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Alia Bhatt Gives Savage Reply to Troll Who Claimed Nobody Noticed Her at Cannes
Alia Bhatt recently gave a graceful yet sharp reply to a troll who claimed that nobody noticed her on the red carpet at the 2026 Cannes Film Festival. The actress is currently attending the prestigious festival as a representative of L’Oréal Paris.
While Alia’s first red carpet appearance at Cannes received praise from fans and fashion enthusiasts, a section of social media users mocked her by claiming that foreign paparazzi did not pay attention to her during the event. One netizen even commented on Alia’s post, writing, “What a pity no one noticed you.”
However, the actress chose to respond with wit and grace. Replying to the comment, she wrote, “Why pity love, you noticed me :)”
Check out her reply here:
However, amid the trolling, her fans backed her up and took a stand for her. One of them commented, “What a pity whole Indian noticed her and all hollywood media pages post about her. Some stupid insta pages can’t stop her,” while another added, “@aliaabhatt omg you ate her up with this girlyyy you stole the entire spot at the cannes!! Serving look after another look”
Meanwhile, Alia Bhatt revealed her fifth look at the Cannes Film Festival today. She donned a stunning Tarun Tahiliani ensemble at the recent L’Oreal Paris dinner.
The outfit is an ode to the timeless legacy of Indian chintz textiles. Rendered in deep burgundy and muted ivory, the couture draped saree marries Victorian-inspired corsetry with the fluid grace of Indian draping, balancing structure, softness and sensuality in perfect harmony. Rooted in archival romance yet undeniably modern, the look celebrates India’s textile artistry on the global stage at Cannes.
On the work front, Alia Bhatt will be seen in Love & War with Vicky Kaushal and Ranbir Kapoor. She is also slated to lead the espionage thriller Alpha with co-star Sharvari.
Also Read: WATCH: Neetu Kapoor Is in Awe of Alia Bhatt’s Cannes 2026 Look
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Editors Take: Remembering Mrinal Sen The Filmmaker Who Provided No Easy Answers
Mrinal Sen was one of Indian cinema’s most fearless and politically aware filmmakers, known for capturing the anxieties, contradictions and struggles of society.
Along with Satyajit Ray, Ritwik Ghatak and Tapan Sinha, he played a major role in India’s parallel cinema movement. Sen’s films often explored themes of corruption, inequality, middle-class hypocrisy and the failures of systems, while constantly questioning the world around him.
On his birth anniversary today, Filmfare’s Editor-In-Chief Jitesh Pillaai writes about his legacy. In his words:
How does one describe loss? Especially of someone who was never at a loss to describe and portray human frailty. Mrinal Sen was an angry filmmaker railing against the system, the politics of polity, the dynamics and hypocrisy of society and relationships.
His take on politics and the middle class, as seen in his Calcutta trilogy – Calcutta 71 (1972), Interview (1971) and Padatik (1973) – his fantastic juxtapositioning of a famine within a film’s framework in Akaler Sandhaney (1980), his criticism of middle-class mores in Ek Din Pratidin (1979), Kharij (1982) or Ekdin Achanak (1989).
His lens eye took a sharp and sometimes severe look at the existing governments, the corruption, and the state’s inability to provide real-time solutions to the problems of the common man. He railed against an ineffectual system in Kharij, Oka Oori Katha (1977), Akaler Sandhaney.
Working with actors as diverse as Ranjit Mullick, Utpal Dutt, Shabana Azmi, Smita Patil, Dimple Kapadia, and Mithun Chakraborty, Sen’s work was not easy, and one did get lost in the symbolism and expressionism of some of his films, like Genesis (1986).
He provided no easy answers, and his lamentations of loss in Khandhar (1984) did seem indulgent. But the pathbreaking Bhuvan Shome and gems like Ekdin Pratidin revealed his sterling qualities as an erudite and yet sensitive filmmaker ranked alongside greats like Ritwik Ghatak and Satyajit Ray.
Mrinal Sen is no more. But his films will live on forever in the minds of anyone who’s acutely aware and sensitive to the environment in which he lives. Sen films need constant revisiting, not only to understand their subtleties but also to jolt us out of our complacency that comes with the passage of time. RIP Mrinalda.
Also Read: Editor’s Take: How KG George Redefined Malayalam Cinema With Human Fragility