Gurmathi Soni Bal has scored a record for India in the Ice Marathon match in Antarctica .
An international marathon tournament was held in the freezing area of Antarctica. 51 competitors from 16 countries around the world participated in the competition and ran with enthusiasm. There were 41 males and 10 females.
The competition was held in the area where the temperature was below 20 degrees Celsius. The marathon was held for both men and women.
The competition was held for a short duration of 42.2 km. In the men’s section, Polish compatriot Beodor Sussenaya took the top spot. Susanneya went past a half-hour ahead of second-placed Isaac Thierry.
In the men’s section, the top spot went to Beodor distance in 3 hours 49 minutes and 18 seconds. He was also the winner of the North Pole Marathon in the world’s coolest area in the Arctic Ocean last year.
In the women’s section, Roma Buisena of Australia took the top spot in 5 hours and 3 minutes 32 seconds. Gurmeet Sony Jawani took the 3rd place. He went past 6 hours 55 minutes and 46 seconds.
Kurmith has been participating in the past eight years. He has completed 20 full marathon matches. He has also participated in 6 ultra marathons, including comrades. His best run is a rider in a marathon of 3 hours and 54 minutes.
He wants to participate in ice marathon tournaments, and he says my goal is to run in marathon matches in seven continents.
In the same match, Arunjot Singh Balu of India participated in the men’s section. So far, he ran for 9 marathons and took 35th place in the tournament.
A still from 2.0 (photo credits: Lyca Productions)
Can 2.0 be the next Baahubali 2? Or the next Thugs of Hindostan? Considered the most expensive movie made in India to date, 2.0 is riding high on big expectations and star power of Rajinikanth, Akshay Kumar and Amy Jackson, as well as the promise of some good special effects. But when it comes to content, 2.0 may not have got the high critical reception as the SS Rajamouli epic, it hasn’t been as trolled as much as the Aamir Khan (which, to be honest, was quite unfair. TOH might be boring but it isn’t as bad as some of the reviews claim it to be).
However, 2.0, directed by S Shankar, has got a very good response from the fans of both Rajinikanth and Akshay Kumar. Trade experts had already predicted that 2.0 will take off to a flying start at the box office. 2.0 has got a fantabulous response in South of India, and in the northern territories too.
As per trade analyst Taran Adarsh, The Hindi dubbed version have gone on the earn Rs 20.25 crore.
Here’s what our review has to say about 2.0 – “In 2.0’s own slang, the film has a very good firmware and a dazzling body, but loses battery rapidly and shuts off frequently. While I am in awe at the movie’s ambitions and congratulate the team for nearly pulling it off, I just wish that beautiful canvas had a Mona Lisa to show off!”
So are you happy with the box office response of 2.0? Share your thoughts in the comments section below.
Well, it’s an old story. Many great films here only get a tiny cinema release, restricted to a couple of cities, and Roma is getting a wider showing than others in the past. Some of the accusers are behaving as if they have never deigned to watch a movie on TV or DVD in their lives. But there is a point here. Roma has to be seen on the big screen. Isn’t it possible for Netflix to widen the big-screen release in the UK and also Ireland for awards season and the New Year? Doesn’t the prospective box office bonanza attendant on its prizewinning success make this economically viable?
Anyway, the year is 1970: posters for that summer’s World Cup, held in Mexico, are still seen in one child’s bedroom. The title refers to the city’s Colonia Roma district and to the director’s belief that Mexico City has been evolving in the four decades since into a non-imperial grandiosity, a quasi-Rome in its commotion and sprawl.
Roma is fundamentally the tale of two women. One is Cleo (played wonderfully by non-professional newcomer Yalitza Aparicio), a young woman of Mixteco Mesomaerican heritage working as a live-in maid for a beleaguered upper-middle-class family in Mexico City. Cleo’s personal life is beginning to unravel in tandem with that of her employer, Sofía (Marina De Tavira).
Cuarón shows how the household, though placid enough, is under pressure. There are signs of tension and dysfunction. The tiled courtyard driveway, which is shown being mopped clean over the opening credits, is habitually covered in the excrement of the family’s much cherished dog. The man of the house, Antonio (Fernando Grediaga), parks his car in this space with a wearied yet fanatical care that hints at his own unhappiness.
His wife Sofía presides over four boisterous children, but the real work is being done by Cleo and her fellow maid Adela (Nancy García García), who are always eligible for the condescension of class and race but are nonetheless well treated. Antonio keeps going away for what are supposedly business trips and a stressed Sofía one day tells the children it would be a good idea to write to their dad, imploring him to come back. Meanwhile, Cleo has to explain to her dodgy, martial-arts enthusiast boyfriend Fermín (Jorge Antonio Guerrero) that she has missed her period. It is the prelude to disaster.
There is tragedy, comedy and absurdity here, along with sublime mystery in its extraordinary setpieces. At the heart of it all is a wonderful performance from Aparicio, who brings to the role something delicate and stoic. She is the jewel of this outstanding film.