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First - Anurag Kashyap

The first episode highly relies on Radhika Apte's phenomenal acting chops. She is natural and convincing and her monologues are absolutely spot on. The entire chapter becomes quite comedic and funny thanks to her strong presence and understanding of the script's slightly ironic tone. Does the episode live up to her performance? Well, it is dictated by it, and so the episode is just as enjoyable as her performance, so it's great. I highly doubt it would have been equally as good had someone else been in charge of acting out this difficult role, but Anurag Kashyap should definitely be given credit for making it what it is.

Second - Zoya Akhtar

Not a big fan of Zoya Akhtar but growing to appreciate her talent especially after this fantastic and strong episode, which provides an important commentary on India's social hierarchy and addresses themes of class, arranged marriages, and the traces of some conservative values of Indian culture in modern-day India. The one who carries this entire thing on her able shoulders is the absolutely wonderful Bhumi Pednekar, who is unafraid to look earthy, real, and not at her prettiest. More than anything, her short performance, especially in that brilliant scene as she is filmed walking with the platter in her hands, looking all on the verge of a breakdown, is very strong and affecting. Great, great work.

Third - Dibakar Banerjee

I've been quite fond of Banerjee's filmmaking. I remember having really loved Oye Lucky! Lucky Oye! (2008) and the likes, but this chapter is sadly, just pointless. I really didn't get the purpose or message of the story and it dragged quite a bit. The only saving grace here, except for the nice exteriors, is obviously the excellent Manisha Koirala, who has rarely been less than good even in the most outrageous mainstream films of her career. She makes this episode quite watchable, but she deserved more.

Fourth - Karan Johar

Well, it's a nice one, indeed, but not that great and quite predictable. Karan Johar has improved a lot as a filmmaker but he's still clinging to a lot of clichés and often catches up on different social trends too late. The feminist message that women have desires too is a little too corny, a little too obvious, and quite preachy altogether. But it's a very enjoyable chapter nonetheless, mainly due to the wonderful and brave Kiara Advani, who gives a nuanced and restrained performance, especially in that famous scene. Good support from Vicky Kaushal does good to the entire episode.

Lust Stories is a combination of the vision of the four brilliant film makers we have in India right now. It's not a flawless film, just like we humans are not flawless. My personal favourite among the four films was the one made by Zoya Akhtar, a beautiful coming of age story which shows the prevalent class discrimination in our society. When a maid shows Bhumi Pednekar's Character (also a maid) a Salwar which was given to her as a gift by her employer only to find that it has a hole in it. The maid still refers to it as 'perfect' and proposes to wear it at her sister's wedding. The film by Anurag Kashyap seems to be a little bit too long though the character Kalindi played beautifully by Radhika Apte is one of the most complex women we might have ever seen in Hindi Cinema. The film by Dibakar Bannerjee featuring Manisha Koirala in the lead shows the story of a night and how three people realises life has more meaning to it. Finally the surprise was the film by Karan Johar's film on how a woman has to seek pleasure in a marriage when her husband thinks him having a good time is equivalent to her having a good time as well. This film features a particularly very hilarious scene which will make it difficult for you to watch K3G with your family ever again. All in all it's refreshing to see that all the 4 films are told from a woman's perspective, about time right ?

All the stories are based on a certain issues, which if one is aware of or has experienced would make it an enjoyable movie. Apart from Karan Johar one, others were difficult to comprehend as in what is happening, why are they behaving in that manner. I guess the runtime for each story was very small to establish anything in detail. In order of liking,

1. Zoya Akhtar: It seems she has taken upon herself to show poor people stories after being accused of having made movies about the rich. She does a fantastic job and the potrayal, dialogues felt authentic. Bhumi Pednekar outshines everyone across all stories. She just has 2 dialogues and the entire story hinges on her. Exceptional performance in a completely deglamourised role. Speaking of the direction, I thoroughly enjoyed the match cuts and how the story was established.

2. Karan Johar, this one is the comedy and easy to understand, watch this for sure. I felt one could have made an entire movie on this, but this one is made for the one comedic climax it felt nevertheless the climax was funny.

3. Dibakar Banerjee, I didn't get this one, a conflicted middle-aged woman it seemed, but I was left with more questions, which is may be a good thing, I don't know.

4. Anurag Kashyap, a conflicted teacher figuring out about love. I kind of understood the message being wanting everything, but without any logic about if it is morally right or wrong. It is entirely about dilemma may be best suited for people who have gone through this patch. I got bored few minutes into this and was waiting for it get over.

Heard a lot about it early this summer and today I finally decided to watch it. So here is my review. It has four individual stories of women are involved or want to be involved in a relationship and we are shown how and what they feel as their stories unfold.

From a technical standpoint, all the four stories have great amount of work involved. The character development is very good, the art and sound are just right. There are small and healthy doses of humor added which is enjoyable. The choice of actors for the roles is appropriate and each of them have played the roles perfectly.

From a deeper perspective, although it is intended to be for matured and highly educated audience who are possibly upper middle class and from high society, this film is hollow in that none of the stories narrated have a moral/lesson. They are worth watching once but not that worthy to come back for more. I was sitting pondering how each story was connected, was there a hidden secret, a deep rooted meaning or an easter egg for me to think about. Sadly (it may be only me), I couldn't find any. When one story ends, I felt I learned nothing from it except the third one with some really good storyline. Except for being good looking visual art pieces nothing is really conveyed that the audience can go back to.

Maybe it was intended for that. A good coffee movie about relationships for women and matured audiences can watch once and go about their lives again. Maybe they were designed such that we could find a character which we could identify with and see our feelings through them. Or just like reading a book of short relationship stories. I don't know.

Lust stories is anthology of 4 stories explained from women's point of view. 4 stories directed by 4 different directors. Stories directed by Zoya Akhtar and Dibaker Banerjee are simple, less dramatic,superbly written and executed. Remaining two stories directed by Anurag Kashyap and Karan Johar are pretty average.

There comes a film every once in a while that tries too hard to convey a message but falls flat on its own face mostly due to a lack of substantial content and heavy doses of embellishments. Netflix's Lust Stories is one such anthology film with four 30-minute stories that aspire to break taboos associated with women's sexuality but are, in fact, purveyors of nonsense. Except for Karan Johar and Anurag Kashyap hitting one or two right chords with their stories about vaginal pleasure and emotional attachment respectively, Lust Stories gasps for freshness and logic. While Johar's young housewife (Kiara Advani) is dissatisfied with her husband's performance on bed and so looks for external stimuli in a righteous way, Kashyap's teacher (Radhika Apte) is obsessed with a youngster who she had a poontang with despite telling him herself to not take it to the heart. Zoya Akhtar comes in third with her excellently acted trash about a housemaid (Bhumi Pednekar) taken for granted by her bachelor employer after they engage in some nasty sex. There's not even a sprinkle of inference you can gather from the story other than the subtle performance by the cast which also include Neil Bhoopalam. Dibakar Banerjee certainly did not get the memo as his story looks like a nonsensical excerpt from an awful book. Manisha Koirala takes cues from Banerjee to take marital decisions for her character while enjoying the mess she has made the lives of two men and vice versa. (I mean it, don't tell me otherwise.) The music and overall cast performance is good and high-energy, thanks to Netflix, but the content seems like it was concocted just to frame it with the word 'feminism' and then sent for human consumption. I get it when Johar tries to highlight the importance of women's sexuality but it does not have to be forced, just like the little humor that Lust Stories overall boasts of. Don't waste your time unless you want to have a look at how the actors look when they act 'it'. TN.

This movie successfully explores the regressive Indian sexuality and especially women's sexuality. The first part direced by Anurag Kashyap was really commendable with terrific performance by Radhika Apte. The second part directed by Zoya Akhtar was just okay. I loved seeing Manisha Koirala after a long time with a powerful role. The best part although was Karan Johar's which was hilarious and at the time had a beautiful message which is also my title for the review. One scene from the movie reminded me of a similar scene in Veere di wedding which was pathbreaking. 1st part- 4 stars 2nd part- 3 stars 3rd part- 3.5 stars 4th part- 4.5 stars

This movie wasn't bad at all, I did enjoy parts of it. I thought the last story was kinda of dull, the first one was fine I enjoyed the characters. The story with the maid wasn't as exciting but I kind of got the message anyways. The second story with Radhika Apte I found interesting, and this was the first movie I saw her in, I thought she was an awesome casting choice and made me seek out more of her movies, she definitely got those type of eyes that just wants you to keep watching.

This production is not bad at all. How in any anthology you will find different styles but the shorts are excellently acted. Although it is not a perfect production it is quite good. Anurag Kashyap creates a complex, unpleasant and at the same time interesting character with a fascinating performance by Radhika Apteque that unfortunately does not carry the depth that was initially proposed. However, it is entertaining and makes interesting points about power relations. Zoya Akhtar creates a naturalistic, simple story, narrated through scenes, snippets of conversation, subtleties. A very well constructed and acted story, without fireworks or scandals, just details. Dibakar Banerjee builds tension from a telephone conversation, a relationship that falls apart, offended, betrayed. Another one that is built on rubble. The harsh awakening of a couple who must face pain, reproaches, blame. Karan Johar has a clear Western influence in her style and unfortunately, by pretending to be daring, she ends up not being. Unfortunately she copies the preachy and unsubtle Hollywood style. It is too simple a closing for a film with more experimental and reflective styles. In the same way, the acting direction is more cliché and not very striking. The contrast with the rest of the actions is unfavorable. In short, as a whole it is a great film, which may not please everyone. More than directly addressing issues of sexuality, it explores the power relations behind love relationships and how they affect love, desire, passion.

4 top notch directors, not so well known actors but good performances, low on budget but very well made shorts, loved them al!

The first plot is really good. Radhika Apte is a genuine actress. She did very well in her role. The second part, it doesn't make any sense. What is the actual message here? The third part, very weak plot but the actress did her job superbly. The 4th plot, I always thought Karan Johar make meaningless movies but here he opened new side of his direction level.

Four young Maverick directors fet together for a compilation film set around the thorny issues of marriage, fidelity and...well orgasms.

We start off with the worst segment here which, surprisingly, is by Anurag Kashyap. At best it's annoying, with Radhika Apte's eccentric character screeching her way through every scene, and at worst it plays like an amateurish student exercise. Either Mr. Kashyap was busy elsewhere or he completely misjudged his material.

The second story, by Zoya Akhtar is, in my opinion, the best. It is subtle and observant take on Ismat Chugtai's short story 'Utran'. In it, a maid develops feelings for her employer after sleeping with him. She finds it hard to accept his marriage which is being arranged right in front of her. The way she is completely ignored and at the end condescended to is brilliantly observed by Akhtar. Though, sadly, many might miss the implications of the climax.

Then we move to Dibakar Bannerjee's tale of a crumbling, duplicitous marriage. Reena (Manisha Koirala), married to Salman (Sanjay Kapoor) finally finds a perfect chance to reveal to her husband that she is having an affair with his best friend (Jaideep Ahlawat). The tone is meant to be light here but does not come across as such, or not until much later. The story does get tedious but the ending is clever and unpredictable.

This brings us to the most ribald of the short films here by Karan Johar.

You probably might even recognise this from the short clip circulating on WhatsApp. A newly married woman's (Kiara Advani) pursuit towards getting an orgasm from her husband (Vicky Kaushal) who lasts exactly five seconds in bed! Her guidance comes (pun not intended) in form of her more experienced colleague, Neha Dhupia who introduces her to the wonders of a vibrator. It is colorful and entertaining and ends the whole thing on a high, if empty, note.

On the whole 'Lust Stories', like most omnibuses, is patchy, and fails at any thematic cohesiveness but it is still thought provoking and entertaining enough to merit a watch.

Four very different directors explore four very different shades of lust in Lust Stories, though the common ground in each is the theme of female desire, as it attempts to cut through the strait-jackets of morality, patriarchy and class.

The anthology begins with Anurag Kashyap's film, where in the very first scene, the protagonist Kalindi (Radhika Apte) is leaning out of a cab window, as it zips down the road. She's carefree, liberated, and en-route to a one-night-stand. Next to her is the visibly younger and visibly nervous Tejas (Akash Thosar). Once they're in his room, he tries to keep up with her - intellectually and sexually - as she mocks his Chetan Bhagat book collection and teases him about his lack of sexual experience. She doesn't just take charge in bed, but also his virginity.

Hereon the power dynamic between them gets murkier, as Akash happens to be Kalindi's student. Kalindi - the one ostensibly in power and often abusing it - also often seems to be the one without it, with both Tejas and her 12-years-older husband Mihir, who is encouraging her to "explore her sexuality". Radhika brings out this dichotomy of her character flawlessly, and Akash matches her performance perfectly as the clueless Tejas, who has no choice but to go along on this ride.

Zoya Akhtar's film opens with Sudha (Bhumi Pednekar) and Ajit (Neil Bhoopalam) in the throes of passion. Their intimacy devolves immediately after, when Sudha drops down on her knees to maaro pauncha. It's like the chasm of class between them splits wide open the second they are clothed, and she's revealed to be his maid. The divide gets starker still, when Ajit's parents drop into his bachelor pad to fix his rishta, or when she's asked to prepare tea for his prospective in-laws and fiancee.

It isn't so much the characters, as the choreography of Zoya Akhtar's scenes that do the talking. The family members crammed in the drawing room, shifting seats, lifting up their feet as Sudha sweeps the floor. The sounds of Ajit's father in the bathroom, flushing the pot, as Sudha irons their clothes in the room next to it. Sudha-Ajit's a sexual intimacy may seem almost deviant in a society such as theirs, yet there's a daily intimacy that plays out between the family and their domestic help, that's barely acknowledged, except in the form of gifts such as leftover mithais and slightly-ripped-kurtas. When the characters do speak, they only ever seem to indulge in small talk, be it Ajit's parents and their prospective in-laws' mind-numbing conversation on the difference between their Diwali celebrations, or even the maid-next-door gossiping with Sudha about the woman she works for. The banality of the topics seem to masquerade as normality, and the only thing that pierces through these layers of hypocrisy is Sudha's desire. Be it the acting, directing, sets or sound - this is a film that says a lot, without saying much at all.

"Kaisi lag rahi hoon?" Reena (Manisha Koirala) asks Sudhir (Jaideep Ahlawat), as she emerges from the waves in a swimsuit, in the first scene of Dibakar Banerjee's film. "Do bachchon ki maa," replies Sudhir, setting the tone for the story ahead.

Reena is married to Sudhir's best friend Salman (Sanjay Kapoor), and the two have been having an affair behind the latter's back for the past three years. Some of this has to do with the fact that Reena's identity seems to have dwindled down to "do bacchon ki maa" over the years. Or teen bachche, if you count Salman ("You want a mother, not a wife," she chides him at one point). Yet, her affair barely lets her escape from that identity either. When she suggests to Sudhir at one point, that they tell Salman about them, he asks her, "what about the children?". "Why does everyone bring up my children, when I am talking about my happiness?" she retorts.

The awkward dynamics between the trio play out at Sudhir's beach house, when they are forced to confront (or may be not) the crossroads each of them are at. All three actors have given complex, layered performances - Sanjay Kapoor, as the husband who can't see beyond Reena as the "wife, mother, hostess" package, and him as the providor of her "allowances"; Manisha as the fed-up, and now conscience-less wife, who has no qualms about playing the two friends against each other; and Jaideep, a jaded lover and dubious best friend, who's only interested in maintaining status quo.

Karan Johar doesn't let go of any of his Karan Johar-isms in his film, be it the elaborate costumes, music or even a wedding sequence. The story - that revolves around Megha (Kiara Advani) a newlywed who has to come to terms with fact that her husband is a major disappointment in bed - is an exploration of female desire, and how it is stifled, policed, controlled or ignored. Subtle isn't KJo's forte, and so, the film often ends up carrying a public service announcement-type quality. What works is the acting. Kiara Advani, who plays Megha - the bahu-next-door seeking sexual satisfaction, balances the OTT script and settings with a performance that is just-right. Vicky Kaushal is endearing as Paras, the fumbling husband-lover. Neha Dhupia impresses too, as the risque-blouse-wearing divorcee who likes to pleasure herself in libraries and encourages Kiara to explore her sexuality. Much ado has been made about the Kabhi Khushi Kabhie Gham 'climax' sequence, which is, well, amusing and self aware. Still, the film sticks out more than it fits in with anthology.

That Radhika Aapte from movie "Parched" is still impressive, She did a good job.

It seemed to be a decent show seeing the advertisements and hype but the show, in reality is dark and depressing without any reason. I don't what kind of an audience would even enjoy that.

I ignore for many many times like you are ignoring, the finally i watch it today, and i think i do good that i ignore it for many many times. Because if i watch it before maybe i didnt see it they i see it now, i was too young and i didn't realize the cinema . I point i want to mention that this movie is not for every one. Small minds con't discover what it want to tell.... or maybe they discover it but still review negatively because it hearts their ego. Will teach you something must watch it, especially the last story. Though all the 4 stories are amazing a have depth but 4th (last story) is amazing.

This movie contains four stories of couples of different background making love.lets take aside 3/4th of movie and focus on last one as it was very intresting.Vickey kausal has done a great job and justice to its charactor along with Kiara Advani.

It is an anthology of 4 short films. But only the first and last one directed by Anurag Kashyap and Karan Johar fits in the bill. The remaining two are boring and drab. The theme of all 4 short films revolves around lust but doesn't leave an impact after watching. It could have been better and entertaining. A decent one-time watchable in Netflix.

When I saw the trailer, it seemed like the usual pretentious and hypocritical take of bollywood over 'modern' relationships, but it's not!

The first story is about Kalindi and Tejas, directed by Kashyap, and I found it to be the best among the all four stories. The character of Kalindi was well written and brilliantly played by Radhika Apte, and the character of Tejas was played really well by Akash thosar. Kalindi's conflicts are intriguing and keeps you hooked, I wanted to see a full film over her character actually.

The second was directed by Zoya Akhtar and it was a let down. It was not engaging for me and just felt very slow with unnecessary pauses and a hurried climax, it could have been a better story.

Same was with Dibakar Banerjee, five minutes into his story and I felt too bored to go ahead and hence I skipped it.

The last was great and really entertaining by Karan Johar. Crisp dialogues, interesting characters and interesting subject which was handled pretty well.

It's actually great that two best parts of lust stories are at the first and the last of it! Overall it's worth watching for those two parts.

It shows real unspoken stories of being together. These things not only exist in India but most Asian countries have these kind issues. It's a nice movie to watch. Very much recommended