Events
SEASON OF HOPE ARRIVES WITH SPRING FESTIVALS IN TAIWAN
Hakka Tung Blossom and Cherry Blossom Festivals in Taiwan mark onset of Spring
It is often said ‘Earth laughs in flowers’ and March welcomes the season of joy and hope in Taiwan with two festivals honouring the onset of blooms. The Hakka Tung Blossom Festival which begins in March, and The Cherry Blossom Festival, for which the trees have already begun to blossom. Both festivals will continue till early-May and apart from being a delightful sight for visitors, they also mark a time for harvest, prosperity and prayers.
Dr Lin Trust, Director of Taiwan Tourism Bureau for India, Middle East, Singapore and Asia-Pacific, says, “Taiwan is one of the few destinations that has something to offer every season. To me, — spring is the best time to visit with the weather and flowers. The Visitor numbers from India have been increasing year-on-year and we want to offer travellers the option to explore Taiwan for reasons that delight them. We are also working closely with airlines to improve connectivity to Taiwan.”
During the Tung Blossom Festival, visitors are invited to soak in the beauty of the white blooms of the Tung trees and participate in a grand ceremony to worship the three Mountain Gods, the guardian spirits of the Hakka. The Tung tree appears vastly different throughout the four seasons and bears a beautiful snowy white colour up until May. The inspiration of the Tung Blossom Festival comes from the Hakka people, who possess deep feelings and heartfelt gratitude towards the Tung trees, the surrounding mountains and nature in general. Tung trees cover the hills and fields of the Taichung area and have historically been an important cash crop for the Hakka.
Northern and central Taiwan are currently bearing pink hues, with the Wulai Cherry Blossom season in full bloom. Taichung City and Nantou’s Sun Moon Lake are some of the prettiest sights in Central Taiwan, and for those who are slightly more adventurous, the Wuling Farm on the outskirts, with its over 30,000 cherry trees, is one not to miss — you’ll get to admire varieties including the Oshima cherry, Yaezakura cherry and Wusheh cherry.
Written and directed by Manoj Tapadia and presented by PEN Studios in association with Manikarnika Films, Bharat Bhagya Vidhata is scheduled for theatrical release on June 12, 2026. Inspired by true events during the horrific 2008 Mumbai terror attacks, the film shifts attention away from conventional depictions of tragedy and instead illuminates the extraordinary actions of ordinary individuals working within Mumbai’s Cama Hospital. At its heart lies a powerful tribute to nurses, ward boys, security personnel, and hospital staff whose bravery ensured the safety of hundreds of patients during one of India’s darkest nights.
Kangana Ranaut leads the film as a senior nurse inspired by the real-life heroism of Anjali Kulthe, delivering a performance rooted in determination and quiet strength. Supporting her is an accomplished ensemble featuring Girija Oak, Smita Tambe, Amrutha Namdev, Esha Dey, Suhita Thatte, and several others, each contributing meaningfully to a narrative that intentionally avoids portraying heroism as the achievement of a single individual. Instead, the film emphasises collective courage, illustrating how every member of the hospital staff became an indispensable part of a larger effort to protect vulnerable lives.
Without venturing into spoiler territory, Bharat Bhagya Vidhata succeeds in immersing viewers in the tension and uncertainty of the situation. The screenplay maintains a commendable pace, ensuring that the emotional weight never overwhelms the narrative momentum. More importantly, the film serves as a timely reminder of the often-unrecognised contributions of nursing staff and hospital attendants. In moments of catastrophe, while doctors shoulder immense responsibility in critical care and decision-making, nurses and support workers are the constant presence, managing countless essential tasks that keep an institution functioning.
Beyond the screening itself, the premiere offered valuable insights into the filmmaking process. The evening was marked by a lively atmosphere, with extensive media interactions, cast interviews, and behind-the-scenes discussions. Members of the cast and crew shared their experiences portraying real-life events, the challenges of balancing historical sensitivity with cinematic storytelling, and the responsibility of representing individuals whose bravery largely went unrecognized by the public. These conversations provided a fascinating glimpse into the creative and emotional investment that shaped the production.
Perhaps the film’s greatest achievement lies in its ability to honour heroism without romanticising tragedy. In doing so, Bharat Bhagya Vidhata transforms a familiar chapter of history into a moving tribute to those whose actions saved lives but whose stories rarely occupied the spotlight. Combining emotional depth, strong performances, and a deeply respectful approach to its subject matter, the film stands as both an engaging drama and a deserving tribute to everyday heroes who became extraordinary when circumstances demanded it.
CROISETTE CHRONICLES — PART II
“Sun, Silk & Studied Chaos”
If the first week of Cannes 2026 whispered, the second week grabbed you by the collar.
A blush-pink strapless column gown arrived on the Croisette with the kind of quiet ferocity only a seasoned red carpet can absorb. Pearl-scattered at the bust, its satin surface caught every camera flash. It was paired with a voluminous silver-grey cocoon coat draped off both shoulders — not worn, deployed. Chandelier diamonds framed the ears, stacked rings adorned both hands, and sleekly pulled-back hair revealed a razor-sharp jawline. This was old Hollywood reconstructed by someone who found the original too polite.
Then came the moment that stopped the Croisette mid-scroll: a chartreuse pleated one-shoulder gown, its fabric engineered into deep diagonal ridges sweeping from a sculpted shoulder down to a dramatic thigh-high slit. Photographed against palm trees and Mediterranean light, it looked less like an outfit and more like a natural phenomenon — moss-coloured, elemental, inevitable. A single emerald pendant rested at the throat. Loose waves, barely tamed, completed the look. The overall effect? A woman who dressed for the landscape, not the photographers — and somehow captivated both.
Beside the sea, another story unfolded. A dark sequinned gown — midnight black fading into deep magenta — was worn against the backdrop of open water. Hair loosened by the wind, a glance thrown back over one bare shoulder. Delicate crystal chains descended the open back like jewellery transformed into architecture. No carpet, no crowd. Just Riviera light and the confidence to command it entirely.
Then came the cultural statement that deserved its own paragraph: a halter-neck anarkali of extraordinary intricacy. Silver and blush floral embroidery spread across ivory silk, while a heavily diamond-encrusted halter neckline functioned as both collar and jewel. A maang tikka and oversized jhumkas completed a look worthy of museum display. A blush dupatta trailed behind with quiet drama. This was Indian couture presented not as a translation for a Western audience, but entirely on its own terms — unapologetic, uncompromising, and self-assured.
Finally, there was the fashion commentator who became the story. A multicoloured embroidered bandhgala blazer — alive with iridescent threadwork in mauve, teal, and gold — was paired with plum trousers and a galaxy of statement rings. Frameless glasses added restraint to the visual richness, while the smile carried a different message altogether: I dressed for myself first. At Cannes, where everyone performs for someone, that may be the most radical statement of all.
“The Riviera didn’t dress them. They dressed the Riviera.”
Events
Fashion Designer Amit GT and Le Marquise Jewellery by Jasmine Gulati Jain and Sambhav Jain Showcase Excellence Under the Golden Lumière Awards at the 79th Festival de Cannes 2026 Show Directed by Liza Varma
As part of India’s multi-platform presence at the 79th Festival de Cannes 2026, internationally renowned Show Director Liza Varma from India led a delegation of Indian designers and jewellery labels at the Fashion TV Presentation held on 18th May 2026 at the Majestic Hotel, Cannes, at 9:30 PM (CEST).
The showcase featured celebrated Indian designer Amit GT along with Le Marquise Jewellery by Jasmine Gulati Jain and Sambhav Jain, presenting a curated display of fashion and jewellery that reflected contemporary Indian design sensibilities on an international platform. Amit GT’s showcase was presented under the prestigious Golden Lumière Awards Cannes 2026, hosted at the Majestic Hotel Beach, Cannes.
The Golden Lumière Awards show is hosted at the Majestic Hotel Beach, Cannes2026, where cinema meets luxury, celebrating outstanding personalities from international cinema along with visionary business leaders supporting art, culture, cinema, and the future generation of creators. The grand evening was attended by international personality Farhana Bodi and actress Urvashi Rautela, while actress Pooja Batra. The event was produced by Anna Neneman from ENW Showroom.
Speaking about the showcase, Liza Varma said, “My focus is to create opportunities for Indian designers and talent to present their work in international environments. Cannes provides an important global platform to showcase the strength of Indian fashion, craftsmanship, and creative talent before an international audience.”
Held alongside the 79th edition of the Cannes Film Festival 2026, the presentation formed part of a larger initiative led by Liza Varma to create global visibility for Indian designers, jewellery labels, and creative talent through curated showcases and international collaborations at Cannes.
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