{"id":2264,"date":"2016-04-07T12:01:01","date_gmt":"2016-04-07T06:31:01","guid":{"rendered":"http:\/\/13.201.39.237\/love-sex-aur-dhokha-dibakar-banerjee-black-mirror\/"},"modified":"2026-07-17T19:58:46","modified_gmt":"2026-07-17T14:28:46","slug":"love-sex-aur-dhokha-dibakar-banerjee-black-mirror","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2264","title":{"rendered":"Years Before Black Mirror, We Had Love Sex Aur Dhokha"},"content":{"rendered":"\n

B<\/span><\/p><\/div>

ack in 2010, when fast-paced <\/span>internet<\/span><\/a> was still a distant reality and everything from the dahi bhallas on our plate to the kidney stones in our tracts had not been linked to our <\/span>Aadhaar<\/span><\/a>, Dibakar Banerjee gave us a lesson on the dangers of pervasive <\/span>technology<\/span><\/a>. The lesson might not have had the sleekness or technical finesse of Charlie Brooker\u2019s missives from <\/span>Black Mirror<\/span><\/i><\/a>, but it was equally scary. \u00a0<\/span>\n\nLove Sex Aur Dhokha<\/span><\/i>, which turns eight today, is an anthology comprising three shorts that are bound together by the \u201cfound footage\u201d format (made popular by <\/span>The Blair Witch Project<\/span><\/i> and <\/span>Paranormal Activity<\/span><\/i>). It brings together narrative devices like CCTV footage, camcorder tapes, and hidden cameras to tell us the story. For an industry still tripping on non sequitur dance sequences in the middle of stories, <\/span>LSD <\/span><\/i>marked a massive shift in storytelling, especially for our popcorn-throwing, hero-worshipping janta. <\/span>\n\nThe first story, titled \u201cSuperhit Pyaar\u201d, is a tale of star-crossed <\/span>romance<\/span><\/a> told through the device of film school video project that both the young lovers are undertaking for a competition. The second one, \u201cPaap ki Dukaan\u201d deals with the perversity of internet <\/span>porn<\/span><\/a>, where a man neck-deep in debt tricks a colleague into having <\/span>sex<\/span><\/a> with him, records it on the store\u2019s CCTV camera unit, and sells it to a friend who puts it out on the internet. <\/span>\n\nThe interesting thing about the third story, \u201cBadnaam Shohrat\u201d, is that even though the focus is primarily on the casting couch and the questionable conduct of a singer\/composer modelled almost entirely on Mika Singh, Banerjee doesn\u2019t stop there. The invasiveness of the camera is apparent when we see the other side of the sting: TRP-hungry bosses who\u2019d manipulate the sting operation footage to maximise their gains leaving the victim of the act in the middle of a storm. But we all know how context can be moulded to suit those on the outside. Ask Kanhaiya Kumar, he\u2019ll tell you.<\/span>\n\n\"Love\n

\n

In Dibakar Banerjee\u2019s hands, the CCTV camera, a well-intentioned \u201csecurity device\u201d in Love Sex Aur Dhokha<\/em>, turns into a macabre display of deceit.<\/p>\n

Image credit: Balaji Films<\/p>\n<\/figcaption>\n<\/figure>\n\nIn all three stories, the male perpetrators of the <\/span>crime<\/span><\/a> use the woman in their respective story as inciters of <\/span>sexual violence <\/span><\/a>and blame them for calling it upon themselves. A refrain from the film\u2019s eponymous title track \u2013 \u201cTasveer utarunga, mele mein dikhaunga, jo dekhega uski ankhiyan nuchwaunga\u201d \u2013 pretty much summarises the characters\u2019 attitude towards <\/span>women<\/span><\/a> and the invasiveness of the camera. <\/span>\n\nHowever, just like in <\/span>Black Mirror<\/span><\/i>, the irascible monster of technology does not walk away with the blame. That rests squarely on the frailty of human emotions and the rising stakes of a moral dilemma, while technology merely acts as a catalyst in the same. Remember this season\u2019s craziest episode, <\/span>Crocodile<\/span><\/i>, where the central protagonist, Mia Nolan, will go to any lengths to retain her status quo as a wealthy, successful, <\/span>happily married<\/span><\/a> family woman? The devices that threaten to expose Mia\u2019s terrible secrets are merely props \u2013 the paranoia, the greed, the entitlement, the ultimate unravelling of the mind, and the instinct to kill that Mia displays, is entirely her own. It is entirely human. \u00a0\u00a0<\/span>\n\nThe same can be said about <\/span>Love Sex Aur Dhokha<\/span><\/i>, where the challenges are a bit different. In the universe of the three stories, a predisposed notion of safety is constantly at odds with the idea of <\/span>privacy<\/span><\/a>. <\/span>\n\n

For an industry still tripping on non sequitur dance sequences in the middle of stories, LSD <\/em>marked a massive shift in storytelling.<\/p><\/blockquote> \n\nIn Banerjee\u2019s hands, the CCTV camera, a well-intentioned \u201csecurity device\u201d, turns into a macabre display of deceit. I remember the time these omnipresent cameras were installed everywhere in the country, on the back of the \u201cBroken Windows\u201d theory. Their ostensible purpose was to prevent <\/span>terror<\/span><\/a> attacks and alter public behaviour for the better, by putting the fear of punishment in people. <\/span>\n\nFor <\/span>LSD<\/span><\/i>\u2019s protagonists, however, CCTVs are nothing but a means of subversion and transgression. The device gives us an illusion of control, but leaves our lives open to scrutiny and manipulation, feeding off our incorrigible anxiety to monitor everything without being physically present. Just like this season\u2019s <\/span>Black Mirror <\/span><\/i>episode of <\/span>Arkangel<\/span><\/i>, where a single <\/span>mother\u2019s<\/span><\/a> constant, anxious monitoring of her young daughter \u2013 with the help of a chip in her brain that hooks to a live feed \u2013 leads to disastrous consequences for both of them. <\/span>\n\nAside from being a stringent warning on the challenges to privacy, in some ways <\/span>LSD<\/span><\/i> also set the tone for the kind of films we\u2019d make in the coming years. Strains of the film are echoed in the intense short film, <\/span>Agli Baar <\/span><\/i>(2016), by <\/span>Devashish Makhija<\/span><\/a>, where Skype calls are used as the primary narrative device to tell a spine-chilling tale of political murders. Banerjee\u2019s film opened up a whole new spectrum of digital filmmaking in India and in terms of style, cinematography, and music outshone almost everything around it. <\/span>\n\nNow, when I revisit the film today and stare back into the CCTV camera in office, I\u2019m constantly aware, borderline anxious about being watched all the time. <\/span>Love Sex Aur Dhokha <\/span><\/i>is a cautionary fable that should haunt us \u2013 because its relevance will only continue to grow in the years to come. <\/span>\n","protected":false},"excerpt":{"rendered":"

Dibakar Banerjee\u2019s Love Sex Aur Dhokha, which turns eight today, warned us of the dangers of technology long before Black Mirror could. It might not have had the feeling of impending doom that pervades through Charlie Brooker\u2019s show, but in impact, LSD was nothing short of a scary trip.<\/p>\n","protected":false},"author":133,"featured_media":2267,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[4562,4563,1508,4564,4565,1290,4566,4567,1511],"class_list":["post-2264","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-8-years-of-love-sex-aur-dhokha","tag-arkangel","tag-black-mirror","tag-cctv-cameras","tag-charlie-brooke","tag-dibakar-banerjee","tag-love-sex-aur-dhoka","tag-pervasive-technology","tag-rajkummar-rao"],"yoast_head":"\nYears Before Black Mirror, We Had Love Sex Aur Dhokha<\/title>\n<meta name=\"description\" content=\"Dibakar Banerjee\u2019s Love Sex Aur Dhokha, which turns eight today, warned us of the dangers of technology long before Black Mirror could. 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