Category Archive : Hollywood News

Pieces of a Woman movie review: Simply brilliant, if you can get over Shia LaBeouf’s problematic presence – hollywood

Pieces of a Woman
Director – Kornel Mundruczo
Cast – Vanessa Kirby, Shia LaBeouf, Molly Parker, Sara Snook, Ellen Burstyn

Pieces of a Woman peaks in its prologue. In hindsight, downhill is the only direction it could’ve gone in. This isn’t because the rest of the film is poor, but only because that opening is outstanding.

We’re introduced to Martha and Sean, a young couple played by Vanessa Kirby and Shia LaBeouf, as they prepare for a home birth. The drill is in place, the music carefully picked out, and the midwife on her way. Played by Molly Parker, Eva wasn’t the couple’s first choice, but had to be summoned because of a last minute set-back.

She seems competent enough, though. Her voice has a calming effect on the agitated Martha, and she seems to be following ‘a’ rule book. But ‘competent enough’ doesn’t cut it when you’re a midwife. Heck, it wouldn’t cut it if you were in charge of the fries section at a McDonald’s.

Watch the Pieces of a Woman trailer here


Across 30 nerve-shredding minutes, we watch in helplessness as Martha and Sean go from nervous excitement to sheer terror, as the baby begins showing signs of distress on its way into the world. The heartbeat that was loud enough to fill the room minutes ago disappears as the scene unfolds, in real-time.

It’s a brutal opening act — an astounding piece of visual storytelling that not only transports you into the same room as the characters, but in a way hands you a towel and a pair of gloves and demands, “Do something!”

Director Alfonso Cuaron filmed a similar scene in Roma, but that was four minutes long. When Pieces of a Woman finally cut to black, 30 minutes had gone by. Relieved and at genuine risk of having an anxiety attack, I paused the film (thanks, Netflix), and performed a series of quick breathing exercises.

Little did I know that the movie would deflate like a spluttering balloon, too. It had set the bar too high for itself, and had it, by some miracle, managed to sustain that level of intensity for another hour-and-a-half, it would’ve been the movie to beat at the Oscars. But as it stands, a nomination for the excellent Kirby is all it can realistically hope for.

As difficult as it can get to watch Martha, especially in a couple of scenes, it is impossible to take your eyes off her. She internalises her pain, which leads many, including Sean, to arrive at harsh judgements about her, as if there are wrong ways to grieve. Pieces of a Woman makes rather astute observations about how men and women tackle trauma differently. While Sean has emotional outbursts and suffers a relapse, Martha clinically tries to take back control of her crumbling life.

Nearly as harrowing as the childbirth scene is an incident involving sexual abuse that unfolds around midway through the film. That the abuser is played by LaBeouf, who was recently accused of similar behaviour by a former partner, makes matters all the more uncomfortable.

Shia LaBeouf as Sean and Vanessa Kirby as Martha, in a still from Pieces of a Woman.

Shia LaBeouf as Sean and Vanessa Kirby as Martha, in a still from Pieces of a Woman.

By definition, the situation in the prologue is such that even if everything were going according to plan, it would still be wrought with tension. The rest of the film traces the aftermath of the tragedy, in a narrative that is as fractured as the relationships on screen.

Director Kornel Mundruczo, who shares a ‘film by’ credit with real-life partner and writer Kata Weber, has crafted a movie that is all jagged edges. An innocuous title appears on screen after every sequence, informing us that another month has passed. These time jumps force you to play catch up for the first few moments of every new chapter. Oh, so the midwife is being sued at the insistence of Martha’s mother? Makes sense, Americans are a litigious people. Wait, Sean is having an affair with their lawyer now? The writing was on the wall, I guess.

Pieces of a Woman, in its second and third acts, retains the classy European sensibility that won Kirby a best actress award at the Venice Film Festival, but in its heart of hearts, its an old-fashioned melodrama. Every character gets at least one ‘item scene’, as Saif Ali Khan would say. These are the scenes that’ll play on a loop when Kirby and Ellen Burstyn, who plays Martha’s Holocaust survivor mother, eventually and inevitably receive awards attention.

Also read: Honey Boy movie review: Shia LaBeouf delivers career-best performance in bleak but brilliant biopic on Amazon Prime

LaBeouf, despite delivering a truly heartbreaking performance, will likely be ignored by awards committees, mirroring the treatment his character gets in the film’s final act. Almost as if they knew LaBeouf was about to be made a pariah, Mundruczo and Weber effectively erase Sean from the narrative in a most unsatisfying manner.

But that’s true of the film as a whole. Too many plot threads are introduced, only to be left dangling as the movie narrows its gaze on Martha. In its staging and writing, Pieces of a Woman feels positively premeditated, even though everyone is trying very hard to appear natural. Some camera moves are so precise that there’s no way that the scenes could have been improvised, even thought the script is working double shifts to convince you that they are.

Pieces of a Woman is a piercing examination of grief, and as if that wasn’t enough, it’s also a drama about a disintegrating relationship. Like its fellow Massachusetts tragedy, Manchester by the Sea, it’s gripping, but gruelling.

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The author tweets @RohanNaahar

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Pedro Pascal: The rise of a star – hollywood

Pedro Pascal seems to genuinely care. In an age when actors are quick to distance themselves from duds, Pascal, faced with a swathe of negative Wonder Woman 1984 reviews, declared on Twitter: “I love movies and I love Wonder Woman 1984.” He added a couple of dancing emojis for good measure.

The film’s treatment of Pascal and his Trumpian villain, Max Lord, aside, it’s rare to see an actor go down with the ship in this way. Unlike directors, who have a more intense relationship with their movies, actors — unless they’re also producers or the lead — have less at stake. Pascal was neither in Wonder Woman 1984, although his is the film’s most memorable performance. So in fact it would’ve been wiser, his agents would’ve advised, for him to weather the storm in silence and move on to his next project.

But in praising the irredeemable superhero sequel, even as the tide was turning against it, Pascal displayed a rare quality. “I don’t care what the world thinks,” the 45-year-old seemed to be saying. “I own my choices.” It is this honesty that attracts audiences to certain actors, and aids their evolution into, some would say, a dying breed — movie stars.

Born in Chile to parents opposed to the dictatorial regime of Augusto Pinochet, Pascal moved to the US as a child. In a 2014 Reddit AMA session, he said he considers himself a New Yorker. After years of taking on small roles in TV shows – easy rent money, perhaps, to sustain a career in theatre, though he only made his Broadway debut in 2019 – he broke on to the scene around 2014, as the doomed Oberyn Martell in Season 4 of Game of Thrones. It was a small role, but GoT was the most popular show on cable TV. Millions were captivated by his performance, week after week.

That seven-episode run on Game of Thrones put Pascal on a path that would, less than a decade later, end with him being crowned the undisputed (and unlikely) King of the Geeks. His work on GoT scored him a lead gig on Netflix’s wildly popular crime drama, Narcos.

His performance in Narcos compelled director Matthew Vaughn, struck by Pascal’s Burt Reynolds vibe, to cast him in his Kingsman series of movies based on the comic books.


“The smallest of opportunities kept me going,” Pascal told The New York Times in 2017. “So much so that I resolved to struggle until I couldn’t walk anymore.” Even though he had, by most standards, made it in Hollywood by then, Pascal hadn’t forgotten where he’d come from.

He followed up his high-profile work in television with a series of big-ticket films. Between 2016 and 2019, Pascal appeared in the legendary Chinese director Zhang Yimou’s American debut, The Great Wall; the Denzel Washington action sequel, The Equalizer 2; and Netflix’s ambitious B-movie, Triple Frontier. Combined with the hefty gross of Kingsman: The Golden Circle, these movies made nearly a billion dollars worldwide. That’s over Rs 7,000 crore.

But just when the world was beginning to recognise his face, Pascal chose to hide it. The Mandalorian is by far the biggest project of his career — it’s the first live-action Star Wars series, which Disney debuted as a launch title on its new streaming service in 2019 —and Pascal is in virtually every scene. But his face, for essentially the entirety of the show, is hidden behind a chrome helmet.

This isn’t a Batman situation, just to be clear. You can still identify George Clooney and Christian Bale behind those cowls. For Pascal, The Mandalorian was basically a voice gig — he wasn’t even present on set for all his scenes; the crew, instead, relied on stunt doubles. This changed in Season 2, but Pascal’s increased physical involvement brought with it new challenges. For instance, it’s difficult to convey a largely silent character’s emotions when your face is invisible. And for that, Pascal fell back on his experience on the New York stage.

“I’m not even sure if I would be able to do it if it weren’t for the amount of direct experience that I’ve had with being on stage to understand how to posture yourself, how to physically frame yourself into something and to tell a story with a gesture, with a stance, or with very, very specific vocal intonation,” he told Entertainment Weekly in 2020.

What Pascal achieves on the show is quite remarkable. There are scenes in which he barely moves, but is able to communicate — sometimes with no more than an almost unnoticeable twitch — pages worth of emotion, particularly in the paternal moments involving the show’s breakout character, Grogu.

There is a scene towards the end of Season 2 in which Mando, indoctrinated his entire life to never reveal his face, finally decides to take off his helmet. It is a powerful moment, one that symbolises the arrival of Pascal himself.


His role as Oberyn Martell in Game of Thrones (Season 4; 2014) propelled Pedro Pascal to household name status. As the charismatic but vengeful Red Viper of Dorne, Pascal had memorable scenes with which to make his mark. And his storyline concluded with one of the most shocking moments in the show’s famously provocative run.

As drug enforcement agent Javier Peña in Narcos (2015), one of the show’s three lead characters, Pascal was the only one who returned for all three seasons, before the show was spun off into Narcos: Mexico. As the show struggled to find new ways to evolve, Pascal moved on to bigger and better things.

Before being lassoed into submission by Diana Prince in Wonder Woman 1984 (2020), the actor played the lasso-wielding Jack Daniels aka Agent Whiskey, in director Matthew Vaughn’s satirical spy film Kingsman: The Golden Circle (2017). It was a brief but flashy role, and Pascal managed to stand out alongside Colin Firth and Julianne Moore.

As the failing businessman Maxwell Lord, clearly modelled on a young Donald Trump, Pascal embraced the kitschy tone of director Patty Jenkins’s Wonder Woman 1984. He has admitted in an interview to being inspired in some scenes by the master of hamming it up, Nicolas Cage.

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US Capitol violence: Bollywood and Hollywood in shock, Chris Evans, Swara Bhasker, Richa Chadha call out police inaction – hollywood

Multiple Hollywood and Bollywood celebrities have reacted with shock after supporters of the US President Donald Trump stormed the US Capitol on Wednesday night. Stars such as Mark Ruffalo, Chris Evans, Sacha Baron Cohen and multiple others have called out the unfair and lenient way the rioters were handled by the police, compared to the Black Lives Matters protestors earlier last year.

Indian stars such as Richa Chadha, Swara Bhasker, Lisa Ray, Celina Jaitley and others have also been tweeting about the storming of the Capitol. “HOW were they allowed to get this far???????? Where are the guns and sophisticated machinery that peaceful BLM activists were faced with?!?!,” wrote Swara in a tweet. “Unfolding like a QAnon prophecy… now awaiting reptilians…dark dark day for America… erstwhile spreader of offshore democracy,” wrote Richa.



Filmmaker Ram Gopal Varma shared a picture of rioters scaling the walls of the Capitol building and wrote, “Protesters taking over Capitol Hill…This is what @realDonaldTrump has brought America to ..The founding fathers must be turning in their graves.”

Avengers star Chris Evans wrote, “Just think of the carnage had they not been white.” Mark Ruffalo, who had been tweeting about the entire episode for hours wrote, “Imagine if this was our side. There would be rivers of our blood in the streets and not a single one of us would be armed. This has been allowed. #CoupAttempt.”



Sacha called on Twitter and Google to ban Donald Trump for inciting violence. “Hey Mark Zuckerberg, @jack, @SusanWojcicki and @sundarpichai — Donald Trump just incited a violent attack on American democracy. Is that FINALLY enough for you to act?! It’s time to ban Donald Trump from your platforms once and for all!”

Frozen star Josh Gad wrote, “This is either a dereliction of duty by the Capital Police or a complicit desire to not plan for the known threat of chaos today. Either way, this is inexcusable. If you can be prepared for imaginary ANTIFA protestors, you had no business not prepping for these actual terrorists.”

Also read: Inside Deepika Padukone birthday celebrations: Ranveer plays host, Ranbir Kapoor and Alia Bhatt attend. See pics

The crowd, made up of supporters of President Donald Trump, opposed the certification underway in Congress of Joe Biden’s presidential election win in November. They stormed the Capitol building in Washington, forcing lawmakers to flee to safety and leaving one woman dead.

Twitter, Facebook and Instagram have blocked Trump from posting on the platforms.

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Kim Kardashian, Kanye West’s six-year marriage to end, divorce on table: reports – hollywood

Celebrity couple Kim Kardashian and Kanye West’s six-year marriage and an eight-year love story, is coming to an end. According to E! News, the reality TV star and her rapper husband have decided to go separate ways but Kim is yet to file for divorce.

“It’s gotten to the point where they haven’t spent time together as a married couple in months. They’ve seen each other for the sake of the kids but have been living separately. Kim knows the marriage is over. She’s known for a while,” E! News quoted a source as saying.

On being asked about why Kardashian hasn’t filed for divorce yet, the source revealed that though everything is over between the couple, they are still figuring out the decision that best suits their children. “She wants to make sure she’s making the right decision for the kids. It’s not about the marriage anymore, she’ll always care for Kanye but it’s over between them,” E! News quoted the source as saying. “Kim is only focused on what’s best for the kids. It’s a tough decision for her and she’s figuring it out,” the source added.

TMZ added, “The marriage was in deep trouble for the last half of 2020. In fact, we’re told Kim was ready to pull the plug on the marriage at one point but it was when Kanye was going through a serious bipolar episode and she felt it was cruel to do it when he wasn’t well.”

The celebrity couple who made their relationship public in April 2012, are parents to four children, seven-year-old North West, five-year-old Saint West, two-year-old Chicago West, and almost 20-month-old Psalm West.

The couple’s relationship has seen increased pressure in recent months. Kardashian had back in July spoke up for the first time in public about West’s mental health and termed the situation “complicated and painful.”

Earlier last year, it was reported that though the couple is together, they are not living together.

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The White Tiger first reviews: Critics call it roaring success, ‘more realistic’ Slumdog Millionaire that’ll make Adarsh Gaurav a star – hollywood

The first reviews for Ramin Bahrani’s The White Tiger are in. Scheduled for a selective theatrical release on January 8 and then an online release on Netflix, the film is considered among the front-runners for the upcoming awards season.

Starring newcomer Adarsh Gourav, Rajkummar Rao and Priyanka Chopra Jonas, the film is based on Aravind Adiga’s Man Booker prize-winning novel by the same name. Several critics of foreign publications have been impressed by Ramin’s modern retelling of Aravind’s story of India’s class struggles and the psychology of servitude.

In a glowing review, Variety’s Owen Gilberman wrote that the film presents a more realistic counter to Danny Boyle’s Oscar-winning film Slumdog Millionaire. “Bahrani is no feel-good fantasist. The White Tiger taps engagingly into the rags-to-riches, Horatio-Alger-on-the-Ganges mythology that made Slumdog Millionaire a global sensation, but the movie also recognizes the earlier film as a fairy tale, positioning itself in key ways as the anti-Slumdog,” he wrote. The Hollywood Reporter’s David Rooney echoed the thought, also comparing the film’s exploration of class division with Bong Joon Ho’s Parasite. He wrote, “The sting of underclass payback doesn’t rival that of, say, Parasite, but the movie taps into the same simmering rage of the have-nots, shafted out of an unyielding system in a perilously unbalanced world. It could almost be considered the anti-Slumdog Millionaire.”

Adarsh’s performance as the subservient and later cynical Balram was lauded by all. Entertainment Weekly’s Leah Greenblatt introduced him as a “largely unknown actor whose soulful combination of sheer will and vulnerability should, in a just world, win him the kind of accolades that helped make Slumdog’s Dev Patel a star.” Meanwhile, the Variety review called his performance a ‘small marvel’. “He’s charismatic in a nearly silent way, and he lets us see how the reflex to obey — not to up his salary but to ask for less of one, to bow and scrape before employers he views as masters — has been programmed into him,” it read.

Rajkummar, who plays the Balram’s master Ashok, was called a ‘charismatic Bollywood star’ while Priyanka was credited for bringing emotional depth to a smaller role.

Also read: Inside Deepika Padukone birthday celebrations: Ranveer plays host, Ranbir Kapoor and Alia Bhatt attend. See pics

Ramin’s film, however, has not been called flawless. The Guardian’s Peter Bradshaw wrote, “I could have done without Balram introducing himself through the hackneyed 90s device of the freeze-frame/voiceover, bringing us into his story at its highest moment of car-crash drama and tragedy – everything but a needle-scratch into silence.” Some critics were also not all for the moments of heavy expositioning either.

The White Tiger also stars Mahesh Manjrekar and is co-produced by Priyanka and Ava DuVernay. It will be out on Netflix on January 22.

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Wonder Woman 1984 director Patty Jenkins clarifies controversial comments against Warner Bros, says ‘let’s chill the dramatic headlines’ – hollywood

Director of Wonder Woman and its sequel, Wonder Woman 1984, Patty Jenkins has asked the media to ‘chill’ with the overdramatic headlines about comments she recently made about being at odds with Warner Bros over the production of the superhero film.

In a couple of tweets, the filmmaker expressed her gratitude towards the studio, and director Zack Snyder, who co-produced both Wonder Woman films and is responsible for the casting of Gal Gadot in the starring role.

“Versions of this article seems to be everywhere and not true. There was no ‘war’ with warner bros. over ww. I’m talking about 10 years of discussions with 10 different execs through them. And whole beard thing was about other projects at other studios,” she wrote in her first tweet. “I felt extremely supported in my vision on both films by @wbpictures, @ZackSnyder all the producers and everyone on board our eventual team. Just was a long road to get to make it. Let’s chill the dramatic headlines like ‘war’,” she added.



In an appearance on Marc Maron’ WTF podcast, the filmmaker said that initially, she was brought on board the project as a hired gun, when she was broke and jobless after her Oscar-winning debut feature, Monster. “They wanted to hire me like a beard; they wanted me to walk around on set as a woman, but it was their story and their vision. And my ideas? They didn’t even want to read my script,” she said, adding, “There was such mistrust of a different way of doing things and a different point of view. So that was definitely happening, even when I first joined Wonder Woman it was like, ‘Uhh, yeah, ok, but let’s do it this other way.’ But I was like, ‘Women don’t want to see that. Her being harsh and tough and cutting people’s heads off, that’s not what— I’m a Wonder Woman fan, that’s not what we’re looking for.’ Still, I could feel that shaky nervousness [on their part] of my point of view.”

“The was an internal war on every level about what Wonder Woman should be,” she continued, adding that at one point, there were approximately 30 scripts for the film being considered.

Also read: Wonder Woman 1984 movie review: Gal Gadot’s goddess-like charm barely saves a wonderless sequel

Wonder Woman 1984 debuted to muted critical reception on December 24 in India. In the US, it was released in theatres and on the HBO Max streaming service.

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Wonder Woman director Patty Jenkins recalls ‘internal war’ with Warner Bros about film, says ‘they didn’t even want to read my script’ – hollywood

Director Patty Jenkins has offered more details that continue to alter the perception of how Wonder Woman was made. The filmmaker has been casually dropping tidbits of information that suggest her relationship with Warner Bros was rocky, going back to when she was first approached for the job in 2004.

She recently helmed Wonder Woman 1984, which debuted to muted critical reception on December 24 in India. The filmmaker said that initially, she was brought on board the project as a hired gun, when she was broke and jobless after her Oscar-winning debut feature, Monster.

“They wanted to hire me like a beard; they wanted me to walk around on set as a woman, but it was their story and their vision. And my ideas? They didn’t even want to read my script,” she said in an appearance on Marc Maron’s podcast. “There was such mistrust of a different way of doing things and a different point of view. So that was definitely happening, even when I first joined Wonder Woman it was like, ‘Uhh, yeah, ok, but let’s do it this other way.’ But I was like, ‘Women don’t want to see that. Her being harsh and tough and cutting people’s heads off, that’s not what— I’m a Wonder Woman fan, that’s not what we’re looking for.’ Still, I could feel that shaky nervousness [on their part] of my point of view.”

When the first Wonder Woman quickly became a critical and commercial success, the filmmaker was brought back for the sequel. In a recent interview, she revealed that the film’s final action sequence was a studio mandate, one that she didn’t agree with.

Also read: Wonder Woman 1984 movie review: Gal Gadot’s goddess-like charm barely saves a wonderless sequel

“The was an internal war on every level about what Wonder Woman should be,” she continued, adding that at one point, there were approximately 30 scripts for the film being considered. Despite Wonder Woman 1984’s lukewarm reception, both Jenkins and star Gal Gadot have signed on to return for a third instalment.

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Chris Pine on working in Wonder Woman 1984: It was like being home again – hollywood

Chris Pine reprised his role of Steve Trevor in Wonder Woman 1984, which is a follow up to 2017 film, Wonder Woman, and the actor says it was quite a “homecoming experience” for him.

Talking about returning to the story, he shares, “I was so happy to come back, and this time be the fish out of water, like Gal played in the first film. Now it’s Steve who is someone getting to know a big, wide new universe for the first time.”

The 40-year-old notes that the experience was a different one from the last time around.

“It was fun to play that positivity — the earnest boy in a man’s body — after having been the jaded realist who’d seen the ugly machinations of power and the struggle for dominance and violence that go along with all of that. This time I get to play being in awe of the most magical and also banal things in the world. Like a microwave,” he explains.


In Patty Jenkins-directed Wonder Woman 1984, Diana, played by Gal Gadot is reunited with Steve Trevor, the love of her life, whom she has missed for nearly 70 years. Just like the story, in real life too, Pine was pleased to reunite with Gadot yet another time.

“It was like being home again, going to work with people you really like. And I’ve learned through my history of doing this job that chemistry is a pretty hard thing to fake, so it’s nice when I get to go to work and the chemistry is already there. Gal is a very open being; she exudes warmth and that smile of hers just lights up an entire room. And the best part is we have great fun and we laugh, and that’s what I love about working with both Patty and Gal,” says Pine.

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Priyanka Chopra announces We Can Be Heroes sequel: ‘Heroics are coming back for round two’ – hollywood

Actor Priyanka Chopra took to Twitter to announce that her recent Netflix film, We Can Be Heroes, is getting a sequel. She said that it was in development.

Sharing the news, she wrote: “Heroics Headquarters projection: 44 MILLION FAMILIES will have suited up for WE CAN BE HEROES in its first 4 weeks!! And….BREAKING NEWS: The Heroics are coming back for round two. Sequel is in development with @rodriguez and @Netflix ! #WeCanBeHeroes.”


We Can Be Heroes stars Priyanka in a negative role. The film was a Christmas release and opened to mixed reviews. Writing about it, the Hindustan Times review said: “Priyanka Chopra hams it up as Ms Granada, who is essentially a power-suit-wearing manifestation of corporate America. She’s the evil CEO of Heroics, a team of superheroes who’re kidnapped by tentacled aliens in the film’s opening scenes. With the planet under attack and their parents in peril, it falls upon their children, led by Missy Moreno (YaYa Gosselin) to rescue them from the aliens and save the world.”

At the time of sharing the trailer of the film, Priyanka had written: “Power comes in all sizes and it arrives on Christmas Day! These amazing kids have a secret weapon – Teamwork. It brought a different energy on set and is the life of this film. So while you wait for Santa, it’s time to sit back and let these incredible kids show you how to be a HERO! Are you in? We Can Be Heroes, directed by Robert Rodriguez is now coming to Netflix globally this Christmas.”

Also read: Diljit Dosanjh hits back at Kangana Ranaut, offers her job as his PR person, says ‘don’t think Punjabis will forget what you’ve done’

Priyanka plays the chief of an organisation of superheroes. When the heroes are captured by alien invaders, the responsibility to save them, and the world, falls on the shoulders of their children.

The actor has been stationed in London for the shoot of her upcoming film, Text for You. Her husband, singer Nick Jonas is also with her.

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Indian-American actor Rohan Gurbaxani: Passive racism continues to be depicted on-screen from time to time – hollywood

Actor Rohan Gurbaxani has been making remarkable yet quiet moves in Hollywood over the past few years. The Bengaluru-born actor starred in films such as action-comedy Chick Fight, action-thriller Knuckledust, Red 48 and Confession.

So have the discussions around inclusivity and diversity made it somewhat easier for actors from outside in Hollywood?

“With all the terrible things that have happened in the US in 2020, there’s definitely a net positive that has come out of it,” answers Gurbaxani, adding, “Although there are more conversations and voices being heard, I still feel passive racism continues to be depicted on-screen from time to time with directors and producers trying to brush it off as normal while giving further weightage to the pre-existing stereotypes against India and that is unacceptable.”


Admitting that Asian actors have to often face stereotypes in Hollywood, the actor calls himself “rather fortunate” o that aspect.

He elaborates, “I’ve never been asked to play a stereotypical character. I still have a long journey ahead of me but in my opinion, how you carry yourself is important because it eventually reflects in your work and the opportunities you attract. The West is gradually realising that we, as a minority, embrace an invigorating cinematic presence however, I do not think the inclusiveness is snowballing at a fast enough pace.”

Gurbaxani, within a year of graduating from New York University, bagged over seven feature films in 2019. Sharing how it all began in Hollywood for him, he says, “In my senior year I was fortunate to be scouted by a handful of talent agencies in New York and I ended up signing with one of them. In addition to auditioning for TV shows and movies, I actively started discovering ways to create my own luck rather than wait for it. With time, I was able to get the right auditions and eventually the right opportunities.”

For everyone who wants to become an actor in India, Bollywood is mostly the first choice. Gurbaxani admits a career in the West wasn’t always on his mind but things just happened.

“I wouldn’t say it was always my agenda but I decided to stay in New York after graduation because I’m fortunate enough to be able to work in the US. I wanted to leverage the network I was just beginning to build rather than leave everything behind and start all over again in a new industry. And it’s always exciting to work in a market where there’s a clear gap that needs to be filled,” he reasons.

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