In a scene where dance styles meet contemporary music, The Ghungroo Dance School in Stevenson Ranch is expanding its repertoire beyond traditional Indian classical forms. Under the guidance of choreographer and instructor Manya Aggarwal, the school is now bringing the energy of Bollywood hip-hop to a new generation of young dancers. 

Manya is bridging cultural divides and igniting a passion for a dynamic fusion of styles.She is a recent graduate of the California Institute of the Arts with a Bachelor of Fine Arts in Dance Performance, and has toured with Joya Kazi Unlimited as a dancer for her well-renowned production- “Rhythm India: Bollywood and Beyond” by AMP Worldwide which tours once annually. 

The Ghungroo Dance School, traditionally known for its mastery of semi-classical Indian dance, has embraced a broader vision for its students. “We want to provide a studio for dancers to learn from local choreographers like myself, while exploring a range of dance styles, tied to Indian culture,” explains Manya, who heads the school’s hip-hop and bollywood training. 

Bollywood dance relates to the Hollywood of the east, known as Bollywood, founded over 50 years ago in India. Many of the Bollywood films are romantic themes and have choreographed dance songs, which are uplifting in nature. Bollywood dance fuses together eastern and western dance styles, incorporating hip movements and traditional folk elements.

“I believe that dance is a medium with the power to transcend cultural boundaries,” she said. “Whether it’s the energetic Bollywood beats or bassy rhythms of hip hop, every dance style has a place at our school.” This inclusive philosophy is deeply ingrained in the school’s founding belief that dance is a universal language capable of fostering connection and storytelling.

Manya herself brings a wealth of experience and a unique perspective to her teaching. Raised in Mumbai, India, her early training at The Danceworx Performing Arts Academy in ballet, contemporary, jazz, hip-hop and her exposure to bollywood fusion has equipped her with a versatile skill set. Having studied dance her entire life, her specialization in these diverse genres allows her to blend cultural influences from India with American pop culture, creating a distinct artistic voice that resonates with her students. 

The popularity of Bollywood dance in the United States has seen a significant surge in recent years, a trend Manya has witnessed firsthand (it currently has over 22 million hashtags on TikTok). “I have definitely seen it grow, and there are a lot of fans of Bollywood films, music, and even dance,” she states, referencing the rise of Bollywood-inspired TikTok trends. “I am seeing the love and respect grow for Bollywood dance every day as people are fascinated by how fun it is, and how people who aren’t from the culture are embracing it.”

When it comes to teaching, Manya’s approach is intuitive and creative. “I choose songs that make me move instantly and fuel my creativity,” she shares. “As I teach all age groups, I see what vibe goes best with the youngsters versus the adults and accordingly plan the class.” This adaptability ensures that each session is tailored to keep students engaged and motivated.

While Bollywood dance is gaining traction, Manya’s personal passion lies with hip-hop. As a hip-hop instructor, she understands its immense demand. “I personally love hip-hop dance the most; it is what I relate with and love in terms of freedom in movement,” she explains. “I love the body language you get to embody when practicing the style. I feel like it’s in demand because of the culture and popularity of hip-hop in mainstream pop culture.” 

“It is the only dance form that is so free and has so little judgment for the kind of people who can do it. It’s welcoming in its approach, and hip hop music transcends me,” said Manya.

This inherent freedom and welcoming nature of hip hop perfectly complements the vibrant spirit of Bollywood. Manya expertly navigates the intersection of these two powerful genres through what is often termed “desi hip-hop.” 

This regional style, she explains, has its roots in both Bollywood and hip-hop. “In my understanding, I use Bollywood music and teach a fusion of hip-hop and Bollywood to it,” Manya clarifies. “In a lot of Bollywood movies, you will see this style being brought out because it is a perfect blend of western techniques as well as the Bollywood emotions.”

Manya’s playlist for her classes at The Ghungroo School often reflects this global fusion. “I love using songs with artists that collaborate with one another from different countries, such as Ed Sheeran with Arijit Singh,” she notes. “But nonetheless, I pick music based on what I see inspires me and is trending the most, as it excites the younger crowd.”

When it comes to her teenage students in Los Angeles, Manya finds their ability to learn astonishingly quick. “Teenagers are great at picking up the steps quickly,” she observes. “They tend to be slightly shyer than other age groups but do best with how fast they can pick up.” This rapid assimilation of choreography, combined with their burgeoning confidence, makes for dynamic and engaging classes.

With her extensive training, her passion for bridging diverse dance styles, and her innate ability to inspire young dancers, Manya Aggarwal is not just teaching Bollywood hip-hop moves; she is cultivating a new generation of artists who embody cultural appreciation, creative expression, and the sheer joy of movement. As The Ghungroo School continues to broaden its horizons, Manya’s vibrant instruction is sure to leave a mark on the Los Angeles dance scene.

The most rewarding aspect of Manya’s job at The Ghungroo School is the opportunity to connect with young minds through the art of dance. “I absolutely love being surrounded by children, and getting to teach them feels like a privilege because of their presence itself,” she beams. “I love seeing them pursue what they love and see them working hard to improve each class.”

Photos of Manya Aggarwal by Vince Trupsin.

In a month typically reserved for ghosts and ghouls, New York horror star Kris Prihodova has carved out her own reign of terror, dominating the scare season with an impressive trio of film premieres in October 2025. The Czech-born actress has quickly become a formidable presence in the genre, and her recent festival sweep shows she may be one of modern horror’s most exciting new indie scream queens.

The chilling marathon kicked off on October 13th with the premiere of “Anya,” a psychological thriller that screened at the prestigious NY Shorts International Film Festival. Just two days later, on October 15th, her film “Vlogcam” captivated audiences at the Downtown Film Festival in Manhattan. The grand finale came on Halloween night itself, October 31st, as “Nightmare Knocking” made its debut at the AMT Film Festival, ensuring Prihodova’s presence was felt throughout the entirety of the spooky season.

For Prihodova, October is more than just a month on the calendar; it’s an event. “October is the best month to release horror films because people cannot wait to be scared,” she explains. “There is something about that time of the year, when days are shorter, air is colder and everyone wants to cuddle up in a blanket and watch a movie.”

She believes the audience’s mindset is key to a horror film’s success during this period. “From my experience, audiences are much more emotionally open to fear in October. They want to feel that adrenaline, to jump in their seats, to scream and then laugh right after. It becomes a shared, exciting experience rather than just watching a film.”

This thrilling October was the culmination of a whirlwind two years for the actress. A graduate of the New York Film Academy with a surprising background in chemistry from Masarykova Univerzita, Prihodova has built a formidable resume in a short time. Her recent credits include the zombie horror “The Outbreak” (2024), the slasher “Hoodie” (2024), which was later renamed to the premiere title “Nightmare Knocking,” and the found-footage horror “Vlogcam” (2025). Her first feature, “The Devil” (2023), filmed in a remote cabin in her native Czechia, is still navigating the lengthy post-production process.

“Finishing movies can take really long sometimes and we actors are of course impatient to see the final result,” Prihodova admits, adding with a laugh, “‘The Outbreak’ was a zombie horror and I actually survived that one, which I’m very happy about. I got killed by the rest of them.”

Onto her next project, Prihodova recently wrapped filming on a new slasher, “Krazy Klowny,” (its TBA title), which utilized the historic and atmospheric Amsterdam Castle in Amsterdam, NY, as its backdrop. She describes a chilling plot centered on a children’s party clown whose deep loneliness and frustration, fueled by relentless bullying, boil over into a brutal, axe-wielding rampage against his former clients.

Filming in the castle provided an unforgettable layer of authenticity. “The space itself already has this mysterious energy which added something extra to the filming,” she recalls. “The sequence takes place during a large mansion party; we had around twenty background actors, and even a huge cake that became a centerpiece of the scene. The setting itself added so much character to the story.”

Beyond the jump scares and bloody rampages, Prihodova is drawn to horror that delves into the human psyche. Her film “Anya,” which portrays a woman struggling with schizophrenia, is a project she feels is particularly important. She is a passionate advocate for bringing mental health conversations into the spotlight.

“Mental health is a topic which should be always around,” she states. “The conversation comes in waves and people often forget to be more empathetic.. The reality is, you never know who is going through a tough time around you and kindness is something that costs you nothing but can make people’s lives much easier.” 

Prihodova revealed her own connection to the subject, explaining: “I wrote a script about a girl who struggles with OCD, because I myself do have this disorder and wanted to write something that explores more authentic angles about this topic.”

When asked if she considers herself a “scream queen,” which is the slang term for a horror film actress (who often dies in the movies), her answer is immediate and confident: “True. I definitely consider myself a bit of a scream queen at this point.”

For her, the title is a badge of honor, as horror is a mainstay in the film market. “Horror has become one of my favorite genres to work in, mostly because it allows you to explore so many different sides of yourself as an actor,” she says. 

“You can go from being vulnerable and terrified to powerful and unhinged, all within a single film,” said Prihodova. “If you do not get killed in the beginning, that is.” 

She also geeks out over the technical craft, praising the special effects that make the terror tangible. “Whether it’s fake blood, prosthetics, or a complex stunt sequence, those elements make filming such a fun and unpredictable experience.”

Prihodova finds a unique sense of empowerment in these often-intense roles. She sees the genre as a space where female characters can transcend traditional limitations.

“Acting in horror films is actually very empowering as a woman,” she said. “In horror, female characters are rarely static; they fight, they survive, they face their deepest fears, and often they’re the ones who carry the emotional core of the story. That journey, from vulnerability to strength, can be incredibly powerful to play.”

With an award-winning turn in “Anya,” multiple projects in post-production including “Drug Of Choice,” and a thriller she directed herself titled “Her” on the horizon, Prihodova’s triple-premiere October shows the piqued interest in the horror genre, which will continue throughout the year.

The best part of starring in horror films? Rather than staying poised and controlled, as she did walking down the runway as a model for Vera Wang during fashion weeks years ago, Prihodova loves the unhinged quality of playing in horror films.  “For me, horror allows women to break free from being ‘perfect’ or ‘controlled,’ I can be messy, terrified, furious, or completely unhinged,” she said. “There’s a lot of freedom in that.”

Movies have this incredible way of speaking to us, don’t they? They cross language barriers and cultural divides like nothing else can. But behind cinema’s biggest leaps forward, you’ll find directors who weren’t afraid to break the rules and try something completely new.

Let’s look at five filmmakers who didn’t just make great movies – they changed how we watch them entirely.

1. George Lucas: The Guy Who Made Space Feel Real

Before Star Wars, space movies looked pretty cheesy. George Lucas changed all that. This wasn’t just about better special effects (though Industrial Light & Magic certainly delivered on that front). Lucas made us believe in lightsabers and the Force because he understood something crucial: technology means nothing without a great story.

Think about it – when you watch the Millennium Falcon jump to hyperspace, you’re not thinking about the technical wizardry behind it. You’re just along for the ride. That’s Lucas’s real genius. He opened the door for filmmakers to dream bigger, and suddenly movies could take us anywhere.

Today, when you’re watching these classics on something like the Samsung TV, you can see every detail Lucas and his team crafted. The clarity makes you appreciate just how far ahead of his time he really was.

2. James Cameron: The Man Who Won’t Take No for an Answer

Cameron’s obsessive. Ask anyone who’s worked with him. But that obsession gave us Terminator, Aliens, Titanic, and Avatar. When Avatar hit theaters in 2009, it wasn’t just a movie – it was an event. Suddenly, everyone was talking about 3D again, and theaters were scrambling to upgrade their equipment.

Cameron doesn’t just use new technology, he invents it. Underwater cameras for The Abyss, motion capture systems for Avatar – the guy literally went to the bottom of the ocean. That’s not normal director behavior, but it’s why his movies feel so real. When you’re watching Avatar, you’re not just seeing Pandora – you’re visiting it.

3. Alfred Hitchcock: The Master of Making You Squirm

Hitchcock knew something most directors don’t: the best scares happen in your head. Take Psycho’s shower scene – you think you see everything, but Hitchcock barely shows anything at all. It’s all quick cuts, shadows, and that screaming violin music. Your imagination does the rest.

What made Hitchcock special wasn’t just the suspense (though he was ridiculously good at that). He understood audiences. He knew exactly when to give you information and when to hold it back. Watching a Hitchcock film is like being in a conversation with someone who’s always one step ahead of you.

4. Stanley Kubrick: The Perfectionist Who Changed Everything

Kubrick was famous for doing dozens of takes. Actors either loved him or wanted to strangle him (sometimes both). But look at 2001: A Space Odyssey – made in 1968, and it still looks better than most sci-fi movies today. That’s not luck. That’s obsessive attention to detail.

Kubrick didn’t just make movies; he made statements. The Shining isn’t just scary – it’s a study in isolation and madness. Full Metal Jacket isn’t just a war movie – it’s about how institutions break people down and rebuild them. Every shot means something – every color choice, every piece of music, every camera angle. It’s exhausting to think about, but the results speak for themselves.

5. Steven Spielberg: The Storyteller Who Gets It

Spielberg has this gift – he can make a movie about a killer shark (Jaws) or the Holocaust (Schindler’s List) and somehow find the human story at the center. That’s not easy. Most directors are good at one thing. Spielberg seems to be good at everything.

What I love about Spielberg is that he never talks down to his audience. Kids can watch E.T. and get swept up in the adventure. Adults can watch it and see a story about divorce and childhood loneliness. Same movie, different layers. That’s masterful filmmaking.

He also understands that movies are collaborative. The shark in Jaws wouldn’t be scary without John Williams’ music. Indiana Jones wouldn’t be Indiana Jones without Harrison Ford’s performance. Spielberg knows when to step back and let his collaborators shine.

Why These Five Matter

These directors didn’t just make good movies – they expanded what movies could be. Cinema keeps evolving with new technologies, new storytelling methods, and new ways to reach audiences. But the foundation these five built is not going anywhere. They set the bar, and every filmmaker since has been trying to clear it.

As movie lovers, we’re lucky to live in their aftermath. The tools they developed, the techniques they pioneered, the boundaries they pushed – all of that lives on in every film we watch today.