LSD: Love, Sex Aur Dhokha

The intriguing part of the film is its found footage genre. One rarely sees experiment in Bollywood. And that's why the film should be watched once. The film does not have any big star and involves new actors due to which the film gives a feeling of reality. The film is divided into three stories justifying the title. All three stories are awesome and the way that they are linked is more amazing. This is another masterpiece from Dibakar Banerjee.

PROS:

The screenplay is good so no matter what, you are bound to sit once you have started the film. The acting by all is satisfactory. All three stories have been given full attention and full development. The found footage shooting was good. Dibakar is one promising director currently.

MESSAGE: "You got to be sharp and smart or you become victim."

VERDICT: "A must watch Bollywood film."

What seemed like a tiny blip on the radar has by now completely shaken the entire network of film industry spread across the country. Easily a milestone in Indian cinema this path breaking film is arguably better than most blockbusters released this year, or for that matter any year.

The underlying mood of the film being antiestablishmentarianism, LOVE, SEX aur DHOKHA is a raw and uncompromising take on life. Deliciously entertaining, intensely honest and fiery in its mission, LSD is a riveting ride you won't forget. Showcasing the pitiable plight of hopeless underdogs and their frantic attempts to live up against the misfortunes thrown upon them by the establishment, LSD is a running commentary of social satire at its peak. Epitomizing contemporary social scenario, LSD has an intensity that is disturbingly painful and shockingly shameful leaving you with memorable characters of outcasts, misfits, freaks and geeks. A real gem, this cinema is a challenge on the sensibilities of the Indian movie watching crowd to re-discover their sensitive sides.

Showcasing a disruptive chronological order (la strada, memento, pulp fiction) this spellbinding mockumentary, a boon for true film lovers, is not to be missed. The outstanding nonlinear narrative structure with three stories cleverly intertwined is truly refreshing to witness compared to boring social lectures of epic proportions which has become the hallmark of mainstream Indian cinema. Perhaps the most fascinating thing LSD belts out is Life as it is. It serves you a slice of current life on a platter for you to relish. Stand back in awe. This film is the sign of times.

An intense movie about frantic lives, the neoclassic LSD is a dizzying ride from silence that screams from a dead couple, to dreams and desires being annexed and annihilated by the engulfing fire of penury. LSD explores a dystopian world where love, bending knees, gets buried, amid deranged relationships between desperate people. LSD is definitely an entertaining attempt in the guise of black comedy to disembark and expose a self-righteous dysfunctional, hedonistic, dystopian society gone haywire. Go ahead and laugh yourself silly over its dark humor as you're caught glued to every passing frame of this slick horror drama. Ultimately the joke's on you (Read : society) as the superlatively captivating tongue in cheek title song embarks with the credits rolling in the end. What a show.

Delivering a sledgehammer impact with a treatment as furious as the message, Dibakar Banerjee is the man on fire scorching all those who resist him. Bold. Daring. Dangerous. Dibakar is a force to reckon. With dollops of attitude and awards predicted worldwide, this director is here to stay. Open your eyes. The master has arrived. This director has single handedly made the badshahs of this trade redundant with his genius. Uprooting the pundits of this industry as well, with simple plots and unheard actors. This is modern-day cinema at its best.

Having acquired a cult status with a cult following within days of release.. LSD is addictive. For some, it's an obsession. I say it's a belter.

India has never been as innocent as it consistently claims to be. If you are, however, one of those naïve citizens sitting behind a veil of ridiculous reasons who actually believes this, then I couldn't feel sorrier for you. In fact, if you pay closer attention to reality, you might never look at our beloved nation the same way again. One simple Google search and you will find an alarming amount of voyeuristic material of folks in brazenly compromising positions peppered all over the Internet. And no – it isn't just those light headed, dizzy for that fifteen seconds of fame teens or fellers in their early 20s who are churning out these clips either – no. A good amount of it comes from middle aged, aging, and even ancient crisis-ridden junta who are desperate for some sort of thrill in their otherwise mundane and excruciatingly cliché-laden lives that contains nothing more than mindless work.

With that preface done with – let us now focus on Dibakar Banerjee's latest offering 'Love, Sex aur Dhoka' (LSD). I am sure enough spice has already been generated thanks to the extremely obvious hint in the title itself of a dozen saucily executed romp scenes just waiting to tease your aphrodisiacal senses. And yes – this will also take a good amount of our sex-starved nation's goggle-eyed wannabes to go see the flick too. But that's when the fine line between those who went into the cinema expecting a popularized version of a badly edited B-grade mallu movie type sleaze-fest and the ones who walked in expecting a new way of storytelling becomes quite apparent. A divide, I am hoping, will have more fans in the latter category.

After watching the 1 hour 40 something minute dish called LSD, one thing is certain. Dibakar is one of those refreshingly cocky bunch of film makers who are quite unperturbed by what the mass populace has to say as long as their distinct tone of message is sent across without fear. It is in this essence of movie making, that Dibakar scores points in my book. Come what may, he seems to say, I will show you my vision the way I want you to see it. It is in this raw, unedited, low-light/night-shot array of frames that the much needed breaking of stereotypical shackles Indian cinema is bound with can be heard – loud and clear. If only, of course, you are willing to listen. If only, of course, you are willing to acknowledge.

LSD is completely shot via hand-held digital cameras, security cameras installed in public places and hidden spy cams tucked away in not-so- obvious spots. The tale unwraps with three distinct stories of Love, Sex and Dhokha – as is obvious in the title. What is not so obvious is the way Dibakar stitches the characters in each of them so craftily that the moments where their connections become apparent are truly memorable. The minimalist usage of background music layered with the brave attempts at showcasing emotions in their true and blue nature emanating from nameless faces is truly a new attempt in Bollywood. Actually it is quite new to Indian cinema too.

My take on the execution part of LSD is more to do with technique and philosophy rather than the stories themselves. Sure, the plots have their moments but they aren't anything we haven't already heard of or seen. Some of the scenes are overdone and there are even characters that let you down by actually 'acting'. So, in my humble opinion, walking into LSD to expect it to sweep you off the feet with the narrative could be a tad misleading. What I would hope you pay special attention to is how the fine line between fiction and reality gets blurred without you even realizing it. There came a point in the film when my wife turned to me and said 'This is nonsense! It just seems like they have stitched together some clips from YouTube!'

Notwithstanding her disapproving conclusion on the film, I must say, that is exactly what Dibakar was trying to achieve. Fading out that line where you forget these people are actors and that they do realize there is a camera somewhere recording their actions.

My suspicion with this theme then is the following. LSD will have two clear opinions. One - folks who loved the piece and understood the intentions with which Dibakar shot the flick and narrated the tale the way he did. And two, a majority from what I can tell, who absolutely hated the movie and found it annoyingly ambitious and contrived in its bizarre Hollywood-style-pretentiousness like approach executed in a rather disturbing and amateurish fashion. Either way, LSD will evoke a reaction in you that will stay long with you after having long left the cinema.

My recommendation then? Go watch it. Not just to love it immensely or hate it profusely, but to be part of a threshold that has never been tapped on before. To be witness to a milestone in Indian film making where the director is absent from the scenes. To be an audience to a movie where the camera is calling the shots. Just for this, LSD to me will be a unique movie watching experience. And yes – do also watch it before a dozen more remakes flood the market claiming to be better than the original.

Dibakar Banerjee after cult Khosla Ka Ghosla and smart Oye Lucky Lucky Oye tries something very different and he succeeds by a distance. The three stories narrated through cameras that are actually part of the story gives movie a authentic feel. The first story takes its own time to grab your attention and ends you making silent. Second story is best in narration, acting and impact. Third story is the weakest of the three but at the end when all three stories club together is seamless. The song at the end of the movie helps multiply the impact of the movie. The entire cast is new but very convincing.

It is brave, disturbing, path breaking and changing face of bollywood cinema.

It is easy to review a movie; they say. In many ways it is. We go for movies, we feel inspired, awed, touched, redeemed etc. Our plethora of the abstract is bolstered by the very existence of the notion that beyond our daily weariness there is a world of cinema, where people make movies and we can be entertained.

Then there are those who are part of the 'Divulge' process. This would only happen if you have every attempted to catch something on camera; not accidentally but intentionally. Staged it; you framed it, cut it & displayed it. We so called Movie Buffs love criticizing the effort and all that the Film Maker wasn't able to accomplish in comparison to the IMDb Top Ranked Movies.

I once had an interview at RGV factory to work as an unpaid intern; which I had to decline due to academics. Then, I remember boasting to my interviewer of my ability to take a scene and give him at least seven different ways of shooting it. We all are self made maestros in some way or the other. Movies being something we relate to, we are sure we could've done a better job.

Today I saw a movie called Love, Sex & Dhoka. Today I do not need to talk about Tarantino, Kubrick or Goddard. Today, I want to talk about Dibakar Banerjee. A director who has taken Indian movies to a pedestal where neither European Maestros, Spanish Cinematographers, Iranian Script Writers or British Actors could go.

He nailed his script with Khosla ka Ghosla. He nailed his screenplay in Oye Lucky Oye. Now he nails his content with LSD. The movie is cinema at its best. It tells us that we do not need exploding cars or flaming superstars to make good movies. We need brilliant performances; and this movie has the best I have seen.

I was almost in tears in the start, I laughed at every joke of the movie, the thrills were superlative, the dialogues were a level above Pulp Fiction, the flow was gripping and the movie is without doubt the best movie I have seen in a long time. It is bold as Da Vinci, dark as a Grimm Fable, as real as the summer sun and as detailed as a Wordsworth poem about majestic beats worked upon in the workshops of the abyss.

Many would question my perspective on the movie but those who know me well would have guessed by now I do not want to reveal anything. But I ask you to go watch it; see what goes into a movie when all you have is the will to entertain, inspire, awe, bevel the audience with humour, strike the emotions with subtle romance and most of all give us a glimpse of film making that would certainly go down in history as a continuation of the legacy that compounds all the talent, previously baptized as Ray, Kurusawa, Kubrick and at least for this movie – this moment Dibakar Banerjee.

My rating 4.5 stars out of 5.