NEW DELHI: Terrified for her safety, Indian actress Sreelekha Mitra remembers pushing chairs and a sofa against her hotel door after she said an award-winning veteran director sexually harassed her.
Mitra waited 15 years to speak out about the incident, one of several cases exposing the dark underbelly of India’s Malayalam-language “Mollywood” film industry that has won awards at Cannes.
Her revelation was spurred by an explosive government report documenting widespread sexual harassment in an industry dominated by powerful and wealthy men who believe that an actress willing to kiss on screen would do the same in real life.
“That entire night I stayed awake,” Mitra, 51, told AFP.
Mitra was invited to a gathering at the director’s house, where she said he lured her into his room for a phone call with a cinematographer.
“He started playing with my hair and neck... I knew if I did not say anything then, his hand would roam around other parts of my body,” she said, describing events from 2009, when she was 36.
She left and returned to her hotel.
“The intentions behind his moves were pretty clear to me... I was petrified.”
Her case and close to a dozen others have triggered a MeToo reckoning in the industry, with at least 10 prominent figures accused, according to Indian media.
Kerala-based Mollywood is known for critically acclaimed movies with strong and progressive themes, a change from the big dance and song numbers of India’s giant Hindi-language Bollywood in Mumbai.
The industry is prolific, producing up to 200 films a year, loved not only by southern India’s 37 million Malayalam speakers, but also dubbed and streamed across the rest of India and abroad.
Internationally, its films have won awards, including the 1999 satire Marana Simhasanam (“Throne of Death“), winner of the Camera d’Or at Cannes.
This year’s “Manjummel Boys,” a survival thriller, took $29 million at the box office, the highest-grossing Malayalam movie ever and the fifth-most successful in India this year.
The industry report, released August 19, said women actors faced the widespread “worst evil” of sexual harassment.
The report was released by the Hema Committee, headed by a former high court judge, set up after a leading Malayalam actress reported she was sexually assaulted in 2017.
Gopalakrishnan Padmanabhan, a prominent Malayalam actor better known by his stage name Dileep, was arrested for allegedly orchestrating the assault.
He was imprisoned for three months before being released on bail. The case continues.
But the release of the report has opened discussion on the far wider issue of chronic violence against women, encouraging people like Mitra to speak out in public for the first time.
It said that women who considered speaking out about sexual assault were silenced by threats to their life, and to their families.
Award-winning actress Parvathy Thiruvothu, 36, called the investigation a “game changer” and a “historic moment.”
“There was this idea that women working in the industry should feel grateful for having been given an opportunity by the men who were hiring them,” said Thiruvothu, a member of the campaign group Women in Cinema Collective.
Allegations of abuse in Indian cinema are not new.
It witnessed a wave in 2018, shortly after the 2017 MeToo movement erupted in Hollywood against disgraced US movie producer Harvey Weinstein.
But Thiruvothu called the latest allegations more than “MeToo Part Two.”
“It’s shaking everything,” she told AFP. “It isn’t an individual-to-individual complaint anymore. It’s about a systemic structure that has continued to fail women.”
Since the report, several top actors have been accused.
The Association of Malayalam Movie Artists was dissolved following the resignation of its chief on “moral grounds” with some members among the accused.
Ranjith Balakrishnan, 59, chairman of the state’s film academy, has also quit.
Balakrishnan, who denies any wrongdoing, was the man Mitra accused of sexual harassment.
Police have filed a case against him for outraging a woman’s modesty, a non-bailable offense.
Mitra, who until the release of the report had only mentioned the incident to an industry colleague, told AFP that Balakrishnan had misused “his power.”
Thiruvothu offered a message to all women in the film industry who have survived sexual assault.
“You are a skilled artist... do not listen to anyone who tells you to find another job if it is so difficult for you,” she said.
“This is your industry, as much as it is anybody else’s. Speak up, so that we are taking the space that is rightfully ours.”
India’s ‘Mollywood’ cinema rocked by MeToo abuse claims
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India’s ‘Mollywood’ cinema rocked by MeToo abuse claims
- Explosive government report has documented widespread sexual harassment in an industry dominated by powerful and wealthy men
- Case of Sreelekha Mitra and close to a dozen others have triggered a MeToo reckoning in the industry, with 10 prominent figures accused
Palestinian solidarity takes center stage at Glastonbury
DUBAI: Glastonbury Festival 2025 is making headlines not just for its music, but for the powerful pro-Palestinian messages echoing across its stages and crowds.
Irish rap group Kneecap drew one of the festival’s largest crowds at the West Holts Stage. Dozens of Palestinian flags flew in the crowd as the show opened with an audio montage of news clips referring to the band’s critics and legal woes.
Between high-energy numbers that had fans forming a large mosh pit, the band members — sporting keffiyehs — led the audience in chants of “Free Palestine” and “Free Mo Chara.” They also aimed an expletive-laden chant at UK Prime Minister Keir Starmer, who has said he didn’t think it was “appropriate” for Kneecap to play Glastonbury.
One member wore a T-shirt emblazoned with “We Are All Palestine Action,” referencing the direct-action network that targets arms factories supplying Israel.
Earlier that day, punk duo Bob Vylan also stirred controversy with a performance that included the chant “Death to the IDF.” The statement has prompted a police investigation and sparked a broader debate over the limits of free speech in live performance.
Across the festival, Palestinian flags were visible in every direction — raised by artists, waved in the crowd, and printed on T-shirts and posters. Activist installations, including a projection mapping Gaza’s destruction, drew foot traffic near the Apocalypse Museum area, while several artists circulated an open letter calling for an immediate ceasefire.
REVIEW: ‘The Bear’ season four is a triumphant return to form
DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.
Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.
So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.
In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.
At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.
This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.
Roll the dice: Monopoly Riyadh set to hit shelves this September
- New version of the game to feature Riyadh and famous institutions and landmarks, new and old
- Monopoly is the best-selling international board game in history, Guinness World Records says
RIYADH: The launch of a Riyadh edition of the iconic Monopoly board game was announced on Thursday at a preview event that even feature an appearance by the game’s mascot, Mr. Monopoly.
The new version of the game, which will be on sale in September, was created, according to a statement, to celebrate “the rich heritage and modern transformation” of the Kingdom’s capital and features locations including the King Abdullah Financial District, Saudia Airlines, Souk Al-Zal, the Saudi Cup, the Diplomatic Quarter, Tamimi Markets, Jazean coffeeshop, Bujairi Terrace in Diriyah, Olaya Street, and King Fahd Road.
“We strive to include both the traditional and the modern in terms of landmarks and to create a story. So as you’re going through the Monopoly board, you are learning about, and getting insight into, the city of Riyadh, and you’re passing roads that most real residents would pass by on a day-to-day or weekly basis,” Hamad Alowaishiq, founder and chairman of official partner the Saudi Youth Society (SYS), which acted as a cultural advisor for the game’s makers, told Arab News.
“It’s a responsibility and a pleasure to be representing Riyadh on such a platform. And with that responsibility, we have been dedicated to delivering the identity and culture of Riyadh,” he added.
According to Guinness World Records, Monopoly is the best-selling board game in history, with more than 275 million units sold worldwide over the past 90 years.
“There’s something really interesting about seeing our city culturally represented within an international brand,” Princess Nourah Al-Faisal, vice-chairman of SYS, told Arab News. “It says a lot about how far we’ve come and how important our market and our community has become on the international scale that Monopoly would come and do this—and quite right too.”
“I remember playing this game when I was young with my grandfather and family,” Liam Johnson, the racecourse director of the Jockey Club of Saudi Arabia’s Saudi Cup, told Arab News, adding that he believed the Saudi Cup’s profile would be raised globally by being featured in an edition of a game that “cuts through the different audiences.”
Diriyah has three places on the board: Wadi Hanifah, Zallal, and Al-Bujairi Terrace — all of which have become staples in Riyadh’s events and hospitality sectors.
“As the birthplace of the Kingdom and its significance to the country, to be able to bring that legacy and that heritage onto the board is a true honor,” Nicola Cope, executive director of brand marketing at Diriyah, told Arab News.
The Ritz-Carlton’s Mazen Allam said: “Over the years, we’ve been privileged to host moments that actually matter, from royal visits, world summits, weddings, quiet weekends, all woven under the fabric of this city. Now, with Monopoly, we get to join families and communities across generations. And the fact that we can create joyful memories that extend beyond our walls is something very special.”
KAFD, home to 95 interconnected buildings, where more than 20,000 people work — not including the thousands of daily visitors and residents, is a pivotal inclusion on the board. Mazroua Al-Mazroua, KAFD’s chief marketing and experience officer, told Arab News: “We all grew up playing Monopoly. We understand the game — it’s strategic, competitive, and centered around real estate. Today, KAFD reflects those same qualities. It’s not just an iconic business district; it’s Saudi Arabia’s first vertical urban city and a dynamic lifestyle destination.
“It only makes sense for KAFD to be featured in the Monopoly Riyadh Edition — a perfect match between a game of strategy and a district that lives and breathes it every day.”
REVIEW: ‘F1: The Movie’ — high-octane entertainment and old-school charm
DUBAI: There’s a moment in “F1: The Movie,” where you’ll feel like you're flying, all while strapped into a tiny metal box hurtling at a speed you can't comprehend. This is when you realize this isn’t just another sports drama; it’s a sleek love letter to Formula 1, anchored by Brad Pitt’s enduring star power and a surprisingly effective dynamic with relative newcomer Damson Idris.
Pitt plays Sonny Hayes, a grizzled former driver lured back to the thrills of the pit lane for one last go. He’s all swagger and scars, but yes, he’s still got it. Pitt’s presence brings gravitas to a film that flirts with the edges of cheesiness but never forgets its emotional core. Whether he’s behind the wheel or delivering motivational growls in the garage, he sells it — and then some.
Opposite him is Idris as Joshua Pearce, a rising star struggling to reconcile his love for the sport with the noise that comes with the fame and money, who becomes Sonny’s reluctant protege. Idris brings a fresh, fiery intensity that balances Pitt’s seasoned cool. The strained mentor-mentee trope has been done to death, but it’s portrayed with sincerity and the right amount of tension here.
Additionally, Kerry Condon delivers a sharp, emotionally solid performance as the team’s no-nonsense engineer, anchoring the high-octane chaos with quiet authority. Her scenes with Pitt crackle with wit and chemistry, and deliver some of the bigger laughs.
Director Joseph Kosinski (“Top Gun: Maverick”) brings his signature high-octane style to the film, especially the race sequences. The sound design is impeccable, the cinematography breathtaking. And composer Hans Zimmer's layered, gorgeously synth-drenched background score goes well with a soundtrack that thumps out rock one minute and smooth R'n'B next.
The film builds toward a final showdown in Abu Dhabi, and while the climax is predictable, it’s executed with such unapologetic flair that you can’t help but cheer. The Yas Marina circuit has never looked more cinematic — it’s the perfect backdrop for a finish that’s equal parts cheesy and thrilling.
“F1” isn’t rewriting the sports-movie playbook, but it really doesn’t need to. It’s crowd-pleasing, adrenaline-fueled, masterfully executed entertainment with more than enough heart to keep it grounded.
Kneecap ‘welcome’ at Glastonbury
- Irish hip-hop trio have publicly spoken out against Israel’s war on Gaza
- Some UK politicians, including PM, want group to be axed from iconic festival
LONDON: Irish hip-hop trio Kneecap are “welcome” at the Glastonbury music festival despite objections by UK Prime Minister Keir Starmer, the event’s co-organizer has said.
The band, which have publicly spoken out against Israel’s war on Gaza, are scheduled to play at the iconic British festival this week.
Member Liam Og O hAnnaidh, 27, was charged with a terrorism offense last year after allegedly displaying a Hezbollah flag at a show in London. The band said the charge was a “distraction.”
Some politicians, including opposition Conservative leader Kemi Badenoch, have called for the trio’s performance at Glastonbury — set for Saturday — to be axed. Starmer this week said Kneecap’s presence at the event would not be “appropriate.”
Emily Eavis, Glastonbury’s co-organizer, told the BBC: “We’re just focusing on bringing the best festival to the people who want to come here … We remain a platform for many, many artists from all over the world and … everyone is welcome here.”
Kneecap responded to Starmer in a social media post, saying: “You know what’s ‘not appropriate’ Keir?! Arming a f***ing genocide.”
