Jeff Mason is a White House Correspondent for Reuters and the 2016-2017 president of the White House Correspondents’ Association. He was the lead Reuters correspondent for President Barack Obama's 2012 campaign and interviewed the president at the White House in 2015. Jeff has been based in Washington since 2008, when he covered the historic race between Obama, Hillary Clinton and John McCain. Jeff started his career in Frankfurt, Germany, where he covered the airline industry before moving to Brussels, Belgium, where he covered the European Union. He is a Colorado native, proud graduate of Northwestern University and former Fulbright scholar.
Twitter handle: @jeffmason1
This is the year of the rape-revenge drama. After Raveena Tandon’s “Maatr” and Sridevi’s “Mom”, it is now the turn of the father to exact vengeance. In his first film after spending four years in jail for firearms offences, Sanjay Dutt takes the law into his own hands in “Bhoomi” to punish the men who raped his daughter.
In a scene in Amit Masurkar’s “Newton”, the eponymous protagonist is at his desk with a neck brace, thanks to an injury. It might be a brace, but in the way it prevents Newton from turning his head and hampers his movements, it might as well be a pair of blinkers.
Apoorva Lakhia’s “Haseena Parkar” is a film that is more concerned with making money than it is about telling the true story of that rare woman who made it to the top in the underworld. Why else would you see Haseena as a young bride in 1976, watching a movie and sipping on a brand of bottled water that definitely did not exist during the period? There is a time and place for brand promotions, but this is not it.
Advait Chandan has spent the last seven years managing Aamir Khan. And watching one of Bollywood’s biggest stars at such close quarters, he says, gave him an invaluable insight into the art of film-making.
Pankaj Tripathi went from being a murderous butcher in Anurag Kashyap's "Gangs of Wasseypur" to a docile father in "Bareilly ki Barfi" - and won acclaim for both roles. The National School of Drama alumnus has been acting in Bollywood for 12 years, but says it's only now that he's being noticed and credited.
Less than a month after “Qaidi Band”, another set of prisoners form a music band in jail - picking up life lessons and making friends in the process.
Emerging out of the theatre after watching “Simran”, one wishes this film wasn’t swirling around in as much controversy as it is. This is a film with merit, and with a central performance strong enough to iron out faults and shortcomings in other departments.
The 2014 Marathi film “Poshter Boyz” was a mostly loud, but bearable comedy about three men who find themselves on a government poster advertising voluntary vasectomies. The ad causes an upheaval in their lives, living as they do in a village that apparently hasn’t moved on from the last century.
In the world of “Daddy”, darkness rules in the frame and in the story being narrated. Ashim Ahluwalia’s biopic of one of Mumbai’s most feared gangsters is full of dank, seedy alleys and teeming chawls, where bullets fly easily and you never know where the enemy could be lurking.
Amit Masurkar's second film puts the spotlight on the election process in the Indian heartland, a subject rarely tackled by film-makers in the world's largest democracy.