In an evolving era where social media reigns supreme, filmmaker Dibakar Banerjee stands as one of a few illustrious directors whose distinctive voice continues to captivate the world of Indian cinema with integrity and audacity. The much-anticipated sequel Love Sex Aur Dhokha 2 (LSD 2), arriving fourteen years after its groundbreaking predecessor, is a testament to Banerjee’s relentless spirit and unique vision.
LSD 2, according to Banerjee, required the distillation of a decade’s worth of societal shifts and technological advancements. This new narrative evolution addresses the pervasive influence of the internet on modern life. “I thought that a decade has passed and everything has changed in this period. So, there is enough masala [to create] a spiritual offspring,” Banerjee explained. “If LSD 1 was about the camera serendipitously spying on you, LSD 2 is you living for a thousand cameras.”
Divided into three compelling stories, LSD 2 paints a picture of a world ensnared by the web of social media. The film scrutinizes how the internet can morph into an instrument of emancipation as well as imprisonment. Banerjee dissects this paradox, stating, “The internet gives us a certain kind of independence. In the virtual world, we can be whoever we fantasise to be. But when we reinvent our identity and try to sell it, we are caught in it and that’s the exact opposite of freedom.”
Addressing the concept of gender identity, LSD 2 makes a bold statement by casting transgender actor Bonita Rajpurohit in a leading role, a pioneering move in Bollywood. Banerjee maintains a practical outlook on the casting choice. “The way I see it, if there is a transgender character, a transgender actor has to play it,” he says. This nonchalant attitude toward inclusive representation positions the director as a pragmatic storyteller rather than an activist chasing milestones.
Banerjee’s refusal to subscribe to the conventionalities of the film industry is evident in his body of work, distinct for its political charge and incisive commentary. Films such as Oye Lucky Lucky Oye, Shanghai, and Ghost Stories bear the hallmark of his unyielding approach to cinema. His strategy for maintaining this authenticity? Keeping a low financial profile and sidestepping the high demands and expectations ubiquitous in commercial cinema. Banerjee comically compares himself to an auto rickshaw driver who unapologetically refuses certain destinations, emphasizing that his producers have come to understand and respect his choice of projects.
Not every script or project aligns with Banerjee’s vision, and as such, his collaborations are selective. The director points out that not everyone in the industry is clamoring for his participation, as he does not fit the blockbuster mould. Producers with an appetite for intriguing and unconventional narratives seek him out. “For instance, Ektaa won’t tap me for The Dirty Picture 2,” Banerjee remarks, alluding to producer Ektaa R Kapoor’s discernment of his cinematic preferences.
Embracing the road less traveled in Bollywood comes with a certain cost – one that may translate to a markdown in lifestyle. Yet, Banerjee seems to wear this fact as a badge of honor. “I have one less bedroom in my house, or have a smaller car and less money in my bank account. But like a cockroach, I survive by still going ahead with the story that I want to tell,” he enunciates with a survivor’s pride.
Banerjee’s Love Sex Aur Dhokha 2 is more than just a sequel; it is a mirror reflecting the intricate realities of our media-saturated lives. Through his films, the director continues to challenge norms, question societal behaviours, and shine a light on controversial themes, all the while carving a path for the kind of immersive and provocative storytelling that only a few dare to undertake.
