CAST: Amruta Shubhash, Angad Bedi, Kajol, Kumud Mishra, Mrunal Thakur, Neena Gupta, Tamannaah Bhatia, Tillotama Shome, and Vijay Varma
DIRECTORS : Amit Ravindernath Sharma, Konkona Sen Sharma, R. Balki, and Sujoy Ghosh
“Lust Stories 2” presents a collection of four films directed by Amit Ravindernath Sharma, Konkona Sen Sharma, R. Balki, and Sujoy Ghosh, each showcasing desire as the central theme in their own unique ways. With a star-studded cast including Amruta Shubhash, Angad Bedi, Kajol, Kumud Mishra, Mrunal Thakur, Neena Gupta, Tamannaah Bhatia, Tillotama Shome, and Vijay Varma, this anthology aims to challenge conventional narrative conventions and dive into the realm of passion.
However, the overall experience of “Lust Stories 2” is a mixed bag. While it delivers moments of lustful intensity and passion, it also succumbs to bouts of boredom. Out of the four films, only two manage to provide a satisfying climax that resonates with the viewers.
The anthology’s strength lies in its talented ensemble cast, who bring depth and authenticity to their respective characters. Each filmmaker offers their distinct storytelling style, contributing to the overall diversity of the anthology. However, the execution falls short in some segments, leading to a lack of engagement and emotional connection.
Despite its flaws, “Lust Stories 2” deserves credit for pushing boundaries and exploring the complexities of desire. It encourages discussions on the intricacies of human relationships, albeit with varying degrees of success.
R Balki’s “Made for Each Other” is a film that explores the inception of lust and emphasizes its importance in a straightforward manner. The story revolves around a couple, portrayed by Angad Bedi and Mrunal Thakur, who meet for an arranged marriage. Neena Gupta delivers an excellent performance as the grandmother, who brings up the topic of premarital sex during the “meet the parents” session. Her character boldly states the facts, which are often considered taboo. In one particular dialogue, Neena’s character responds with a strong rebuttal when her son expresses disapproval using the word “shee.” She reminds him that if it weren’t for sex, he wouldn’t exist in this world.
This film seems to tackle the topic of lust and its significance in relationships, while also addressing societal taboos and promoting open discussions about sensitive subjects like premarital sex. By presenting a straightforward narrative without any twists and turns, “Made for Each Other” aims to shed light on the importance of acknowledging and understanding the role of physical intimacy in human relationships.
The film, in its brevity, relies solely on being risqué, especially evident through Neena’s explicit descriptions of her sexual escapades. However, as the movie progresses, Mrunal’s constant giggling loses its comedic effect, leaving the audience puzzled. It almost feels like she couldn’t maintain her character because the scenes kept breaking her composure. On the other hand, Angad’s contribution to the film was minimal, perhaps even literally speaking, mirroring his character’s lack of substance during the “test drives.”
The highlight of this short film lies in its dialogues, which have always been Balki’s strong suit. He injects humor into uncomfortable situations and manages to crack the toughest nuts among the audience. However, this remains the film’s sole accomplishment. It serves as a mild introduction to the lustful stories that are bound to become more explicit and provocative as the narrative progresses.
Overall, this film relies heavily on its provocative nature and the dialogue’s ability to infuse humor into awkward scenarios. While it may serve as a decent starting point for the lustful stories that lie ahead, it falls short in other aspects, leaving much to be desired.
“The Mirror” directed by Konkana Sen Sharma features the exceptional performances of Tillotama Shome as the house owner and Amruta Subhash as the maid. While the film initially hints at a traditional house owner versus maid dynamic, it subverts expectations by exploring a story of women empowering each other sexually.
In the narrative, Tillotama’s character watches Amruta engage in daily sexual encounters with her husband through the reflection of a mirror, finding her own satisfaction in solitude. Surprisingly, when Amruta discovers this voyeuristic act, she chooses not to confront or interfere, continuing her own intimate adventures on her boss’s bed. Both women seem to understand and respect each other’s desires, avoiding becoming antagonists in each other’s stories.
Tillotama’s character is portrayed as a loner, whose life revolves around work and home, while Amruta resides in a cramped slum dwelling with minimal privacy for her married life. Konkana, alongside co-screenwriter Pooja Tolani, captures a distinct female gaze, making this story stand out among the others in the anthology. Both Tillotama and Amruta elevate their performances, displaying comfort and confidence in embracing their sexuality.
The presence of Amruta’s husband, portrayed by Shrikant Yadav, serves as a catalyst in the narrative, yet the film never lacks sensitivity towards his character. Konkana’s direction ensures that all characters are treated with equal importance and the execution is commendable.
“The Mirror” successfully portrays women empowering each other sexually, breaking away from conventional power dynamics. With Konkana’s skilled direction and the outstanding performances by Tillotama and Amruta, the film becomes a standout entry in the anthology, showcasing the significance of a female perspective in storytelling.
The short film directed by Sujoy Ghosh, titled “Sex with Ex,” suffers from a lack of effort, both in its storytelling and its choice of title. Right from the beginning, the film fails to engage the audience effectively. Vijay Varma, known for his powerful performance in “Dahaad,” unfortunately, portrays a character with a compulsive sexual behavior in this film, which diminishes his potential. The movie starts with Vijay engaging in a sexual video chat while driving, only to be interrupted by his family, resulting in a car accident and a transition into a fictional world. The setting feels artificial and lacks authenticity, failing to evoke curiosity or create intrigue.
The plot revolves around Vijay, who coincidentally encounters his ex-wife in a small town after a decade, mistakenly believing she had passed away. Unaware of her survival, he enters into a new marriage. The film primarily focuses on Vijay’s fixation on physical attributes, particularly Tamannaah’s bust, with the camera repeatedly emphasizing her curves and assets. At one point, he even checks her bra size, leading to a shocking revelation. This portrayal is unsettling and lacks subtlety.
Despite falling under the thriller genre, which is Sujoy’s comfort zone, “Sex with Ex” fails to deliver an engaging narrative. The storyline becomes predictable, undermining the genre’s potential for suspense and surprise. Even the performances by Vijay and Tamannaah, who have played similar roles in other films this year, fail to salvage the overall impact of the story.
In conclusion, “Sex with Ex” disappoints due to its lackluster storytelling, unappealing title, and predictable plot. Despite falling within Sujoy’s familiar genre, the film struggles to captivate viewers and relies heavily on superficial elements rather than delivering a compelling narrative or engaging performances.
In Tilchatta, having Kajol in “Lust Stories” is already a winning scenario for director Amit Sharma. The film is set in a regal backdrop, with Kumud Mishra portraying a perverse king who likely indulged in numerous acts of rape, perhaps as many as the women he encountered in his village. He even marries a sex worker played by Kajol, who becomes Rani Sa (the queen). Despite having a son, she is determined that he does not become like his father, so she encourages him to pursue further studies in England. As a survivor of domestic abuse herself, she yearns to live a life of dignity and royalty, but her aspirations are never realized. The scenes depicting Kajol’s character as a survivor of marital rape are triggering, and it comes as no surprise that she seeks to teach her husband a lesson.
The film initially gives off a monotonous vibe, leaving one uncertain about its ultimate direction. However, Amit Sharma cleverly incorporates a shocking twist in the climax, which undoubtedly leaves a lasting impact. This particular segment had the most significant impact on me, as I initially thought it might be the concluding film. Yet, the way everything converges towards the end is disturbing and even gut-wrenching.
The director skillfully manages to encompass a wide range of elements within a shorter span of time, adding the necessary thrill to conclude “Lust Stories.” Speaking of performances, Kajol delivers a fabulous portrayal with her expressions. The actor is provided with limited dialogue lines, and her character is portrayed in a subtle manner, avoiding any excessive theatricality.
Streams on Netflix
