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Powerful October 7 Drama 12 HOURS IN OCTOBER Announces Digital Release Beginning January 6th, Following Theatrical Run

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Filmmaker and director Danny A. Abeckaser announces the digital release of his new feature film 12 HOURS IN OCTOBER on January 6, 2026, following its theatrical opening on December 14, 2025 that aligned with the recent anniversary of the October 7 Nova Music Festival attack in Israel. A visceral, character-driven drama, the film chronicles the first twelve hours of that day, offering audiences an urgent and deeply human perspective on the events that shocked the world.

Following its theatrical run, 12 HOURS IN OCTOBER will be available beginning January 6, 2026 on major digital and on-demand platforms including Amazon Prime, iTunes, ApplePlay, VOD, Pay-Per-View and additional outlets. Conceived as both a gripping narrative and an educational tool, the film is intended to reach a broad, global audience and spark conversation, remembrance and understanding.

12 HOURS IN OCTOBER is a narrative feature inspired by the events of October 7, 2023, focusing on four intertwined perspectives over the first twelve hours of the Nova Music Festival attacks. Combining meticulous recreation with powerful performances, the film aims to serve as a cinematic record, an educational resource, and a tribute to those whose lives were forever changed.

Although inspired by real events, the film uses minimal real footage – only about four seconds in the trailer and approximately three minutes in the feature – with the remainder comprised of original, scripted, shot and fully recreated material produced and directed by Abeckaser. This approach allows the filmmaking team to portray the day with chilling realism while protecting those directly affected and shaping a cohesive, cinematic experience.

Written by Kosta Kondilopoulos, 12 HOURS IN OCTOBER is inspired by the events of October 7, 2023, and depicts separate, intersecting points of view as different characters face the terror and chaos of the first twelve hours of that fateful day.

At a desert music festival, Talia and Barak, a young couple in love, celebrate their engagement with friends. Nearby, Gabi and his wife Maya make peace after a night of discovering they will be having a baby, just as Ariel, a mother of two, quietly enjoys her morning coffee while her children sleep. At the same time, two Palestinian brothers, Nabil and Malik, prepare for an operation that will soon tear these lives apart.

When rockets cut through the sky and sirens begin to wail, each character is thrust onto a new path, and most will not return.

TRAILER: https://www.youtube.com/watch?v=b-s9KfiEC7w

 

 

The logline captures the film’s core: Inspired by the actual events of October 7, 2023 during the Nova Festival attacks, the film depicts the separate points of view of different characters as they face the terror and chaos of the first twelve hours that transpired on that fateful day.

“Once I decided to make this film, I understood I had to shoot it on location where it happened. I knew I was making the most important film of my life and wanted to make sure it was real and accurate to what happened in the first 12 hours. The film was not easy to make since a lot of the actors and extras were actually there when it happened. We only used a few minutes of actual footage, everything was recreated. I knew it would evoke a lot of feelings and even PTSD for some, but I also know how important it is to tell this story properly. I received incredible support when I first put the film concept toget

The HOUSEMAID Comes Tomorrow Get Ready!

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by Quendrith Johnson, Los Angeles Correspondent

Mamma Mia's Amanda Seyfreid is back, in sinister mode this time, with Sydney Sweeney in THE HOUSEMAID, opening wide Friday, Dec. 19. Based on the best-selling novel by literal brain doctor Freida McFadden, Amanda’s Nina Winchester is about to twist Sydney’s Millie Calloway into an emotional pretzel in this giddy-making thriller from director Paul Feig.

In case you forgot about CHLOE (2009) where Amanda Seyfried terrorizes a Julianne Moore and Liam Neeson in that movie, Seyfried’s dark side casts a wide umbra in this naughty tale of Housewife vs Housemaid. Housewife Nina (Seyfreid) piles on our poor little (sexy as hell) Housemaid hire.

But we’re not going to give away the plot from this book adaptation by Rebecca Sonnenshine. No just the Monday shots, photos from the Los Angeles premiere.

 

Sydney Sweeney, Amanda Seyfreid, Paul Feig, Brandon Sklenar - TCL Chinese Theatre, Hollywood, Calif. Dec. 15, 2025

And no, we don’t care what anyone says about Sydney Sweeney, why? 

Brandon Sklenar, Sydney Sweeney, Amanda Seyfreid - TCL Chinese Theatre, Hollywood, Calif. Dec. 15, 2025

Because she can act, plus she doesn’t need your approval… just saying. 

Once again... that dress! Sydney Sweeney wows fans at TCL Chinese Theatre in Hollwyood, Calif.- Dec. 15, 2025

Enjoy, and don’t forget to catch the cat-and-mouse chills Friday, with this Lionsgate humdinger where Brandon Sklenar, Michele Morrone and yes, Elizabeth Perkins, round out the cast.

Visit The Housemaid movie now for tickets and more info.

[Editor's note: Director Paul Feig has dedicated this movie to the late Rob Reiner as a tribute.]

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Modern rooms, ancient wonders - Novotel Cairo 6th of October and the Grand Egyptian Museum

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The recently painted walls at Novotel 6th of October still show some fresh renovation work. This hotel has just finished renovations,  though you might notice some final touch-ups happening around the property.
 
Location matters mostly here, especially with the Grand Egyptian Museum 25 min away which just opened it's doors for the public on November 4!
 
This is the most significant cultural event in decades - the world's largest archaeological museum is finally welcoming visitors after at least 2 years of anticipation. The museum and the pyramids are located close enough for morning visits before crowds arrive. 
Room improvements showcase modern interior design that meets all traveler needs. 
 
 
Contemporary furnishing combines comfort with functionality, creating spaces for both: relaxation and work. Air conditioning maintains comfortable temperatures even during Cairo's warmest months. Bathrooms include rainfall showers with reliable water pressure.
 
The heated outdoor pool surrounded by palm trees stays warm during winter months when Cairo evenings get chilly. The "Cote Jardin" restaurant serves international cuisine with local Egyptian touches. The Egyptian chef brings authentic regional flavors to familiar dishes. Fresh produce arrives regularly from local farms near Cairo supporting the community while keeping ingredients seasonal.
 
The Green Key certificate demonstrates a real environmental commitment of GM Osama Massoud and his staff. The hotel operates with a zero plastic use throughout the property, from guest amenities to food service operations. This hotel stands out in Egypt and is the right address for environmentally conscious travelers.
 
 
Within a 10 min walk or 3 min drive you reach the Mall of Arabia, the Mall of Egypt needs just slightly longer to be reached. Both malls offer international shopping and dining experiences, the Mall of Egypt even Africa's first indoor ski facility.
 
Novotel Cairo 6th of October is proud to hold the prestigious Green Key certification, a globally recognized eco-label for sustainable hospitality. Novotel is a highclass hotel and belongs to the French Accor Groupe. 
 
This certification highlights Accor's commitment to environmental management, waste reduction, and sustainability education, verified through rigorous audits. Besides investing in smart lighting and motion sensors the hotel is dedicated to create for travellers from all over the world a coxy ambience away from hectic Cairo but within a 25 minutes drive away from the Pyramids and the GEM-Grand Egyptian Museum, which just opened on November 1 and for the public on November 4 with an incredible ceremony highlighting the ancient Egyptian heritage. 
 
 
Your home away from home, this is the feeling of the traveller staying for business or leisure at the Novotel Cairo 6th of October and this is also the commitment of General Manager Osama Massoud. In our interview (published on the youTube chanel of filmfestivals.com we are exploring the differant parts of the hotel: the modern lobby and the restaurant area w

Boyz N The Hood depicts the violent education of a forgotten generation of black youth by © film critic Lalit Rao (FIPRESCI)

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American film “Boyz N The Hood’’ (1991) depicts the violent education of a forgotten generation of black youth’’ by © film critic Lalit Rao (FIPRESCI) 
 
 
When Boyz N the Hood was released in 1991, it announced the arrival of a new and authentic voice in American cinema. John Singleton, then only 23 years old, became the youngest person and the first African-American ever nominated for the Academy Award for Best Director. His debut film was not merely a narrative about Black life in Los Angeles—it was a sociological document disguised as drama, a cinematic mirror that reflected the struggles, dreams, and disillusionments of an entire generation raised under the shadow of systemic neglect.
 
A film rooted in reality
 
Set in 1984 but released in 1991, Boyz N the Hood reconstructs life in South Central Los Angeles with documentary-like authenticity. Singleton was writing about what he knew—the geography, the rhythm of speech, the invisible boundaries that divided blocks and fates. This autobiographical impulse gives the film its rare combination of intimacy and urgency. The streets of Crenshaw are not backdrops; they are living, breathing ecosystems that dictate who lives, who dies, and who escapes.
 
The film’s structure revolves around Tre Styles (Cuba Gooding Jr.), a bright young man sent by his mother to live with his father, Furious Styles (Laurence Fishburne). Furious’s household offers discipline, education, and moral grounding—a stark contrast to the chaos that consumes the surrounding neighborhood. Through Tre’s eyes, Singleton observes a community balancing between familial tenderness and the omnipresent threat of violence.
 
Interrogating internalized violence
 
One of the film’s most disturbing and profound questions is why Black men end up turning their weapons on one another. Singleton never simplifies this inquiry. Instead, he maps the forces that shape such behavior: economic inequality, police brutality, the easy availability of firearms, and the absence of meaningful opportunities. His narrative doesn’t externalize all the blame—it looks inward too. The characters are aware of their entrapment but are often unable to break free.
 
The killing of young Black men by other Black men is presented not as a pathology but as a consequence of structural despair. In a chilling early scene, a group of children gather around a dead body lying on the street, staring with the same casual curiosity as if it were a broken toy. Singleton uses this moment to reveal how death becomes normalized in a world where violence replaces dialogue. The tragedy of Boyz N the Hood is not that it depicts death—it’s that it depicts desensitization.
 
No place for black men in the US army
 
Running throughout the film is an understated yet significant critique of the American military. Furious Styles, an ex-soldier himself, warns Tre about the illusion of equality that institutions like the U.S. Army promise. He argues that young Black men are systematically targeted for recruitment, not to uplift them, but to channel their aggression into imperial wars that have nothing to do with their liberation. “There ain’t no place for a Black man in that white man’s army,” Furious tells his son, his voice carrying both the authority of experience and the bitterness of disillusionment.
This argument resonates beyond the narrative. In 1991, as the Gulf War unfolded, many African-Ame

Hollywood: The “Je Penske, Donc Je Suis” Era?

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By Quendrith Johnson, Los Angeles Correspondent



It’s 4:03 am in Hollywood, most of Malibu on the PCH is unrecognizable after the fires, and it could be argued that the Town itself is in “The “Je Penske, Donc Je Suis” Era. What does that even mean? Roger Penske’s son Jay Penske (born 1980) now owns, or controls via PMC (Penske Media Corp.) the following: “Variety, Rolling Stone, The Hollywood Reporter, Billboard, Billboard Music Charts, WWD, SHE Media, Robb Report, Deadline, Sportico, BGR, ARTnews, Fairchild Media, Vibe, IndieWire, Dirt, Artforum, Gold Derby, Spy.com and Luminate, the premier music SAS data and analytics company. Penske Media also owns Dick Clark Productions (DCP) the world's largest producer and owner of televised live entertainment programming, which includes the Academy of Country Music Awards, Golden Globe Awards, American Music Awards, Billboard Music Awards, New Year's Rockin Eve, Streamy Awards, and television programs such as So You Think You Can Dance. In addition, PMC owns several vital cultural events such as SXSW, LA3C, Life is Beautiful, Latin Music Week and ATX Television Festival. In addition, Penske Media is the largest shareholder of Vox Media.”
This impressive list of holdings begs the question for many in Hollywood, “how can one entity own the trades and award shows and keep the integrity or objectivity necessary to create a level playing field with award entrants or films that wish to be nominated for awards?” Good question, and while we may not come up with a conclusive answer? How about let’s just look at how the Je Penske, Donc Je Suis Era came to be?
In 2009, Penske acquired DEADLINE from Founder Nikki Finke, and some say effectively silenced her with a gag order that stopped her from writing for anyone else, and kicked off a firestorm with Finke who may or may not have been paid an alleged $9 M USD which may or may not have included an apartment in the same building as Bright Lights, Big City author John Barrett "Jay" McInerney Jr. The McInerney connection only became public when their inter-hallway confrontations became public record. So how much was Nikki Finke paid, what were the terms? This is less important than the chilling effect of this purchase, which silenced a truly original media voice and shit disturber gadfly in Hollywood. Finke. Who was once listed among the Most Powerful lists in Hollywood, could no longer shout from the cheap seats at the suits in the system, nor could she bring to light any of the thorny issues in the entertainment business. Full disclosure, after DEADLINE she founded Hollywood Dementia, a fiction site that purportedly may have been meant to “expose” any insider dirty laundry in the guise of prose; and although she once tried to sue me personally (story for another day), Nikki did publish my short stories in HD. These are the contradictions that defined a contentious figure like Finke: she loved to hate you or hated to love you. That applied to friends and foes alike, a matter of public record.
But back to our deep dive into repo baby Jay Penke’s amassment of properties in Hollywood. Just the sheer magnitude of the list of holdings detailed earlier gives you a sense of the campaign to, some say, dominate the H’wood landscape. However, besides possibly hamstringing the role of journalists to cover the industry fairly, or objectively given the award show ownership factor, what else is going on here you may wonder? Let’s count down the years to 2025.
DEADLINE HOLLYWOOD DAILY, which became simply DEADLINE by late 2000’s, was acquired for undisclosed terms in 2009, followed by VARIETY (Variety, Daily Variety) in 2012, and next came HOLLYWOOD LIFE in 2014, with a detour in 2011 via the purchase

Ching’s Secret Attack, now in a new, 9 minute, video pack

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Ching’s Secret Attack, now in a new, 9 minute, video pack

Few people know the recipé of this concoction. Those who know are keeping it a secret. But they have managed to sell millions/billions of sachets of this ‘Desi Chinese’ product, without spilling the beans. Ching, a variation of Qing, refers to the Manchu dynasty in China, which ruled during 1644–1912, and was the last imperial dynasty that ruled the country. In Mandarin Chinese, thousands of words have varying pronunciations. Sometimes the variation has the same meaning, sometimes it means something altogether different. English does not have the exact equivalents of these pronunciations, so approximations are common. But one thing is sure: Ching is King. Actor Ranveer Singh has been the brand ambassador of the Ching’s Secret products, manufactured in India, for 10 years, so Singh is Ching, Ching is King.

To mark the eleventh successive year of Ranveer’s association with the brand, the makers of the Ching products roped in director Atlee, to make an eight-and-a-half-minute ad film, Agent Ching Attacks, in the action feature film narrative style. Yes, you got that right. A 9 minute, or, to be precise, an 8 minutes 45 seconds ad film. Never heard of such a thing? Neither had I. But it is true. The film was shown to media and fans on Sunday, 19th October, at the PVR multiplex, Juhu, Mumbai. Present at the event, which started two hours late, were Atlee, Ranveer Singh, Bobby Deol and Sreeleela.

In the film, Ranveer plays himself, i.e. the Ching King, alias Secret Agent Ching. Bobby, a good-looking actor, plays the villain, who wants to capture Ching, and get the Thing (secret). Though he is, and has been, hero material, producers/directors have seen his Animal instinct in Ashram, and he is getting type cast as a villain. Sreeleela is an American-Indian, whose acting career began as a child artiste, and since then, she has acted in Telugu and Kannada films. This is her Hindustani debut. Well, a debut of sorts. One cannot really call an ad film as a debut film.

Conspicuous by his absence was Ajay Gupta, Founder of Capital Foods. The company was established in 1996, when it launched the only pan-Indian Desi Chinese sauce brand, Ching’s Secret, offering Soy Sauce, Green Chilli Sauce, Red Chilli Sauce and Chilli Vinegar--with an actual green chilli in the bottle. In 2024, Tata Consumer Products acquired Capital Foods. Also present on the occasion was Deepika Bhan, President, Packaged Foods (India), Tata Consumer Products. Asked how does she use her Ching’s Secret Schezwan Chutney, she was candid, “Being a Punjabi, I like it on my paratha”. Based in Mumbai, the company has manufacturing facilities in Nashik, Kandla and Vapi.

If you went by looks alone, you would not sign Atlee as the director of your next feature film. Moreover, he does not speak any Hindustani, something compère Malishka (RJ) found out in a hurry, and had to translate her question in English before she got a reply. But think again. This dark, diminutive man of 39, directed and co-wrote, Jawan, the 2023 ShahRukh Khan double role starrer that was made with a budget of Rs. 300 crore, and raked in four times that amount. Has he done ad films earlier? No. So how did he agree to do this one? “Initially, I refused the offer. But when I met Ajay Gupta, he charmed me into accepting it,” revealed Atlee. Ranveer remarked that Ching’s Secret was one of the first endorsements had ever done. “And look how time flies. Eleven years have passed since then.” Dressed very soberly, for a change, he complimented Bobby on his cream

Filipino film ''Kisapmata'' is a national allegory about patriarchy, possession, and death © by film critic Lalit Rao (FIPRESCI)

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Filipino cineaste Mike De Leon’s Kisapmata (1981) is a family tragedy as well as a national allegory about patriarchy, possession, and death © by film critic Lalit Rao (FIPRESCI)
 
There are a very few films in Southeast Asian cinema that have left as haunting and unforgettable an impression as Kisapmata (1981), the seminal Filipino masterpiece directed by Mike De Leon. The film is often labeled as horror, but such a label fails to grasp its true texture. It is not a horror film in the conventional sense, with apparitions, monsters, or supernatural elements. Rather, it is a suffocating chamber drama that draws its terror from domesticity itself. Its huis-clos ambience, reminiscent of European psychological thrillers and theatrical confinement dramas, unsettles viewers precisely because it is so rooted in the ordinary and the familiar.
 
Adapted from Nick Joaquin’s crime reportage ''The House on Zapote Street'' and co-written by De Leon, Joaquin, Raquel Villavicencio, and Clodualdo Del Mundo Jr., the film reimagines the infamous 1960s case of Pablo Cabalding, a retired policeman who brutally murdered his family. The narrative, while inspired by this real-life crime, transcends reportage and creates a fictional space where patriarchal tyranny, domestic claustrophobia, and repressed sexuality converge into one of the darkest allegories in Filipino cinema.
 
Premiering at the 7th Metro Manila Film Festival in 1981, Kisapmata was immediately recognized as a landmark, winning Best Film. Its international journey included screening at the Directors’ Fortnight section of the Cannes Film Festival in 1982. Four decades later, its prestige was reaffirmed through a digital restoration presented at the 34th Il Cinema Ritrovato in Bologna in 2020, ensuring that new generations could encounter its disturbing brilliance.
 
                         The huis-clos ambience: A house as a prison in Kisapmata
 
The setting of Kisapmata is deceptively simple: the cramped home of a retired policeman named Dadong, his submissive wife, and their daughter Mila. The film’s events unfold between November and December, but the temporal markers are of less importance than the psychological environment. The house becomes a suffocating prison, where every corner is watched, every movement is monitored, and every thought is potentially policed.
 
This closed-door atmosphere evokes the French concept of huis-clos—a situation in which characters are trapped in a single space, creating an oppressive intensity. The walls of the home in Kisapmata do not just contain; they suffocate. The cinematography by Rody Lacap enhances this mood. His lens captures the shadows, the narrow corridors, the dim lighting, and the sense of being perpetually under surveillance. The camera seldom offers escape, framing characters in a way that emphasizes their entrapment.
 
Complementing this claustrophobic imagery is Lorrie Ilustre’s haunting score. The music is spare, often unsettling, and used not to overwhelm but to heighten the simmering dread. Every note echoes like an intrusion into the fragile minds of the characters, particularly Mila. Together, the cinematography and score create a sensory environment that matches the suffocating narrative of control.
 
                                               The tyranny of the father in Kisapmata
 
At the core of Kisapmata is the terrifying figure of the father, Dadong, a retired policeman whose

Satyajit Ray’s Mahapurush depicts spiritual charlatanism and middle-class vulnerability by film critic Lalit Rao (FIPRESCI)

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Satyajit Ray’s Mahapurush (1965), a sharp social satire adapted from Bengali writer Rajshekhar Basu’s short story Birinchibaba, remains one of the most incisive explorations of religious imposters in Indian cinema. Coming five years after Devi (1960), where Ray offered a chilling depiction of blind faith and its tragic consequences, Mahapurush takes a lighter, comedic route to unveil the manipulations of a fake holy man. With wit, intelligence, and a profound understanding of middle-class vulnerabilities, Ray exposes how religion, when filtered through opportunistic charlatans, becomes a tool of deception rather than enlightenment.
 
At its heart, Mahapurush is not merely a comedy about a self-styled guru who fools the gullible. It is a layered commentary on society—on the loneliness of the bereaved, the aspirations of the middle class, and the enduring human tendency to surrender reason in the face of charismatic authority. Through the character of Birinchibaba, Ray crafts a portrait of a con man so audacious that his absurd claims—of being present with Plato, having guided Einstein, or conversing with Buddha—are lapped up by his followers without question. In Ray’s hands, this narrative becomes both specific and universal, deeply rooted in the Bengali milieu yet resonant across religions and cultures worldwide.
The story unfolds when lawyer Gurupada Mitter, grieving the recent loss of his wife, encounters Birinchibaba and his disciple while traveling by train with his daughter Buchki. Emotionally vulnerable and desperately seeking solace, Gurupada finds in the so-called guru a promise of transcendence. Birinchi, played with extraordinary conviction by Charuprakash Ghosh, instantly captivates him with lofty references to philosophy, science, and religion—references that are more ridiculous than profound, but impressive enough to dazzle a man in mourning.
 
Buchki, Gurupada’s young daughter, is less enthusiastic, though she is caught between loyalty to her father and skepticism of the Baba. Her fiancé Satya, however, immediately distrusts Birinchi. Sensing danger in this new intrusion into their lives, Satya enlists the help of friends to expose the impostor. What follows is a delightful mix of suspense, comedy, and satire, as the youth plot to rescue Buchki’s family from falling deeper into the clutches of the self-styled prophet.
The narrative also carries a romantic subplot, as Satya woos Buchki while simultaneously hatching schemes against Birinchi. Alongside, Ray offers glimpses into the texture of Bengali middle-class life—the chess games, the poetry readings, the discussions around faith and rationality—all woven seamlessly into the larger satire.
One of Ray’s sharpest insights in Mahapurush lies in his dissection of class and faith. The rich, Ray suggests, are largely indifferent to religion. They have wealth as their security and rarely seek miracles from wandering holy men. The poor, on the other hand, are too burdened by survival to indulge in the luxuries of philosophical speculation or patronizing a guru. It is the middle class—educated enough to know of Plato or Einstein but not critical enough to question Birinchi’s preposterous claims—that becomes the perfect prey.
 
Ray’s satire is merciless in this regard. He shows how the middle class, with its anxieties, aspirations, and vulnerabilities, is most susceptible to the psychological games played by false prophets. Birinchi thrives precisely because his audience wants to believe in h

War 2, Review: RAW deal, plane truth and Special Oops

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War 2, Review: RAW deal, plane truth and Special Oops

War, spelt in reverse is Raw. In India, which is not at war with any country at the time of writing this review, RAW stands for Research & Analysis Wing, the official secret service of the country. Being a secret service, little info should be available about it in the public domain. However, it is common knowledge that a secret service deals with espionage, planting and exposing secret agents, exposing double agents, being on the lookout for ‘compromises’, meaning infiltration into their own cadres or operatives who crossover to the other side, evacuating its citizens from evil captors, and ‘terminating’/‘neutralising’ persons who are a threat to the country, its military, and its economy. It deals with planting and eliminating agents or ‘assets’, as required, and spends unbelievable amounts of money to achieve its goals. A Google search will tell you that RAW was probably established in 1968, its headquarters are located in the CGO Complex, New Delhi, and it operates under the Prime Minister's Office. You can contact Ms. Anindita Sinharay, Deputy Director General, at anindita@nic.in or by phone, at 23455210. I did not, because my brief is to write about War 2, and not the Real RAW.

In about 100 films made in the last 10-12 years and 500 episodes on TV and the Internet, we have seen RAW in action. Currently a rage on OTT is the series, Special Ops (a camouflage for espionage). You could blame it on a certain Ian Fleming and his iconic character, James Bond, Britain’s MI6’s spy, Agent 007, with the 00 prefix standing for a blanket license to kill, also the most ‘encashed’ and enduring film series, for the last 63 years, and still not willing to retire. The US has its CIA, Israel its Mossad, and almost every major country in the world has its own branded foreign (external) intelligence secret service, which, by definition, does not exist, and so, neither do its operatives. But many countries, led by the USA, have made films about the achievements of its espionage agency.                                                             

The current upsurge in content, in India, that has RAW as its base, should be interpreted in the context of the present political dispensation of the country, and some recent near-war events. A few of these films were said to have been inspired by real events, but most were/are on a fictional trip, as is War 2. In another 2-3 years, every Indian actor worth his/her salt, would have played either a RAW agent, official or Chief. In War 2, we have Hrithik Roshan, Anil Kapoor, Ashutosh Rana, Kiara Advani and N.T. Rama Rao Junior, essaying parts of RAW personnel. Does that make the movie Special? Yes….Oops, NO!

Kabeer, a former RAW agent, who went rogue several years ago, has since emerged as a contract killer. Charging a flat fee of USD 1.2 million for every contract, he goes so far as to kill even the RAW Chief, who had adopted him, after rescuing him from a Remand Home for young criminals. In response to his growing threat, the Indian government despatches Officer Vikram, an elite operative, known for his ruthless precision and zero failure rate, to neutralise Kabeer. Also in the equation is Kaavya, the RAW Chief’s daughter, an ace pilot with the air force, who was in love with the family’s ward (the love was mutual; the skimpiest excuse for a bikini, and two songs are evidence enough), and has now joined hands wi