home, where his son, Luv, took their picture, highlighting their continued bond despite their differing career paths. Subhash wrote: "It was a happy moment for me last night when LUV SINHA son of our dear poonam sinha n SHATRUGHAN SINHA clicked our picture at my home during dinner with friends (sic). SHATRUGHAN SINHA my old friend since our FTII days - struggling years in show business- n made our first film KALICHARAN N created own space of success-. We became a close family till date Tho his passion led him to politics n my passion to film making n as an educationist. But we meet at all occasions till date since 60 years with our wonderful families (sic). " The filmmaker concluded: "Last night We really enjoyed laughed spoke like old college good friends with promising luv n Kush n our jovial good friends shashi ranjan n rumy jaffery "Shatrughan is gold by heart but iron rod by his mind as always. If I know him (sic)." Talking about "Kalicharan," it is an action thriller film directed by Subhash Ghai, starring Shatrughan Sinha, Reena Roy, Premnath, Ajit, Madan Puri and Danny Denzongpa . The film was the directorial debut of Subhash Ghai and was the breakthrough role for stars Shatrughan Sinha and Reena Roy. It was later remade into the Telugu film Khaidi Kalidasu, the Kannada film Kaalinga, the Tamil film Sangil and the Malayalam film Pathamudayam. Last month, Subhash spoke about introducing Jackie Shroff with Hero, which was released 42 years ago. Ghai penned on his Instagram, "You need to have a courage to produce a FILM with NEW HERO on big scale with creative freedom to make a block buster like HERO which ran for 75 weeks n its music is still haunting. After 43 years." The director added, "Thanks to my team my actors n distributors n financier who supported me to establish MUKTA ARTS in 1982. Post HERO mukta arts groomed many stars who are legends today n produced 42 films under blessed." Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
India.com
01-06-2025
- Entertainment
- India.com
This actor was named by Jaya Bachchan, later became Rekha's hero, came Mumbai with Rs 1500, became famous villain, name is...
This actor was named by Jaya Bachchan, later became Rekha's hero, came Mumbai with Rs 1500, became famous villain, name is... Every year, several aspiring actors try their luck in films, but only few make it to the silver screens. However, those who struggled to sustain in the industry have now become superstars. Today, we will talk about one such actor, who came to Mumbai with just Rs 1500 in his pocket, and dreamt of becoming a Ghazal singer. However, destiny had its own plans, and he became one of Bollywood's most popular villains. He is none other than Danny Denzongpa, who was born as Tshering Phintso Denzongpa in 1948, in Sikkim. It was Amitabh Bachchan's wife Jaya Bachchan who recommended him to change his name to Danny, as his original name was too difficult to pronounce. Danny wanted to join the Indian Army, and enrolled himself in Armed Forces Medical College, Pune. However, later he withdrew his admission and joined the Film and Television Institute of India (FTII). His acting career began when he made debut in BR Ishara's Zaroorat. However, his breakthrough performance came with Gulzar's Mere Apne (1971) , where he portrayed a positive role. In 1973, Danny played the antagonist in film Dhundh, and garnered recognition for his ruthless villainous performance. Following that, from 1984 to the 1990, he played lead antagonist, opposite almost every superstar, including Amitabh Bachchan, Rajesh Khanna, Dharmendra, Jeetendra, Mithun Chakraborty, and others. After completing 20 years of his acting career and working in over 190 films, Danny decided to take a break from acting. He did only 10 films between 2003 and 2009. His last major role was in Sooraj Barjatya's 2022 film, Uunchai, where he shared screen-space with Amitabh Bachchan, Boman Irani and Anupam Kher. Before that, the veteran star starred in Manikarnika , opposite Kangana Ranaut. Danny Denzongpa, who once dominated Bollywood with his intense performances, has now stepped away from the limelight, and prefers to live a quitter life away from the world of glitz and glam.
India Today
21-05-2025
- Entertainment
- India Today
Thank you for not doing it: Shabana Azmi to Aparna Sen for turning down Ankur
Veteran actor Shabana Azmi and actor-filmmaker Aparna Sen came together for a heartfelt session at the Habitat Film Festival, where they reflected on their bond, remembered the late filmmaker Shyam Benegal, and celebrated Shabana's 50-year milestone in cinema. The chat was more like a tete-a-tete between two friends, who fondly referred to each other as Munni (Shabana) and Reena (Aparna), while the audience listened in like friendly conversation, marked by warmth and wit, began with Aparna Sen paying tribute to Shyam Benegal, who died in December last year. "It's a loss, but he's left behind such wonderful films and memories. That is what we have to celebrate today. And along with that, we must celebrate Shabana's 50 years of acting. She is an inspiration to all the actresses who came after her,' Aparna said, before turning to Shabana with a smile, adding, "Really, you are."Shabana, with her trademark wit, quipped, "You never told me that when I was doing four films with you." Aparna responded, "At that time it was difficult." She went on to reveal that before Shabana, Benegal had approached her to play Lakshmi's role, which earned Shabana her first National Award. "Now, let me tell you something. Shyam had asked me to play the role of Lakshmi in 'Ankur'."advertisementShabana playfully interrupted, 'Thank you for not doing it!' Shabana Azmi and Aparna Sen at the 17th Habitat Film Festival. Aparna continued, 'My loss was Shabana's gain. It was Shyam's first film and when he sent me the synopsis, I saw that the role was of a Hyderabadi servant girl who speaks smatterings of Telugu. Immediately, I was terrified. I didn't say that to him though. I just said thank you, but I don't think I'll do it."She added that if Benegal had been probed further, she would've given in: "And, that would have been a disaster because we wouldn't have had Shabana. I was so happy when I saw her in Ankur - and you were just wonderful.'Reflecting on her debut with 'Ankur', Shabana called working with Shyam Benegal a transformative experience: 'It wasn't just working with a director, it was an exercise in knowing myself. I hung on to every word he said."She added that Benegal was warm and had such faith in his actors that they felt confident taking fondly recalled travelling to Berlin with Benegal for the film's screening. 'It was my first time abroad. I just wanted to rush to the malls and shop,' she laughed, adding, 'But Shyam would sit and talk about the taxi driver, the garden, the history of the place. He taught me that there's so much more to experience."She also praised his meticulous nature. "He'd plan our entire festival itinerary, ensuring we watched the right films. He was so invested in learning and sharing knowledge." Shabana Azmi and Anant Nag played pivotal roles in Ankur. Aparna then brought up Shabana's gold medal from the Film and Television Institute of India (FTII), jokingly asking if she brought it to the set for confidence. Shabana responded, 'No, not at all. It was in my being.'Shabana recalled preparing for the role of Lakshmi. She said she had never even stepped into a village before shooting 'Ankur.' 'When I reached Yellareddiguda, the village where we shot, Shyam asked me to just wear my costume and walk around. The tailor came to take my measurements, and I was shocked — a male tailor in a village! That's how I began," she shared that she didn't know how to speak Telugu, but she would speak Dakhini. Shabana said she was familiar with the dialect, having visited Hyderabad often, which helped her essay the Benegal's 'Ankur' won three National Film Awards and was nominated for a Golden Bear at the Berlin International Film Festival in 1974. You May Also Like
