Four stories exploring sex, desire, and love have been released by Netflix as the follow-up to the popular anthology “Lust Stories”‘.
Made For Each Other
Beginning the collection is R. Balki’s “Made for Each Other,” which delves into the subject of sexual compatibility, questions societal taboos surrounding conversations about premarital sex, and examines post-consummation sexual urges. The protagonists of the movie, Veda (Mrunal Thakur) and Arjun (Angad Bedi) feel they were “made for each other” and are getting married in the opening scene.
Their parents are happy, but the atmosphere changes when Veda’s calm and understanding daadi (Neena Gupta) asks if they have engaged in sex, without hesitation, Daadi takes over and declares to everyone present that “sex is essential for love.” Mrunal and Angad skillfully portray a couple in love.
Strangely, Neena Gupta’s casting as the feisty grandmother doesn’t work in this case since the novelty of the idea has worn off in all the previous roles she’s done as taboo-breaking senior citizens.
The Mirror
The director of A Death in the Gunj (2016), Konkona Sen Sharma, creates a rich, well-balanced short that explores classic “Lust Story” themes of class, space, and feminine desire. The first scene of Konkona Sen Sharma’s film “The Mirror” features Isheeta (Tillotama Shome), a lone woman who laments the absence of companionship in her life. She has a typical and unremarkable life up till she has a startling meeting with her domestic worker Seema (Amruta Subhash), who is having sex on her bed.
Isheeta discovers that she is pulled to the scene rather than reacting angrily, interrogating her, or dismissing her. She voyeuristically observes them and finds a new kind of pleasure. The part focuses on Isheeta’s aspirations and the complications that result from her out-of-the-ordinary response. It digs into her personal space, highlighting her desire for closeness and her unconventional pursuit of pleasure. But as the plot ends, it does feel a touch strained.
The other films, directed by renowned (male) filmmakers R. Balki, Sujoy Ghosh, and Amit Ravindernath Sharma, don’t pack the same punch as that ‘The Mirror’.
Sex With Ex
“Jab koi Baat Bigad Jaaye,” a well-known song, sets the mood for the scenario at the start of Sujoy Ghosh’s “Sex With Ex.” After being in an accident, the main character, David Chauhan (Vijay Varma), ends up in a little town where he must find a mechanic. He is taken aback to run across Shanti (Tamannaah Bhatia), his ex-wife, whom he had believed to be long dead.
They find themselves thinking back on their prior experiences as a couple as the reunion brings on a wave of recollections. An urge to be together once again develops as they get back in touch. This narrative seeks to arouse emotions like passion, longing, and the investigation of new possibilities for their rekindled relationship, among other things. Bringing complicated emotions and intensity, Tamannaah and Vijay give faultless performances.
Although this thriller seems like a misfit in this movie, nevertheless it appears that Tamannaah and Varma got along on the sets of this movie, so it wasn’t all for nothing.
Tilchatta
Devyani (Kajol), who has come to accept the tragic reality that her alcoholic and perverted husband Suraj Singh aka Mehersa (Kumud Mishra) will subject her to marital rape every night, is the subject of the first heartbreaking scene in the final chapter, “Tilchatta” (meaning cockroach), which is directed by Amit Ravindernath Sharma. A lasting impression is left by the cast’s honest performances. As Ranisa, played by Kajol, you can’t help but feel bad for her because she is a victim of sexual abuse in her marriage and powerless to stop it.
Her one and only wish is to help her kid escape this circumstance by sending him to study overseas. Mehersa’s unreserved and objectifying glance at the audience serves as an effective example of how Kumud Mishra’s portrayal of the character portrays the unpleasant aspect of his persona.
There were better ways that Sharma and author Saurabh Choudhary could have closed the narrative.
These episodes, which are directed by diverse individuals, continue to explore numerous facets of feminine pleasure as well as the subtleties of desire and intimacy. By tackling these issues, the anthology hopes to encourage discussions about gender and sexuality while underlining the significance of acknowledging and respecting women’s wishes.
Even though the anthology is lackluster compared to its predecessor, the movie is a good watch, especially for Konkona’s phenomenal efforts.
