Lust Stories 2

Review of the movie Lust Stories 2: “by Konkkona Sensharma pushes past the others”

The episodes of Lust Stories 2 the anthology, which was directed by R. Balki, Konkona Sen Sharma, Sujoy Ghosh, and Amit Ravindernath Sharma, are viewable on Netflix.

Lust Stories 2
The episodes of Lust Stories 2 the anthology, which was directed by R. Balki, Konkona Sen Sharma, Sujoy Ghosh, and Amit Ravindernath Sharma, are viewable on Netflix.

Lust Stories 2, a Netflix anthology of four films, adheres to the format we have grown accustomed to: one movie will easily outperform the others in a humiliating way. The others will make us ponder what went right—or what went wrong, given how the odds are stacked against them.
Sen Sharma dominates the competition with her portrayal of lust as unstable, indignified, necessary, but above all, pleasurable.Amit Ravindernath Sharma, R. Balki, Konkona Sen Sharma, Sujoy Ghosh, and other well-known authors have likewise assumed control of their individual tales of passion.

. However, many of these are actually stories on lust, not of lust, preferring to discourse about it rather than show it. She experiences lust.


Like the first Lust Stories, here, too, we have a story of the relationship between a house help and her employer. But here, the eros is not located in what they feel for each other — but what they feel for what the other person is doing. Seema (Amruta Subhash), a househelp has sex with her husband on the bed of her employer, Isheeta (Tillotama Shome), in Isheeta’s posh apartment (by Bandra standards). Isheeta catches her, but Seema doesn’t know. Initially horrified, Isheeta’s shock gives way to yearning — she enjoys watching Seema have sex.

Isheeta keeps watching them for days with humour, suspense, and moral depth. Seema soon learns that she is being observed. Her dread slowly gives way to pleasure as she is horrified. She likes being observed. Voyeurism has abruptly invaded, upending the proper debates around class and consent. It is trampled by desire in the movie. She desires it. Until she saw it, she was unaware of her need. It is graphic. It is challenging. Your time is wasted, your attention is colonised, and your goals are striated. Isheeta gets out of work early so she may see Seema get yelled at. It combines both sweetness and terror, brought about by the musical environment and infused with longing by Anand Bansal’s leisurely motions and lighting. Never before has a flat appeared to be so empty.

time Isheeta attempts to masturbate; when she fails, she weeps, and the curtains are pulled, isolating her Two standout scenes let you know you’re in the care of a director with an unnervingly assured command of her art. When Seema learns she is being watched, Amruta Subhash’s stride, her smirk, her slowness of movement, and the stirring music are like a victory lap. Later, the scenario intensifies when Seema and Isheeta get caught up in their mutual watching. They suddenly find themselves negotiating their feelings of desire in a world of respectability and set boundaries. Voices are raised, and insults are slung. The scene is shaken by Tillotama’s screech and her hatred, and its misguided rage lingers.

 Lust Stories 2

This movie does not believe that moralising about libido is necessary

Moralising only makes you lose. They were defeated. The movie then follows them as they tenderly navigate this loss.The moralising in Amit Ravindernath Sharma’s movie, on the other hand, blurs the line between passion and rapacity. The film is centred on Kajol, who portrays a disturbed former sex worker who is the abusive wife of the wastrel king Devyani Singh (Kumud Mishra). She wants her son to leave this rural decadence, attend university in London on the wastrel’s dime, and pluck her from this opulent wilderness. The script’s scripting is poor; it moves in too many ways, and it doesn’t come together until the very end whole film comes into perspective.Even Sujoy Ghosh’s movie has this issue. The sexual sex between Vijay Varma and Tamannaah Bhatia, the loudest, most enigmatic score, and the most Truman Show-like setting with obvious artifice in construction all stand out in Ghosh’s film’s evident desperation to stand out. Because it doesn’t care about being cohesive, it is simple to assume that this movie is the worst of the bunch (. This is the sort of movie that succeeds by not acting like a movie. A movie that winks at you so much you think it might be ill. The climax of this meandering movie is under too much pressure, similar to Kahaani (2012) and Ghosh’s short Ahalya (2015).

Varma is driving a car in a landscape that looks odd, unreal, with clouds puffed and padded like pillows in a South Delhi couch. I wondered if budget crunching made them revert to the green screen. The people to my right were more charitable — Maybe he is in a video game? Maybe he is in the afterlife?

If it is surrealism, it appears to be done on purpose.

Lust Stories 2

He is on his way to meet his squeeze when he makes a video call to her. For him, she is stripping. Her bra is leaking from her enormous breasts. (Like in Sharma’s movie, the tight blouses that cover large, jiggling breasts are crucial to the plot of Ghosh’s movie.) His father-in-law interrupts with a video call concerning a crucial and pressing business matter. Then Vijay phones his wife. He gets into a car accident while distracted while driving back to his crush, and to fix it, he drives to the closest “village” because it has a cafe. You know, surrealism, where he unexpectedly runs into his ex-wife who left him five years prior. Why? Between sex, the solution appears in fits and spurts.what’s more, moaning. The discourse advances in manners that appear to be unusual, sound ridiculous, and seem uncomfortable. Desire, a pregnancy test from London, and grabbing are available. You can’t take your eyes or ears off the screen since it is so substantial, however none of it checks out, leaving you with a ton of inquiries, not many arrangements, and little enjoyment.


R. Balki’s film

, the weakest of the lot, is stained heavily by his filmography that is so loud, uppity, and brash about its progressive proclivities, it ends up looking conservative and perhaps even regressive. The sex positive daadi (Neena Gupta), who insists that her granddaughter (Mrunal Thakur) and her prospective groom (Angad Bedi) have sex before marriage — “a test drive” to know if they are truly compatible — ends up with this thick, patronizing texture.It is unpleasant, monotonous, and frequently out of place. To talk openly of sex is being sex-positive. To only talk openly about sex is perversion.

Lust Stories 2:

This movie wants to be commended for being willing to have this discussion. For that wallop, you can really feel it shrugging its shoulders in your direction thanks to the outmoded cinematography of PC Sreeram. However, the real conversation—the challenging one, the one that challenges one’s sense of self—is the one that Mrunal’s character is supposed to have with Angad about why she hasn’t had orgasms with him. Eventually, the couple tells Daadi they are in love. Or that they’ve at last had an orgasm. This movie opts not to emphasise that difference. What purpose does lust serve if not to foster love? What purpose does the difference between lust and love serve?


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