Filmmaker Frederick Wiseman has died. The celebrated documentarian started making documentaries that captured the weirdness and wonder of everyday life in the mid 1960s and did not stop until 2023. Wiseman died Monday. His family issued a joint statement with Zipporah Films. He was 96. Making movies was always an adventure, Wiseman said in 2016, during a speech at the Academy Awards when he won an honorary Oscar. “I usually know nothing about the subject before I start,” he said at the black-tie ceremony. “And I know there are those that feel I know nothing about it when it’s finished!” Wiseman was extremely prolific. He made roughly 50 documentaries, many of which chronicled the inner workings of institutions as diverse as the Idaho state legislature (State Legislature, 2007), the New York Public Library (Ex Libris, 2017), and a high school in Philadelphia (High School, 1968). “I wish I could be more like him,” said Oscar-winning documentarian Errol Morris in an interview with NPR about Wiseman before the elder filmmaker died. Morris said Wiseman’s super-charged yet subtle way of interpreting everyday life had more in common with the Theater of the Absurd than documentary filmmaking. (Indeed, Wiseman also had a career as a theater director in the U. S. and Europe, helming plays by the likes of Samuel Beckett and Luigi Pirandello.) “He has a way of finding in reality some of the most surreal, absurd moments that I’ve ever seen anywhere,” Morris said. By way of example, Morris points to a scene in Wiseman’s 1993 documentary Zoo, in which an all-women surgical team at Miami zoo castrates a wolf. “And it seems like the entire scene is populated by women except for the janitor standing by the exit door, looking nervously on with his hands folded over his crotch,” Morris said. “To me, this is really almost as good as it gets.” Morris added Wiseman was a mentor to him and a close friend. After Morris lost both his father and brother to heart disease, and was worried about his own fate, the filmmaker said Wiseman organized medical help for him. “I can even credit Fred with saving my life,” Morris said. Frederick Wiseman was born in Boston in 1930. After serving in the U. S. Army during the Korean War and living in Paris during the 1950s, he taught law at Boston University. It was taking his students on field trips to Bridgewater State Hospital, a Massachusetts prison facility for the criminally insane, that compelled the then law professor to direct his first, and most famous, film. Made in 1967, Titicut Follies gets its title from a stage show put on by the inmates at the institution. After its seemingly benign opening, the movie captures the appalling conditions under which the inmates are kept, with unblinking scenes of bullying, force feeding, strip searches and squalor. Titicut Follies was so shocking, the state of Massachusetts managed to get it banned from public screenings for more than two decades. “In order for anyone to see that film, for years you had to sign a declaration saying that you were a professional in one of the following fields, like criminology, law or film studies,” said film scholar Barry Keith Grant, author of Voyages of Discovery: The Cinema of Frederick Wiseman. Still, Grant said the movie sealed Wiseman’s future. “It gave him a lot of notoriety and it helped establish his career,” Grant said. Over the years, Wiseman became known for his meticulous, hands-on process. He directed, produced and edited his movies. In a 2014 interview with NPR, the filmmaker described making National Gallery, his documentary about the famed London art museum. “I was there for three months, every day for twelve weeks, probably twelve, fourteen hours a day,” Wiseman said of the shoot, adding he amassed 170 hours of footage. “So the ratio between film shot and film used is about 60 to one.” Wiseman’s films were also known for their prodigious length, running for as long as six hours. “I don’t tailor the length to meet any commercial needs,” Wiseman said. “I assume if people are interested, they’ll watch it, whether it’s 75 minutes or three hours.”.
https://www.npr.org/2026/02/16/1184170407/frederick-wiseman-obituary
Tag: filmmaker
Thamma director Aditya Sarpotdar defends use of item songs: “They’re marketing assets, but my story unfolds through them”
Filmmaker Aditya Sarpotdar, currently basking in the success of his latest release *Thamma*, has addressed the ongoing criticism surrounding the film’s inclusion of three item songs: “Poison Baby,” “Tum Mere Na Huye,” and “Dilbar Ki Aankhon Ka.”
The director, who earlier delivered the horror-comedy hit *Munjya* within the same universe, spoke openly about the debate in an interview with SCREEN. He explained his creative reasoning and how such songs serve a functional role in modern storytelling and marketing.
### Thamma Director Aditya Sarpotdar Defends Use of Item Songs:
**“They’re marketing assets, but my story unfolds through them.”**
Reacting to the backlash, Sarpotdar stated, “All these things are marketing assets that lead you into a film. What counts is what the film gives you in the end. For me, when these songs appear, they’re there because my story unfolds through them.”
The filmmaker emphasized that the tracks are not inserted merely for glamour but are woven into the narrative to enhance its rhythm and emotional beats.
The discussion around *Thamma*’s music gained traction after audiences questioned the need for three distinct item songs in a horror-comedy. Addressing the criticism head-on, Sarpotdar pointed out that audience perception seems to have shifted in recent times.
“This is the same audience that loved ‘Taras’ in *Munjya* and ‘Aaj Ki Raat.’ Nobody had a problem then. But now, suddenly, it’s an issue. Maybe it’s just happening more often, so people are reacting differently,” he remarked.
*Thamma*, which stars Ayushmann Khurrana and Rashmika Mandanna, marks the first love story set within the Maddock Horror Comedy Universe—an interconnected cinematic world that includes *Stree*, *Bhediya*, and *Munjya*.
Despite receiving mixed critical reviews, the film continues to perform steadily at the box office, drawing audiences for its blend of romance, supernatural intrigue, and quirky humour.
Aditya Sarpotdar’s response reflects a broader conversation about how item songs are evolving in contemporary cinema—from being standalone entertainment numbers to narrative devices and powerful promotional tools.
As he puts it, what truly matters is the story that remains long after the music fades. With *Thamma*, Sarpotdar once again proves that commercial appeal and storytelling can coexist, even if it means defending a few catchy beats along the way.
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**Also Read:**
[EXCLUSIVE: Thamma actor Rachit Singh aka Veeran on waiting 10 years for the big break, “In these 10 years, I was working every day”; also reveals that his body transformation took 9 months]
**More Pages:**
– Thamma Box Office Collection
– Thamma Movie Review
– BOLLYWOOD NEWS LIVE UPDATES
https://www.bollywoodhungama.com/news/bollywood/thamma-director-aditya-sarpotdar-defends-use-item-songs-theyre-marketing-assets-story-unfolds/
Madhur Bhandarkar objects to Chandni Bar Returns; producers claim legal rights secured
**Madhur Bhandarkar Raises Objection to Title ‘Chandni Bar Returns’; Producers Claim Legal Rights Secured**
Filmmaker Madhur Bhandarkar has expressed objections to the use of the title *Chandni Bar Returns* by producer Sandeep Singh and director Ajay Bahl. Bhandarkar, who directed the original *Chandni Bar* (2001) starring Tabu, has lodged a complaint with the Indian Motion Picture Producers’ Association (IMPPA). He claims the makers of the sequel are using his registered title without proper consent.
The 2001 drama, which won multiple National Awards and established Bhandarkar’s name in Indian cinema, remains one of his most acclaimed works. In his complaint, he alleged that the title *Chandni Bar* belongs to him, and that Singh and Bahl have proceeded without authorisation.
Following Bhandarkar’s grievance, IMPPA has reportedly instructed the makers to halt the use of the title until the dispute is resolved.
### Producers Respond with Legal Clarification
In response, Sandeep Singh’s Legend Studios issued an official statement countering Bhandarkar’s claims. The studio asserted that they hold all necessary rights to proceed with the project.
Legend Studios clarified that they acquired the option rights to the title from the original producers of *Chandni Bar*, represented by the late R. Mohan’s wife, Lata Mohan Iyer. She is listed as the proprietor in the Government of India’s Trademark Registry.
Co-producer Vishal Gurnani stated:
“Sandeep Singh’s Legend Studios has acquired the Option Rights of the said title from the Original Producers, who are also the owners of the Registered Trademark and IP rights of the original cult classic *Chandni Bar* (2001). We want to state that no other banner can legally make the said film. Our IP lawyers are replying to the concerned trade associations and are taking all necessary steps to validate and protect our legal rights.”
Additionally, the studio shared the official trademark certificate (Application Number 1662053, Class 41), listing Lata Mohan Iyer as the proprietor, substantiating their claim to the title.
### The Road Ahead for *Chandni Bar Returns*
Despite Bhandarkar’s objection, Legend Studios has confirmed that the sequel is moving forward. Directed by Ajay Bahl, *Chandni Bar Returns* is slated for a worldwide release on December 3, 2026.
The makers describe the film as a reimagined sequel that will retain the essence of the original while presenting a modern, gritty narrative tailored for contemporary audiences. Legend Studios emphasizes its commitment to honoring the legacy of the 2001 classic while ensuring that the production of *Chandni Bar Returns* remains legally compliant and respectful of the original’s cultural impact.
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**Also Read:**
[Ankita Lokhande turns producer with Chandni Bar sequel; says she wants to pave the way for newcomers]
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**More Pages:**
– Chandni Bar Box Office Collection
– Bollywood News Live Updates
https://www.bollywoodhungama.com/news/bollywood/madhur-bhandarkar-objects-chandni-bar-returns-producers-claim-legal-rights-secured/
