Director: Dibakar Banerjee
Remember the time you tried capturing those sultry eyes of your girlfriend with your phone, remember the time when a cherubic girl walk past you and your hand reaches out to freeze that heart breaking moment forever, remember the time you secretly filmed the “you know what” of “you know who” from the top floor of a mall, remember the time you were bent upon to download any video that starts with the “hot school girl …” “Indian girl …” to splash out your pent up emotions; an act of voyeurism, remember the time you were glued to the idiot box with wide eyes at the 5 minute coition of a long haired man draped (or rather not) in crimson red cloth with a so called “unholy” actress for 500hrs; now look at a collection of clips which peeps into the life of those people who were part of those videos through the same camera which entertained the eyes of the million you’s.
As inviting as it sounds “Love Sex aur Dokha” touches upon various genres in literally candid manner with layers that keep peeling off like an onion – here though not to activate our lacrimal glands. If you are to watch a story narrate in front of you then sorry boss this is not your kind of film. Love Sex aur Dokha is all about telling – either through words or visuals; which ranges from scintillating to gory (if not horrifying) and everything in between. We see a shot of a guy throwing away a long haired head to his servant and the next shot we are shown a lover capturing the shyness from face which had borne that head. The telling here doesn’t go about asking sympathy for the characters captured, its just settles to only telling, letting you observe and then disturb you with unsettling feelings.
Remember the time you wanted to capture the audio-visual of waves crashing on the sand which ended up as a video about a guy shouting “bhaiya garam pakode” in the background, remember the time you wanted to capture a music concert which ended up as a video in which d artist sings only “beep” because the guy next to you stood up for no reason and in turn hit the camera damaging the audio reception; now look at the collection of clips which meticulously reenacts these kind of scenes.
As bizarre as the beep sound, there is a scene where a guy – a failure, (who had developed an extra mole on his chest called camera) attempts suicide so that his camera could capture at least this sensational scene ending up saving another suicidee and another scene where a guy is beaten up with his camera on; as much as the scene in itself warrants appreciation the real beauty lies in capturing it candid, taking care to make the camera suffer all the trivialities that the people in both the situation undergo and pulling out a masterstroke of sorts in shots post these scenes with those candid visuals.
But after peeling away all these layers will it offer nothing else like the onion and will it remain as a film with only those enjoyable layers? The title of the film will explain you that. If you think “dokha sex aur love” will sound illogical and is okay with “Love Sex aur Dokha”, Dibakar shows illogical order of scenes which turns out to be arranged in descending order; an order which shows a chivalrous couple who calls themselves “deewane” (similar to the movie they try to craft), who were played with; which is followed by the story of a confused pair in which each one’s requirement is different where they finally settle to adapt the other’s requirement as their own, consequently satisfying the only requirement of the pair: sex; which is followed by the story of an unlikely pair – one failed because of “dokha” and other failed to “dokha” who join to “dokha” were the principle character of this film does the opposite of what is expected. Three stories – love, sex aur dokha, with each story having all the three, literally (characters) & figuratively (concepts) in different orders, all told through the eyes of the camera, which all meet up in one candid shot making everything sound simple as their smile.
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