Celebrating 5 years of Ahimsa Entertainment ❤️
One lucky follower will win free tickets to every Tamil film for the next 12 months, anywhere in the world — we book them for you.
To enter:
1. Follow @ahimsafilms
2. Repost this
Winner chosen July 30, 2026.
If you are looking to read ONE SMALL book that introduces the essentials of Sanatana Dharma aka Hinduism, make it this one. 10/10. Elegantly written. Highly recommended.
David Fincher filmed this scene with Leonardo DiCaprio 15 years ago as a RED camera test during The Social Network, and it still looks better than most digital movies today.
(via: imPatrickT)
The silent winner of Dhurandhar movie - Bookmyshow App
"As Indians, we're very shy, but me and my team at Bookmyshow is bloody good at what we do. We have 25 competitors today but we’re ahead because of our focus on the Indian consumer."
- Ashish Hemrajani (Bookmyshow Owner)
You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild.
Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real.
The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later.
Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him.
Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman.
Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact.
95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.
The ending of Rush (2013) just hits. That final Niki Lauda monologue over Hans Zimmer’s score feels honest and earned, like the rush finally settling in your chest.
In 1976, Niki Lauda crashed at 170 mph and was burned alive for 55 seconds. Trapped in his Ferrari, he suffered third-degree burns, severe lung damage, and was given last rites.
Just six weeks later, he returned to racing
face bandaged, blood soaking his helmet and finished fourth, losing the championship by a single point.
The following year, he won the title.
Later, he built Lauda Air, survived crashes and bankruptcy, and rebuilt again. Lauda never quit before his story was finished.
lesson in there
Tough day?
Tough week?
Tough month?
Got bills to pay?
Got mouths to feed?
Stuck in a shit job for money?
Procrastinating on your purpose?
Putting a pause button on your dreams?
Feels like the world doesn't understand you?
Feel like you were meant for something more?
And maybe 'cause you haven't "made it" until now..
Everyone around you telling you, "you can't make it"?
But deep inside...you know that you can if you commit?
Go watch MARTY SUPREME.
DREAM BIG.
And then make all those dreams come true.