Shreveport Little Theatre is set to perform its musical production of Oliver! on March 13-15 and 20-22, with tickets available for purchase on their website.
PakarPBN
A Private Blog Network (PBN) is a collection of websites that are controlled by a single individual or organization and used primarily to build backlinks to a “money site” in order to influence its ranking in search engines such as Google. The core idea behind a PBN is based on the importance of backlinks in Google’s ranking algorithm. Since Google views backlinks as signals of authority and trust, some website owners attempt to artificially create these signals through a controlled network of sites.
In a typical PBN setup, the owner acquires expired or aged domains that already have existing authority, backlinks, and history. These domains are rebuilt with new content and hosted separately, often using different IP addresses, hosting providers, themes, and ownership details to make them appear unrelated. Within the content published on these sites, links are strategically placed that point to the main website the owner wants to rank higher. By doing this, the owner attempts to pass link equity (also known as “link juice”) from the PBN sites to the target website.
The purpose of a PBN is to give the impression that the target website is naturally earning links from multiple independent sources. If done effectively, this can temporarily improve keyword rankings, increase organic visibility, and drive more traffic from search results.
Skiing’s independent multi-pass, Indy Pass, will see some changes to its lineup of resorts for the 2026/27 season, and the company’s director has something to say about it.
By offering access to more than 300 resorts worldwide for two days of skiing at each, without taking ownership of the resorts, the Indy Pass has long been committed to supporting independent ski areas and keeping skiing more accessible.
As passes for next season go on sale, which resorts are included on each pass is a major consideration for pass holders.
On March 5, 2026, IKON Pass announced that Midwest mountains Lutsen, Minnesota; Granite Peak, Wisconsin; and Snowriver, Michigan will all join the IKON Pass.
Family-run company Midwest Family Ski Resorts will retain ownership of the mountains and continue to run them independently. IKON Pass holders will get seven days of skiing at each mountain (five with IKON Base Pass).
All three mountains were previously part of the Indy Pass, and as a family-owned collective, are very in line with the Indy Pass’ brand and ethos. Both Lutsen and Granite Peak appeared in a 2022 film made by ski film production company Teton Gravity Research in conjunction with Indy Pass about independent resort ownership retaining the soul of skiing at Midwest ski areas.
The 2026 POWDER Photo Annual is here! Look for a print copy on a newsstand near you, or click here to have a copy shipped directly to your front door.
Granite Peak, Wisconsin.
Shutterstock/@Aaron of L.A. Photography
Indy Pass Director Erik Mogensen posted to the Indy Passholders Facebook group on March 5, regarding the change. According to Mogensen’s post, Indy Pass only learned of the change from a second-hand source late on March 4, before seeing IKON release the news the following day. “I hate seeing the corporations that have compromised the sport and culture of skiing grab more,” said Mogensen in the post.
Mogensen’s full post read:
“A quick message to the our Midwest Passholders from Erik Mogensen, Indy Pass Director.
We are sorry to see Lustsen, Granite Peak, and Snowriver join the IKON Pass. Like every season we had been in discussions with Mid West Family resorts over what Indy Pass would look like heading into the 26/27 at their resorts, we only learned of their participation in IKON, second hand late last night. This morning we saw it come out publicly with the rest of you. I hate seeing the corporations that have compromised the sport and culture of skiing grab more. The Indy Base starts at $349, while the IKON Base starts at $924. The Indy + sits at $399 and the Ikon at a staggering $1,349.
For a few years now we have included an option for all our passholders, in all locations, that if a resort did not renew that was key to your purchase of a pass, we would happily refund you, no questions asked. That remains the case. Passholders may request a refund for an unused pass by December 1, 2026, if a favorite resort from the 25/26 season does not renew for 26/27. It is a very simple and transparent policy and that it is what makes Indy different. Our Colorado and New Hampshire based customer support team is always here to help and there is plenty of time before any refund cut off date. Keep calm, ski on, and know that Indy Pass will always do the right thing.
We can’t always talk about new resorts and our plans for the following season due to contractual issues but I will leave you with a sentence from a Storm Skiing Journal article that came out this morning:
“Perhaps Indy will work out a deal with these ski areas – though it jettisoned former Indy partner Buck Hill, Minnesota following its joining of Ikon two-day last year. Regardless, Indy, which has assembled more than twice as many partners as Epic, Ikon, and Mountain Collective combined, is hardly helpless. Indy Pass officials have confirmed with The Storm that “they are sitting on a significant amount of new resorts that have been contracted,” and that they will, “release a few more as they finish up their spring pass sale,” and announce more in the fall.
We all have a role to play in keeping skiing independent.
Erik Mogensen Indy Pass Managing Director“
The midwest’s only gondola at Lutsen Mountain.
Indy Pass
The Indy Base Pass is available for just $349, rising to $399 for the Indy+, though both offer only two days per mountain.
In contrast, the IKON Base starts a $924 and the IKON Plus goes for $1,349, offering five and seven days at the Midwest Family Ski Resort’s ski areas, respectively.
Mogensen’s post notes that if a mountain that played a key role in a skier’s Indy Pass purchase didn’t renew with the Indy Pass, refunds were available. Indy Pass is reportedly in talks with these mountains about accepting Indy+ Pass holders for the 2026/27 season, per a note on the resort’s landing pages.
Previously, another iconic and independently owned Midwest ski area, Buck Hill, was part of the Indy Pass until joining the IKON Pass last year and completely parting ways.
Lutsen, which sits on the shores of Lake Superior, boasts the Midwest’s largest ski area and only gondola. Granite Peak is home to the Midwest’s first high-speed six-pack chair. Snowriver, the most recent addition to Midwest Family Ski Resort’s roster, was purchased in 2022 and is currently in the midst of a $15M reinvestment in the resort.
Related: Ikon Pass Reveals 2026-27 Price, New Resorts, and Access for Skiers
PakarPBN
A Private Blog Network (PBN) is a collection of websites that are controlled by a single individual or organization and used primarily to build backlinks to a “money site” in order to influence its ranking in search engines such as Google. The core idea behind a PBN is based on the importance of backlinks in Google’s ranking algorithm. Since Google views backlinks as signals of authority and trust, some website owners attempt to artificially create these signals through a controlled network of sites.
In a typical PBN setup, the owner acquires expired or aged domains that already have existing authority, backlinks, and history. These domains are rebuilt with new content and hosted separately, often using different IP addresses, hosting providers, themes, and ownership details to make them appear unrelated. Within the content published on these sites, links are strategically placed that point to the main website the owner wants to rank higher. By doing this, the owner attempts to pass link equity (also known as “link juice”) from the PBN sites to the target website.
The purpose of a PBN is to give the impression that the target website is naturally earning links from multiple independent sources. If done effectively, this can temporarily improve keyword rankings, increase organic visibility, and drive more traffic from search results.
Canal+, busy with aggressive cost-cutting since it recently acquired Africa’s MultiChoice pay-TV group, is shuttering its loss-making and money-guzzling video streaming service Showmax that MultiChoice ran in partnership with NBCUniversal.
Variety has reliably learnt that Showmax will definitely be shuttered “soon” although a specific date isn’t yet available given a few remaining legal implications Canal+ and MultiChoice are sorting out.
Canal+ and MultiChoice confirmed the end of Showmax to Variety, saying there will be a “discontinuation of the Showmax service, following a comprehensive review of its streaming activities.”
MultiChoice launched Showmax across Africa 11 years ago in August 2015 to compete with the advent of streamers like Netflix, Apple TV, Amazon’s Prime Video, Disney+ and others which all became available on the continent and started biting into MultiChoice’s legacy pay-TV subscriber base.
Two years ago, in February 2024, MultiChoice, in partnership with Comcast’s NBCUniversal, relaunched Showmax, utilizing the technology behind the Peacock streaming service.
Millions of dollars were poured into the retooling of Showmax’s IT-platform and on content spending to boost the pan-African streamer in its fight against Netflix but it ultimately proved fruitless.
MultiChoice and NBCUniversal roughly poured a combined $309 million in equity funding into Showmax to primarily fuel content creation, but nothing came of the aggressive growth and subscriber uptake targets MultiChoice executives had promised investors before it relaunched.
Looking to shave a combined 400 million euro by 2030 in cost-cutting, including content cuts from the combined Canal+ group, the underperforming and money-guzzling Showmax is the latest victim of Canal+’s rightsizing at MultiChoice.
NBCUniversal has a 30% stake in Showmax as a joint venture. In its last annual results before the Canal+ takeover, MultiChoice revealed that Showmax’s trading losses had worsened by 88% while revenue significantly declined.
According to the company, “The decision to axe Showmax was made by the Showmax board and reflects the continued focus of MultiChoice, a Canal+ company, on financial discipline and investment optimization, in an increasingly competitive and capital-intensive global streaming environment.”
Since Canal+, as part of its agreement to take over MultiChoice, isn’t allowed to get rid of any staff for a period of three years, MultiChoice won’t let any Showmax staff go but will reassign them to other positions within the broader company.
“The decision to discontinue Showmax services will not involve any retrenchments. The group will be engaging and supporting employees through various transition options,” it told Variety.
MultiChoice has already started to quietly rebrand Showmax Originals as Africa Magic, M-Net, kykNET and Mzansi Magic Originals, with original series that will transition to these various DStv linear TV channels on MultiChoice pay-TV platform.
Showmax’s closure comes two years after Amazon MGM Studios shocked Nigeria and South Africa’s creative community in January 2024 when it abruptly announced that it would immediately stop commissioning any new local original content in Africa, and also killed already-existing development deals with a dozen production companies.
In January, during an investors’ call, Maxime Saada, Canal+ CEO, said that Showmax was “not a commercial success” and that its failure as a streaming service was “quite obvious.”
Saada also said that a decision about Showmax’s future would be made soon and that a reduction in the Showmax budget, which has been a huge financial drain on MultiChoice, would contribute significantly to Canal+’s overall cost-cutting goals.
Canal+ says it will “continue to invest in premium content for MultiChoice subscribers, technological innovation and strategic partnerships to consolidate its leadership in the African entertainment market.”
“Further details regarding our expanded content offering and platform upgrades will be shared in due course. We want to reassure our Showmax subscribers that they are our priority as we evolve our services to deliver a superior streaming experience.”
In June, Canal+ and Netflix announced a strategic distribution agreement for Francophone Africa with a new partnership through which Canal+ became the first operator to bundle Netflix subscriptions into its traditional pay-TV offering across 24 Sub-Saharan African countries.
Insiders told Variety that instead of wasting further money through trying to compete with Showmax as a struggling stand-alone streamer, Canal+ is likely to expand its partnership and roll out this Netflix-bundling into the rest of Africa.
An award-winning South African director-producer who has made several series and films for MultiChoice under the Showmax banner, told Variety the end of Showmax is a sad day for South African filmmakers since it closes yet another avenue to showcase work and earn a living in an industry undergoing tumultuous change.
“Showmax was one of the only platforms available to us that was willing to back stories that were bold and authentic in a market that has traditionally always played things safe,” the filmmaker said.
“From ‘Koek’ to ‘Adulting,’ ‘Spinners’ to ‘Catch Me a Killer,’ ‘Khaki Fever’ to ‘Youngins,’ ‘Wyfie’ to ‘Dam,’ these are films and series which would never be created by rival platforms or broadcasters. Losing Showmax is a huge blow to the local industry and audiences, with Canal+ giving us very little to hope that they will fill that gap with anything of value.”
“If 2026 is the Year of the Horse, it feels like this one is getting sent to the factory to be turned into glue and cheap pies.”
Canal+ is scheduled to report its next set of financial results on March 11. This will be the first full-year combined results since the group took effective control of MultiChoice in September 2025.
PakarPBN
A Private Blog Network (PBN) is a collection of websites that are controlled by a single individual or organization and used primarily to build backlinks to a “money site” in order to influence its ranking in search engines such as Google. The core idea behind a PBN is based on the importance of backlinks in Google’s ranking algorithm. Since Google views backlinks as signals of authority and trust, some website owners attempt to artificially create these signals through a controlled network of sites.
In a typical PBN setup, the owner acquires expired or aged domains that already have existing authority, backlinks, and history. These domains are rebuilt with new content and hosted separately, often using different IP addresses, hosting providers, themes, and ownership details to make them appear unrelated. Within the content published on these sites, links are strategically placed that point to the main website the owner wants to rank higher. By doing this, the owner attempts to pass link equity (also known as “link juice”) from the PBN sites to the target website.
The purpose of a PBN is to give the impression that the target website is naturally earning links from multiple independent sources. If done effectively, this can temporarily improve keyword rankings, increase organic visibility, and drive more traffic from search results.
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Casey Stephen McCauley, 31, of Ville Platte was arrested and charged with burglary after a suspect in a clown mask allegedly stole a chainsaw from Butler’s Tree Service and traded it for narcotics.
PakarPBN
A Private Blog Network (PBN) is a collection of websites that are controlled by a single individual or organization and used primarily to build backlinks to a “money site” in order to influence its ranking in search engines such as Google. The core idea behind a PBN is based on the importance of backlinks in Google’s ranking algorithm. Since Google views backlinks as signals of authority and trust, some website owners attempt to artificially create these signals through a controlled network of sites.
In a typical PBN setup, the owner acquires expired or aged domains that already have existing authority, backlinks, and history. These domains are rebuilt with new content and hosted separately, often using different IP addresses, hosting providers, themes, and ownership details to make them appear unrelated. Within the content published on these sites, links are strategically placed that point to the main website the owner wants to rank higher. By doing this, the owner attempts to pass link equity (also known as “link juice”) from the PBN sites to the target website.
The purpose of a PBN is to give the impression that the target website is naturally earning links from multiple independent sources. If done effectively, this can temporarily improve keyword rankings, increase organic visibility, and drive more traffic from search results.
Another Oregon ski area has been hit by the state’s unseasonably warm weather and wet winter storms.
Southern Oregon’s Mt. Ashland paused ski area operations on February 28, 2026, due to insufficient snowfall.
The non-profit ski area, which opened for the season in late December like many other ski areas across the west, hasn’t seen its 220″ of annual snowfall this year.
With only 94″ this season and a 16″ base, the ski area sits at 27% of its annual snowpack. For context, most of Oregon is below 50% of its median snow water equivalent. Other ski areas, such as Central Oregon’s Mt. Hoodoo, which closed due to flooding last week, are experiencing similar drought conditions.
The current closure marks Mt. Ashland’s second this season due to low snowpack. The mountain had previously closed temporarily on January 15, 2026, with seasonal snowfall down 63% and snowpack down 71%. However, storms allowed Mt. Ashland to reopen again on February 19. High winds closed the mountain for just a day on the 22nd, but normal operations were resumed on the 23rd until the current closure.
Mt. Ashland posted to their social media announcing the ski area’s closure, which went into effect on March 1. See below. Keep reading for more.
The 2026 POWDER Photo Annual is here! Look for a print copy on a newsstand near you, or click here to have a copy shipped directly to your front door.
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“With no snowfall in the short-term forecast and rain and warm temperatures projected, we are beyond sad to have to deliver the news of another pause. We are watching the long-term forecast in hopes of announcing a reopening in the near future. In the meantime, we will work to keep spreading the stoke any way that we can,” said the post.
According to the snow-forecasting site OpenSnow, Mt. Ashland could get a few inches later this week, but that might not be enough to reopen the mountain. With such a low snowpack across the state, Oregon skiers are hoping for any bit of precipitation that doesn’t come in the form of water.
Do your snow dances, Oregon!
Related: Which Type of Ski Lift Is Your Favorite? (Poll)
Logan Marshall-Green plays a mission-critical role on the first season of CBS’ “Marshals.” The show is a “Yellowstone” spinoff that stars Luke Grimes as Dutton family good guy Kayce, while Marshall-Green plays Pete Calvin — a Navy SEAL buddy who went through the hell of war with him. Pete is the one who gets Kayce a job on the five-person marshal team and ends up being a big influence on his friend, despite battling his own demons. Marshall-Green recently spoke with Variety to break down his character’s complex dynamic with Kayce, his training for the show and how he’s using his performance to pay tribute to veterans.
What was your training like for this role?
It was quick. We jumped right in. This is the fastest I’ve ever seen a TV show get put together, to be completely honest. I got the offer, and I was boots-on-the-ground training and shooting within two weeks. And I think that goes pretty much for everybody, except for Luke. None of us had really worked together. I’d done a lot of tactical work in other roles, I’ve played a lot of soldiers, and I’ve held a weapon before, but it’s really about the dance between, what we’d call the “pain train.” When you kick that door and go through and check those corners, everybody has to know where to go, how to dance and move, and make it flow.
We had an amazing prop master who propped everybody up beautifully, got everybody really tied into what was realistically needed. We had a great military consultant named Ryan Sangster, who’s an ex-SEAL. Because of the background of Luke’s character, Kayce, and mine being SEALs, we needed to have that tip of the spear very sharp, and everybody else flowed amongst us. We busted our butts. A lot of that training was about getting the five of us dancing together without two left feet.
Were you comfortable horse riding?
I was pretty comfortable with that as well. I don’t know actually how much they were aware of my horsemanship. Not that I’m that soft in the saddle, but I was a ranchhand for about half a year while I worked on the movie “As I Lay Dying.” There’s a lot of horsemanship in that, and I was very dedicated. So I worked my butt off for that, and I’ve got some other things I’ve done horseback with, so I’m not too bad at it.
Does it feel like you’re living a cowboy lifestyle while you’re shooting in Utah?
Yeah, I bought a truck! [Laughs] I did, actually. You kind of needed one in Utah once it snows. I needed to get four-wheel drive, and I got a truck. I guess you could say I turned a little bit into a cowboy. It is a cowboy lifestyle in that it was really hard work. This show got shot out of the gate, like I mentioned before, and we were doing, some days, six-day eps, and we were traveling almost an hour out to an incredible location called Thousand Peaks, where they originally shot the first three seasons of “Yellowstone.” To say it’s beautiful is an understatement. While it may have been cold, and it may have been really early a lot of those days, it was still me on a horse with an incredible view, and I didn’t take that for granted at all.
Your chemistry with Luke feels so natural. How were you able to get there with him so quickly?
Luke’s pretty easygoing. He disarms you when you meet him. He’s a very grounded, down-to-earth guy. We took a few hikes right away, just to meet each other. But a lot of that just is being easy to work with, and that Luke has in spades. There’s a lot of the relationship, though, to be seen, and to evolve or devolve, and there’s a lot of history between them. You all know about Kayce, but I don’t. I wasn’t around him in those years. I come to terms with not just who he is and where he comes from, but also the things he’s done in the past. That puts a wrench in the works, as well as ties us even more tightly together, as two ex-SEAL Team buddies.
Were you a “Yellowstone” fan before you got the job?
They offered the part to me and I had about an hour to decide, because they needed me out there in a week. We sat down, watched the pilot, which I thought was quite good, and I’m a big fan of [“Yellowstone” co-creator] Taylor Sheridan’s films. But I’d never seen any of the “Yellowstone” shows — none of them. I quickly realized that I didn’t need to. It would probably be better to when I ask questions, so that they are coming from a true place of ignorance. That ignorance is bliss in this way, and actually made my job a lot easier to find out who he was in front of a camera.
Did Taylor have any advice on the part, or did things happen so quickly that you didn’t have time to connect ahead of time?
I didn’t. We were shot out of a cannon, and I’ve had no conversations with Taylor about it, to be completely honest.
What kind of journey are viewers going to see your character go on this season?
My journey is one of the vet. It’s one of the reasons I wanted to play this guy. I have a deep respect for soldiers, especially veterans. When they come home, and they’re somewhat lost, not just externally, but internally. The depths that they have to go to right their ships … some of them make it, some of them don’t. It’s the effects of war — not just in battle, but at home.
More than anything, relationships are destroyed by this job. A lot of these soldiers have high divorce rates, high amounts of alcoholism and abuse of pharmaceuticals. One of the biggest storylines is a relationship with a family member of his that he lost. So he’s got a lot going on, not just trying to refine his brotherhood with Kayce.
The series premiere of “Marshals” airs on CBS tonight at 8 p.m. ET.
The Shreveport Public Assembly and Recreation (SPAR) to offer fun exercise activities and health information for families in the community throughout the year.
Shaun White’s freeski and snowboard event series, the Snow League, unveiled its world championship trophy just ahead of its third event of the season.
The Athlete Draw for the Snow League’s snowboard field, who will compete in Aspen this weekend, also acted as the unveiling ceremony for the trophy.
Like much of the Snow League’s other programming, the trophy was created with the opportunity to take a different approach than traditional action sports awards in mind.
Notably, the Snow League pays its athletes an appearance fee, regardless of competition results, and has a whopping $2.2M combined prize purse. White’s own successful snowboard career has brought him a level of celebrity and entrepreneurial success.
Designed by luxury jewelry maker, Tiffany & Co., the trophy aims to match the caliber and legacy of the League’s world-class athletes. Crafted from the precious metals Tiffany & Co. is known for, the League wanted to create a trophy that is indicative of and celebrates the high-level achievements of these athletes.
“From the beginning, we wanted to raise the bar for what a championship in winter sports could look like. Partnering with Tiffany & Co. to create a luxury trophy brings a sense of permanence, prestige and history that our sports have been deserving of for so long,” said White in a press release. “These are world-class athletes performing at the highest level, and it felt important that the trophy reflect that same level of excellence, craftsmanship and greatness.”
The 2026 POWDER Photo Annual is here! Look for a print copy on a newsstand near you, or click here to have a copy shipped directly to your front door.
The Snow League Championship trophy, designed by Tiffany & Co.
Dean Blotto Gray/The Snow League
Standing 14.25 inches tall and weighing in at 13 pounds, the trophy is crafted from sterling silver and 24k gold vermeil. It took roughly 30 weeks to craft at the Tiffany hollowware workshop in Rhode Island using traditional silversmithing and advanced fabrication techniques.
The design reflects the movement and precision of halfpipe riding, with contemporary yet organic lines inspired by halfpipe aerials. The top of the trophy is supported by four intersecting pillars that form the shape of a halfpipe and represent the Snow League’s brand and the ethos of bringing together freeski and snowboard cultures.
The trophy will be presented annually to the men’s and women’s world champions of the freeski and snowboard halfpipe finals at the Snow League and any future Snow League Championship events. New rings will be added with each champion crowned, and the names of winning athletes will be etched into it to cement their legacy in freeskiing and snowboarding.
The Snow League championship trophy.
Dean Blotto Gray/The Snow League
The Snow League’s third event of the season takes place in Aspen Buttermilk this weekend (February 27-28), with the snowboard field competing ahead of the season finale.
In March, the first Snow League World Champions will be crowned in both freeski and snowboard at LAAX, Switzerland.
Related: A Letter To Skiers After One of the Worst Avalanche Weeks In History
Principal photography is set to get underway March 1 on “Chheledhora,” a Bengali-language thriller from writer-director Shieladitya Moulik.
The Indo-American co-production, starring Swastika Mukherjee, will film across locations in Itanagar and Ziro in the northeastern Indian state of Arunachal Pradesh.
Moulik, whose previous work includes the “Sweater” and “Surjo,” centers the film on Brishti, a divorced woman – flawed, wounded and largely misread by those around her – who impulsively “steals” her daughter for a birthday celebration, only to find the child genuinely abducted. An unexpected discovery sets off a volatile chain of events that sends Brishti on a life-altering journey. The film weaves together family drama, thriller elements and dark humor, with a morally complex female protagonist at its center, and is aimed at the international festival circuit.
“‘Chheledhora’ is a story about broken parents discovering the courage and selflessness they didn’t know they possessed,” said Moulik. “I’m deeply interested in flawed people who are still capable of love. This film may unfold like a road journey with unexpected twists and turns, but at its heart, it’s about healing – about how children, often unknowingly, become the moral compass for adults. It’s a very intimate story about second chances and rediscovering one’s humanity.”
Mukherjee brings a wide range of character work to the role, with credits spanning Dibakar Banerjee’s “Detective Byomkesh Bakshy!” for Yash Raj Films, Buddhadeb Dasgupta’s Telluride and Toronto title “Janala,” Prime Video series “Paatal Lok,” Netflix’s “Qala,” and most recently a gangster turn in “Kaali Potka” for ZEE5.
“Brishti is not an easy woman to like, and that’s what moved me,” said Mukherjee. “She is impulsive, wounded and deeply flawed, but her love for her daughter is instinctive and fierce. I was drawn to the vulnerability in her – the way this unexpected journey forces her to confront herself. At its heart, this is a very tender story about motherhood, forgiveness and finding strength in the most fragile moments.”
The film is co-produced by India’s Handyyman and Sita22 Films, which operates across India and the U.S. Handyyman’s previous credits include the streaming show “Hawa Badle Hassu” and the Indo-Italian-Swiss co-production “Interdependence.” Sita22 Films is a new production company founded by Anindita (Ann) Mukherjee, who spent four decades as a corporate executive at global companies.
“Shieladitya and I go back to our early advertising days, including our first NFDC Film Bazaar in 2014 with ‘Mrs Scooter,’ his first feature – which built a strong creative shorthand between us,” said Protiqe Mojoomdar of Handyyman. “When I read ‘Chheledhora,’ I had this urgent instinct to come on board because the script had emotional depth and commercial energy, and with Swastika attached early, we knew we had a winner.”
Added Ann Mukherjee: “Throughout my four decades as a corporate executive at global companies including PepsiCo, S.C. Johnson and Pernod Ricard, I’ve seen how creativity is the oxygen to growth. ‘Chheledhora’ drew me in because it places women and children at its emotional core – portraying both their vulnerability and resilience. Funding and co-producing this film reflects the kind of socially-conscious, emotionally-layered stories I want my new production company to champion, in order to give voice to those who are innocent and voiceless.”
Italian cinematographer Vincenzo Condorelli, whose credits include “Cobalt Blue” and “Songs of Paradise,” will lens the film amid the dramatic terrain of Ziro Valley. The crew includes line producer Suven Kumar Das (“Chitrangada”), creative producer Jitin Hingorani (“Call Me Dancer”), production designer Somanwita Bhattacharya (“The Hunt: The Rajiv Gandhi Assassination Case”) and costume designer Ajopa Mukherjee (“Fish, Sweets, & More”). Production is expected to run through the end of March, with additional casting still to be unveiled.
