Peddi Movie Trailer Launch Live Updates: Ram Charan’s rugged avatar and action-packed sports drama Peddi finally gets its highly anticipated trailer release on May 18.
Ram Charan, Peddi Movie Trailer Launch Live Updates: With massive hype surrounding the film, Ram Charan’s fans were eagerly waiting to witness the trailer.Peddi Movie Trailer Launch Live Updates: Ram Charan’s rugged avatar and action-packed sports drama Peddi finally gets its highly anticipated trailer release on May 18. The makers of Peddi are set to unveil the much-awaited trailer of the sports action drama at a grand launch event held at Mumbai at Jio World Drive. Fans of Ram Charan had been eagerly waiting for a major update on the film, given the film’s multiple delays and change in release dates. After two delays in release date, the film finally chose June 4 as the release date shortly after Yash’s Toxic bowed out from a June release.Story continues below this ad The Hindi trailer of Peddi will be released after 3 PM and made available in high definition on T-Series’ official YouTube channel. Ahead of the launch, the makers had shared Ram Charan’s intense and rugged poster on social media with the caption, “#PEDDI will stay in your hearts. TRAILER From 18th May #PEDDI WORLDWIDE RELEASE IN CINEMAS ON JUNE 4th, with PREMIERES on JUNE 3rd.” Directed by Buchi Babu Sana, Peddi is set in rural Andhra Pradesh during the 1980s and follows the journey of a spirited villager who unites his community through sports to protect their pride against a powerful rival. The film is being described as an action-packed sports drama with strong emotional themes. Apart from Ram Charan in the lead role, the film also stars Janhvi Kapoor, Shiva Rajkumar, Divyendu Sharma and Jagapathi Babu in pivotal roles. Peddi marks Ram Charan’s 16th feature film and is produced by Venkata Satish Kilaru under Vriddhi Cinemas in association with Mythri Movie Makers. Following the trailer launch, the makers are also preparing for a massive music event in Bhopal on May 23, where Oscar-winning composer A. R. Rahman is expected to perform live. Peddi is scheduled for a worldwide theatrical release on June 4, 2026, with premieres set to begin on June 3. Live Blog
All Of A Sudden movie review: Hamaguchi knows exactly how much to show, and what to hold back.To say that Ryusuke Hamaguchi’s ‘All Of A Sudden’ (Cannes competition) is a long film – it weighs in at a solid 3.15 hours – is stating the obvious. The Japanese auteur doesn’t do sudden – the title is a nice little touch of unintentional irony; a leisurely unfolding of events is much more his thing. In fact, he doesn’t do events either; capturing moments like no one’s looking is more like it. Here, his deeply observant style suits the central thrust of the film, which is mainly set in a home for the elderly, where the big themes accompanying end-of-life scenarios are a natural outcome.Marie-Lou (Virginie Efira) is an empathetic doctor who runs this Paris establishment, less as a hospice than a home, for those individuals who have diminished use of their faculties or have fallen in the grip of dementia. She’s just been promoted as director and is pushing for an attitude which is more people-centric rather than patient-centric, which would add more dignity and agency in dealing with patients. It is not something mainstream cinema handles well, which tends towards saccharine and wailing violins. And here, while an outcome of a workshop run by theatre director Mari (Tao Okamoto), which encourages both the caregivers and the elderly group into a too-quick acceptance of what would be considered an airy-fairy approach towards touch-and-healing, it doesn’t take away from the focus that the film lays on its conviction that everyone has the right to lead a full life, which then leads to a happy death, if such a thing were possible. The fact that Marie is herself a terminal cancer patient – she’s at the fourth stage, and has tried everything she could, but now is readying for an all-too-sudden decline – lends the deepening connection between the two women a pathos which is instantly moving. A night of getting to know each other through conversation – those who have had the fortune to experience this know just how magical it can be – becomes a shimmery, incandescent set, with the lights glinting on the Seine, and falling on their faces, as they get more and more immersed in each other. It isn’t as if the establishment and its long-time employees get swept up by the idealism that holds Marie-Lou in its sway. Senior nurse Sophie (Marie Bunel) is adamant that these new-fangled ideals will lead them nowhere: what if, in their zeal to ‘allow’ patients to walk at will, leads to falls? Who will be responsible? She does thaw in the end, but there’s nothing sudden, there, that word again, about her looking at a different approach as a possibility.Story continues below this ad All this intense, unvarying focus on impending deaths and dying could turn dreary in the hands of a lesser director. But Hamaguchi knows exactly how much to show, and what to hold back – even if a long sequence in which Mari uses a whiteboard to give a lesson on the evils of capitalism to a bemused Marie-Lou makes you want to tell them both to hurry it up. The early introduction of a Japanese actor and his autistic grandson (beautifully played by Kodal Kurosaki) gives the film yet another chance to tell us how the profoundly disabled can show us the way, without it becoming a ‘teachable’ moment. The film’s brief detour from Paris to a rural Japanese outpost where Mari has come for a final perch is moving without being cloying, and back in Paris, the women find themselves closer than before. That there are no sexual overtones in their relationship is clear: finally, what stays with us is the emotion that wells up when the two women are in the frame, their affection for each other lighting up the screen: both Efira and Okamoto are absolutely
Updated: May 15, 2026 12:59 PM IST Kartavya movie review: The film stars Saif Ali Khan in the lead role.Kartavya movie review: Small town upright cop up against the all-powerful mobster. That could also be read as monster. Because the bad guy in Kartavya is yet another variant of the dhongi baba from Ashram, and several others that I’m finding hard to remember now because there have been so many of varied stripes but who broadly adhere to the ground rule: the more beatific you look, the more depraved you are. It says something about the utterly generic Kartavya, a crime thriller set in Haryana, that the good guy, played by Saif Ali Khan is surrounded by a bunch of bad guys — a senior cop (Manish Chaduhuri) who keeps blocking Pawan’s (Saif Ali Khan) path, and a junior cop (Sanjay Mishra) who is a constant companion, basically playing the BFF trope, and not one of them has been given a characteristic that we haven’t seen before. The streaming rule 101 — Let There Be A Body Within A Few Minutes Of The Opening — is faithfully ticked off. The victim is a faceless woman, later identified as a journalist, taking refuge in this town, for no good reason that we are given. Said town seems to have only two power centres, the first being a too-clean cop station, and the other, the baba’s (Saurabh Dwivedi) abode; the third, of no fixed location, is a horde of misogynist dudes roaming around, picking off rebellious young lovers who challenge caste diktats. Kartavya movie trailer: Pawan’s domestic arrangements are sketched in some detail. His father (Zakir Hussain) who bristles at the thought of any of his own being connected with any wrongdoing. When a ladki ka bhai shows up at their doorstep, accusing Pawan’s younger brother of running away with his sister, the father reacts with the customary concoction of disbelief and anger. So there’s your khap panchayat, and village elders reciting the ‘pratha’ of ‘honour’ killing, something that streaming shows have been on a spree with recently: just a couple of weeks ago, we had the same element in ‘Glory’, also set in Jatland. And then there’s the sinister baba with his legions of ‘bhakts’, with his own gun-toting cohort, who is whispered to be behind the disappearance of underage kids after doing ‘galat kaam’ with them. Dwivedi seems to be having fun, but how many more such babas will we have to suffer in the guise of these flicks that you forget even as you watch them? Saif, who’s done a cop after a sizeable interval (the previous one was in Sacred Games), tries gamely to pull off a Haryanvi accent and a man-with-a-spine who will only take so much and no more, but there’s only that much he can do. This Khan has been struggling with the paucity of meaty roles written for actors like him, and this had the contours for it, but it clearly needs effort. Rasika Dugal, who can make reading the back of an envelope exciting, is wasted here, in her supportive wife role, even though she has a great line about the lines on her husband’s face deepening, referring to Khan’s distinctive grooves on the forehead. The only actor who leaves a mark is the fresh-faced Yudhvir Ahlawat, who plays a young boy under tremendous pressure with conviction: when he bursts into helpless tears, it breaks your heart. The cop jeep with the menacing blue-and-red lights flashing on its roof has more character than any human in the film. What does that say about a cast with such heavyweights done in with lazy, formulaic writing? The answer is depressing.Story continues below this ad Kartavya cast: Saif Ali Khan, Sanjay Mishra, Manish Chaudhari, Rasika Dugal, Saurabh Dwivedi, Yudhvir Ahlawat Kartavya director: Pulkit Kartavya rating: 1.5 stars
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