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Dulquer Salmaan celebrates Lucky Baskhar’s success with director Nag Ashwin ( Photo Credit – Instagram )

Lucky Baskhar, directed by Venky Atluri and starring Dulquer Salmaan, has been a hit at the box office and during the success celebration event for Lucky Baskhar, Nag Ashwin, the director of Mahanati, shared how he had to persuade Dulquer to take on the role in Mahanati, which marked Dulquer’s first Telugu film and was also a huge success.

In Mahanati, Dulquer Salmaan portrayed the legendary actor Gemini Ganesan. Nag Ashwin shared that Dulquer initially turned down the role without reading the script, fearing that Telugu audiences might not accept him since he isn’t a native speaker.

Nag Ashwin reflected on Dulquer Salmaan’s growth in the Telugu film industry, noting that Dulquer has consistently found success and won the hearts of Telugu audiences.

Trending Naga Chaitanya & Sobhita Dhulipala: No Plans for a Destination Wedding in Rajasthan!

or, Savant picks The Most Impressive Discs of 2015

This is the actual view from Savant Central, looking due North.

What a year! I was able to take one very nice trip back East too see Washington D.C. for the first time, or at least as much as two days' walking in the hot sun and then cool rain would allow. Back home in Los Angeles, we've had a year of extreme drought -- my lawn is looking patriotically ratty -- and we're expecting something called El Niño, that's supposed to be just shy of Old-Testament build-me-an-ark intensity. We withstood heat waves like those in Day the Earth Caught Fire, and now we'll get the storms part. This has been a wild year for DVD Savant, which is still a little unsettled. DVDtalk has been very patient and generous, and so have Stuart Galbraith & Joe Dante; so far everything...

This podcast focuses on Criterion’s Eclipse Series of DVDs. Hosts David Blakeslee and Trevor Berrett give an overview of each box and offer their perspectives on the unique treasures they find inside. In this episode, David and Trevor discuss Eclipse Series 43: Agnès Varda in California.

About the films:

The legendary French filmmaker Agnès Varda, whose remarkable career began in the 1950s and has continued into the twenty-first century, produced some of her most provocative works in the United States. After temporarily relocating to California in the late sixties with her husband, Jacques Demy, Varda, inspired by the politics, youth culture, and sunshine of the San Francisco and Los Angeles areas, created three works that use documentary and fiction in various ways. She returned a decade later, and made two other fascinating portraits of outsiderness. Her five revealing, entertaining California films, encompassing shorts and features, are collected in this set,...

In the wake of the wild success of Jacques Demy’s The Umbrellas of Cherbourg, the idiosyncratic French filmmaker was lured by Hollywood move to southern California to produce what would become Model Shop. With his wife and fellow cinematic genius Agnès Varda in tow, they moved to Los Angeles in 1967 where Varda would dive headlong into a series of expressively free form personal projects that would be begin with an adventure North to Sausalito where she would meet a distant relative and the subject of her first film included in Criterion’s wonderful new Agnès Varda in California Eclipse set, Uncle Yanco.

Fitting right in line with the personal essay films that would become somewhat of a signature in her late period output with works like The Gleaners and I and The Beaches of Agnès, Uncle Yanco is an invigorating sun-kissed introduction to the progressive, hippy lifestyle that her...

Part of our continuing partnership with the online film journal, cléo. Every month, cléo will be presenting a great film to watch on our video on demand platform. In conjunction, we'll be hosting an exclusive article by one of their contributors. This month Mallory Andrews writes on Agnès Varda's Mur Murs, which is available to watch starting today in the Us, Canada, Australia, and New Zealand.

They can be found on the margins of Los Angeles. Driving down the highway, something catches the corner of your eye, peeking out from the side of a building: one of the ubiquitous murals of L.A. Unlike the prominently situated billboards that plaster the freeways with crass messages to Want, Demand, and more importantly Buy, these public artworks offer a fascinating counter-movement to this commercial blare, and this was how they first caught French director Agnès Varda’s attention during her time in the city.

The American Film Institute (AFI) announced a program of four films selected by Guest Artistic Director Agnès Varda to screen at AFI Fest 2013 presented by Audi. Varda, once a resident of Los Angeles, makes a rare return to present and discuss her work at AFI Fest. As an additional tribute to Varda, photos from her influential French New Wave film Cleo From 5 to 7 (CLÉO De 5 À 7) are featured in this year’s festival marketing and programming materials.

As Guest Artistic Director, Varda has selected films that have inspired her throughout her six-decade career: Pickpocket (Dir Robert Bresson, 1959), A Woman Under The Influence (Dir John Cassavetes, 1974), The Marriage Of Maria Braun (Dir Rainer Werner Fassbinder, 1979) and After Hours (Dir Martin Scorsese, 1985). In addition, the festival will be screening a selection of Varda’s films, including restored versions of Cleo From 5 To 7 (CLÉO De 5 À 7) and Documenteur.

"In the next two weeks," announces Not Coming to a Theater Near You, "in coordination with the availability of a great chunk of her oeuvre on Mubi.com, we'll be looking at an array of [Agnès] Varda films, beginning with Cléo from 5 to 7 and concluding with her most recent effort, 2008's The Beaches of Agnès. In between these poles we find Varda exploring topics from the Black Power movement of the late 1960s (Black Panthers), graffiti murals (Mur murs), homelessness (first fictionally in Vagabond, and then again in her acclaimed documentary The Gleaners & I), pedophilia (Kung-fu Master!), and the childhood memories of her beloved husband [Jacques] Demy (Jacquot de Nantes). In all of it we find a vision of cinema that overcomes many of the standard antinomies — commercial and experimental, narrative and documentary, light and heavy, political and aesthetic — in pursuit of something at once more comprehensive and more personal."...