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Emraan Hashmi's Clever Marketing Strategy For Haq: Targeting Muslim Audiences! | Glamsham.com
Lifestyle

Emraan Hashmi’s Clever Marketing Strategy For Haq: Targeting Muslim Audiences! | Glamsham.com

by jummy84 October 28, 2025
written by jummy84

Actor Emraan Hashmi is all set to release his next courtroom drama Haq, which will be released in theatres on November 7, 2025. Famous for playing varied and challenging roles, the 46-year-old actor recently spoke about how the movie touched him deeply — both as an artist and a believer.

Addressing the trailer launch function on October 27, Emraan called Haq one of the most significant endeavors in his career. The actor explained that the movie addresses a sensitive social and religious theme, a subject that needed sensitive narration and honesty of emotions. As reported by ANI, Emraan stated that he was tentative at first about the way the subject would be handled, since he did not want the story to get biased or disrespectful. After going through the script, he was sure that Haq had managed that balance to perfection.

“I wanted to make sure the film had a neutral outlook,” he mentioned. “When I read it, I found it to be absolutely fair and neutral.” Referring to Haq as both “neutral” and “pro-women,” Emraan stated that the film has a balanced perspective of a controversial topic yet at the same time defends women’s rights and honor. “When people exit after watching this film, I don’t know what their view will be,” he further added. But I think that most will find it very well-balanced — and what comes across strongest is that it’s a pro-women movie.

Emraan also discussed what Haq to him as an individual means, explaining that it is a liberal Muslim perspective he closely identifies with. “For my community, I felt this is from a liberal Muslim perspective. I think this is a fantastic piece of work. Muslims must really come and see this movie because you will relate to it in a very different way,” he added.

With Haq, the actor is perhaps crossing over to more than his typical genres of thrillers and love stories, exploring a film that is thought-provoking in its themes of faith, justice, and gender equality.

The movie has already started creating a buzz for its strong performances, dramatic courtroom scenes, and socially relevant storytelling. With Emraan Hashmi entering this complex role, Haq assures to be not only a film experience, but also a conversation about equality, religion, and the battle for women’s rights in modern times.

October 28, 2025 0 comments
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Charlie Puth Drops 'Changes,' Announces New Album 'Whatever's Clever'
Music

Charlie Puth Drops ‘Changes,’ Announces New Album ‘Whatever’s Clever’

by jummy84 October 16, 2025
written by jummy84

Charlie Puth dances with claymation instruments and appears to hint at fatherhood in the new music video for “Changes,” the first offering from the singer-songwriter’s next album, Whatever’s Clever!

“Changes” is a pure hit of super polished Eighties pop delight, filled with prickly guitar lines, glossy keys, gated snares, and a booming choir to help bring home the final chorus: “There’s been some changes in our life/I can feel the distance, space and time/Made everything different, day and night/Everything has changed but I don’t know why.” 

The accompanying video, directed by Charlotte Rutherford, fittingly harkens back to videos of the same era, as Puth embarks on a goofy adventure through a pre-digital world filled with charming claymation figurines and old-school stop motion effects. Puth’s wife, Brooke Sansone, also makes a cameo in the clip, and at one point, the couple touches Sansone’s belly, ostensibly hinting at a very big change on the way: The couple’s first child. 

Whatever’s Clever! is set to arrive on March 6, 2026, via Atlantic Records. Puth co-produced the album with BloodPop, best known for his work with Lady Gaga, Justin Bieber, Beyoncé, and more. 

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Whatever’s Clever! will be Puth’s fourth album and first since 2022’s Charlie. While “Changes” will definitely appear on the record, a full track list hasn’t been revealed yet, so it’s unclear if the album will also feature some of Puth’s other singles from the past few years, including “That’s Not How This Works,” “Lipstick,” and “Hero.” (Last year, Puth also dropped a one-off holiday song, “December 25th,” which he said he wrote “on a whim” while working on Whatever’s Clever!)

Last month, Puth debuted “Changes,” and a few other songs, at a four-night residency at New York’s Blue Note Jazz Club (with one show featuring a cameo from one of Puth’s songwriting heroes, Kenneth “Babyface” Edmonds). Puth will kick off a similar solid-out run at the Blue Note in Los Angeles tonight, Oct. 16, with shows scheduled through Oct. 19.

October 16, 2025 0 comments
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Venice 2025: 'Human Resource' is a Clever Modern Workplace Satire
Hollywood

Venice 2025: ‘Human Resource’ is a Clever Modern Workplace Satire

by jummy84 September 7, 2025
written by jummy84

Venice 2025: ‘Human Resource’ is a Clever Modern Workplace Satire

by Alex Billington
September 7, 2025

It’s time to get real: capitalism is going to kill us all. Most of the world is living in a capitalist hell, but we’re stuck in it and there’s not much anyone can do. The endlessly futile game of jobs, resumes, bosses, bonuses, time off, promotions, contracts, incentives, interviews, HR, and everything else that makes everyone cringe. There’s a trend within cinema these days with films subtly, slyly commenting on this capitalist hellscape, from Ruben Ostlund’s Triangle of Sadness to Mark Mylod’s The Menu to Boots Riley’s Sorry to Bother You to Alex Scharfman’s Death of a Unicorn, and everything else. The latest film to join the party is a Thai film called Human Resource, made by filmmaker Nawapol Thamrongrattanarit as his 8th feature film so far. It just premiered at the 2025 Venice Film Festival in the Orizzonti section, though it’s so damn good it really should’ve been playing in the Main Competition. What makes Human Resource unique is that it is a much more dour, depressing film following a woman in Bangkok who works at a company. However, it’s a hilariously bleak satire that makes Nawapol out to be Thailand’s Ruben Ostlund with a dash Roy Andersson.

Human Resource is both written and directed by Nawapol Thamrongrattanarit, set in the bustling, modern city of Bangkok. Prapamonton Eiamchan stars as Fren, a quiet, contemplative young woman who works in the HR department. “Fren closely observes people’s lives through interviews with numerous young new hires at her unjust company.” She also just found she’s pregnant, and seems to be entirely unsure of what to do next in life. What is the point of all of this? What is the point of bringing a child into this broken world? The film takes a bit to get going – at first it’s slightly confusing why we’re following this woman, or what the story will be, or what’s going on. But it eventually settles in and then things get hilarious. There are perfectly crafted ironical scenes straight out of a Roy Andersson film, and funny moments showing just how absurd and empty and pointless life is in this capitalist hell. Everyone needs work, everyone is desperate to keeping working, to make money – in order to go home & then do nothing, with empty lives where nothing exciting ever happens. Then they go to sleep, wake up and eat breakfast, and repeat this cycle over & over. To what end? As bleak and melancholic as this film is, I found my laughter getting louder & louder as it continues on.

By the end of the film I was ready to admit: this is brilliant, just amazing filmmaking. I loved this film, even though it’s painful to watch at times. I laughed way louder than I should’ve at some of the most unsettling shots (like the pile of ash). The fact that Nawapol is smart enough to show these images, to let the camera linger, in order to make sure it has an impact on viewers, is part of the brilliance. This is clever filmmaking. It’s extremely dark, yet exceptionally sharp, in its perfectly depicted sly criticism of the what-are-we-even-doing-anymore hell we all live in nowadays. I doubt it’ll wake anyone up from the delusions they’re living in. I doubt it’ll suddenly cause the world to stop being so obsessed with capitalism & corporations. But it totally slays anyway. As depressing and dismal as the film is, I still found plenty of joy in this expression of angst using cinema to make us laugh while we wince at this reality we’re all stuck in. Fren is superbly expressive in her subtle mannerisms that convey frustration with the world, and it’s a relief to spend time with a character who’s also just so fucking tired of all this. Sometimes a cinematic cathartic release is helpful. Sometimes it’s wickedly entertaining to see a filmmaker who completely gets it put all this on screen for us to reflect upon…

Alex’s Venice 2025 Rating: 9 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing

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September 7, 2025 0 comments
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Venice 2025: Yorgos Lanthimos' 'Bugonia' is Another Clever Mindfck
Hollywood

Venice 2025: Yorgos Lanthimos’ ‘Bugonia’ is Another Clever Mindfck

by jummy84 August 31, 2025
written by jummy84

Venice 2025: Yorgos Lanthimos’ ‘Bugonia’ is Another Clever Mindfck

by Alex Billington
August 29, 2025

The always provocative mad genius Yorgos Lanthimos is back again with another movie to mess with our minds! But this one is much more important than his more playful creations. Bugonia is Lanthimos 10th feature film so far – and one of his best yet. It’s not as weird or confusing as Dogtooth, and it’s not as bizarre or wacky as Poor Things, nor is it as playful or witty as The Favourite. It’s actually one of Lanthimos’ most direct and accessible films – mainly because the premise is specific, following one path towards an ultimate reveal. Bugonia is Yorgos’ clever remake of a Korean movie titled Save the Green Planet! (from 2003). His take on this story is quite similar, following the original script closely with a few changes & tweaks that fit Yorgos’ sentiments. Above all else, I think it’s a remarkably fun and fresh new version of this story, with an improved finale and better performances from the cast as they all get lost in the madness of the situation.

Similar to Dogtooth but unlike in Poor Things, Bugonia takes place mostly in confined spaces and simple locations – primarily at the house of this man named Teddy. Jesse Plemons stars as Teddy, a beekeeper who decides that he must kidnap the CEO of a powerful pharmaceutical company. His cousin Don, played by Aidan Delbis, is recruited into his conspiracy plot and off they go to grab her. Emma Stone co-stars as Michelle, the power woman girlboss CEO who is picked up by these two guys. They believe she is an alien from Andromeda controlling Earth and all the people. Teddy is smart enough to get her into his basement and lock her up there, keeping the investigation away as he tries to get her to admit the truth and prepare a message so they leave Earth alone. Of course it gets kooky, and as time goes on, Teddy and Don start to lose control of the situation, and Michelle starts to figure out what the best escape plan is. But the question still remains: is she an alien? Or are these guys just super crazy? The film sticks to this premise, same as the one from Save the Green Planet!, and for most of the runtime we don’t get many answers to the many questions.

Minor spoilers from here on. Without giving away everything, Bugonia is going to be a challenging film for many people to grasp and not get upset watching. Mainly because for most of the movie you’re watching too crazy conspiracy nuts doing crazy things to a woman in hopes they’ll get her to reveal the truth so they can be the ones to save the planet. Supposedly. It requires a big ask of the audience to have different feelings by the end and to go back and make sense of and – most importantly – rethink everything that came before. Many viewers will not want to do this – their visceral, emotional reaction to the kidnapping and everything that is happening is going to be the dominant emotion no matter. But this is ultimately the entire point of both Bugonia and Save the Green Planet!. Humans are so caught up in these emotions we often refuse to see the bigger picture and refuse to understand what it really take to save the entire planet and to give all humans a better life. The question of how to solve climate change is complex, and this movie is clearly not attempting to answer that directly because it is just a sci-fi fantasy story, but it is also a reminder that we’re just not capable of realizing that this planet is being destroyed by extremely dumb humans. And so it goes…

The thing about Bugonia is that it’s just a movie – this is not happening for real and we shouldn’t interpret it in that way. And good movies are supposed to make you think, they’re supposed to stir up emotions & make you wonder. One of the issues with this Lanthimos movie is that it gets a bit slow in the middle, dragging out the “what the heck is happening” middle section of this kidnapping, because it’s set at this home & these two guys are such goofballs you’re just waiting for it all to unravel. It’s easy to misinterpret and get upset at this movie, and many early reactions I’ve seen so far have already indicated this is happening. Among many intriguing ideas it brings up, I really do think Bugonia is commenting on the kind of people who have a “but this adds nothing new” attitude and who are more obsessed with getting upset at who or how something important is being said than WHAT is really happening to our planet because we’re destroying it. And that is reiterated within the last 15 minutes of the film, along with Lanthimos’ song choice right at the end. “When will they ever learn?” Probably never, sadly. And while I don’t expect this movie to change anyone’s minds, I am glad Lanthimos has retold this story in order to reiterate the very bold statement this script is making.

As for the technical aspects, of course Lanthimos is a master filmmaker and is always capable of presenting a film that is gorgeous to look at and listen to – with another unique score by Jerskin Fendrix. Featuring some vivid, wide angle cinematography by his regular DP Robbie Ryan, which works sometimes, though it doesn’t feel as expansive or as majestic as Poor Things or The Favourite. Bugonia is less of a movie that is meant to be entertaining, considering we’re watching a kidnapping for nearly two hours, as it is meant to be deeply thought-provoking and prickly. I seriously hope audiences are willing to engage with it on that level, to interpret it correctly. And let the final message land with the veracity it’s designed to so that maybe, just maybe, we can all figure out what is really required to save this beautiful Earth before we destroy it for good.

Alex’s Venice 2025 Rating: 8.5 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing

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August 31, 2025 0 comments
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