{"id":2716,"date":"2016-03-06T09:49:59","date_gmt":"2016-03-06T04:19:59","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2716"},"modified":"2026-07-17T20:10:51","modified_gmt":"2026-07-17T14:40:51","slug":"lust-stories-review-netflix-zoya-akhtar-bhumi-pednekar","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2716","title":{"rendered":"Lust Stories: What\u2019s Stopping Indian Women From Demanding Sex?"},"content":{"rendered":"\n

I<\/span>n <\/p>Lust Stories<\/span><\/i> \u2014 the Netflix anthology directed by <\/span>Anurag Kashyap<\/span><\/a>, Zoya Akhtar, <\/span>Dibakar Banerjee<\/span><\/a>, and <\/span>Karan Johar<\/span><\/a> \u2014 Akhtar\u2019s short begins with a quietly powerful <\/span>sex scene<\/span><\/a>. <\/span>\n\nA man and a woman entwined in each other\u2019s bodies; the woman\u2019s legs tightly enveloping the man\u2019s back and his hands aggressively clasping her head as they settle into a rhythm. Just as you\u2019re about to write it off as yet another missionary <\/span>love-making<\/span><\/a>, they attempt a role reversal. She (a scene-stealing <\/span>Bhumi Pednekar<\/span><\/a>) gets on top and rides him (Neil Bhoopalam) with gusto \u2014 her expressive face keenly articulating the pleasure she derives from the act while his eyes amusingly remain shut. It\u2019s only post-coitus that we discern a fact that make us view this morning romp as a tool of silent subversion: She is his <\/span>maid<\/span><\/a>, Sudha.<\/span>\n\nIn the next few minutes after their down and dirty sex, Sudha readjusts to her place in the hierarchy of the house. As the bachelor, he takes a shower, gets ready for work, looks engrossed in a call, and wears a pensive look while reading a newspaper on the dining table. As the bachelor\u2019s maid, she, on the other hand, scrubs the house clean, makes him <\/span>breakfast<\/span><\/a>, irons his clothes, and, proceeds to change the very sheets they tainted. There\u2019s a business-like domesticity to Sudha\u2019s actions, almost mirroring that of an overworked <\/span>wife<\/span><\/a> \u2014 yet there\u2019s an insurmountable class and gender divide between both these versions. On the surface however, they look no different (a point beautifully reiterated by the shot-taking).<\/span>\n\nBesides the fact that Pednekar channels a haunting passive-expressive body language (She has a total of two lines), what makes Akhtar\u2019s short groundbreaking is its unflinching articulation of the hypocrisies of the entitled <\/span>middle class<\/span><\/a>. Through Sudha\u2019s reticence, Akhtar brings alive a searing commentary on how the middle class looks down on the very people who stand witness to the ugly and most intimate aspects of their lives. (There\u2019s even a wry scene where Sudha is shown drying the family\u2019s <\/span>underwear<\/span><\/a>.) For her tenant\u2019s family, Sudha is only a mock placeholder as the \u201cmistress of the house\u201d until they find the real one \u00a0\u2014 a suitable girl for their son. And, yet it\u2019s Sudha who ends up welding an insurmountable power over her male tenant, on bed, and in the house \u2014 they are almost crippled without her.<\/span>\n\nIn doing so, Akhtar perfects the delicate dance between emphasising how the naked emotion of \u201clust\u201d is forbidden to<\/span> Indian women<\/span><\/a> who\u2019re taught the other L word instead, and how despite this conditioning, women like Sudha, seem to know exactly how to recognise it. It\u2019s also a common thread colouring all the four shorts in <\/span>Lust Stories<\/span><\/i>, which attempts to shatter the long-accepted translation of lust as \u201cwomen wanting something they can\u2019t have\u201d. Instead, through the eyes of its four female protagonists, the anthology drives home the point that Indian women\u2019s <\/span>relationship<\/span><\/a> with<\/span> lust<\/span><\/a> is hardly that pat. It\u2019s as layered as them knowing exactly what they want but being confounded about how to have it.<\/span>\n\n\"Lust\n

\n

Through Sudha\u2019s reticence, Zoya Akhtar brings alive a searing commentary on how the middle class looks down on the very people who stand witness to the ugly and most intimate aspects of their lives.

Image Credit: RSVP Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nTake Kalindi (Radhika Apte), the mercurial <\/span>college<\/span><\/a> professor, who\u2019s the lead in Kashyap\u2019s short for instance. Getting married to her first boyfriend meant Kalindi barely had the chance to sexually explore herself with men other than her husband. Now in a long-distance open marriage, when she attempts to course-correct and manufacture the rite of passage of indulging in casual sex with her younger <\/span>student <\/span><\/a>(<\/span>Sairat\u2019<\/span><\/i>s <\/span><\/a>extremely likeable Akash Thosar), she is unable to view lust in isolation. (Who\u2019d think it would be Kashyap whose short wouldn\u2019t comprise a visual sex scene?)<\/span>\n\nFor Kalindi, her whole life has been about believing that love and lust coexist, which is precisely why she struggles to separate the two. Like most Indian women, even Kalindi, has never been taught how to. So, it\u2019s not surprising that despite initiating it, it\u2019s Kalindi who sees a fling through the prism of a toxic relationship: she expects him to be honest, see her as a priority, gets jealous if he hangs out with other women, and demands exclusivity. (To be more accurate, she behaves like men usually do.) Because, Kalindi isn\u2019t programmed to deal with lust independently, she essentially becomes all the things she warned him about \u2014 even metamorphosing into an unceremonious <\/span>stalker<\/span><\/a>. Kashyap\u2019s short is then a fascinating, zoomed-in portrait of the conflicted mind of a delusional Indian woman battling the demons of institutionalised lust and <\/span>monogamy<\/span><\/a>.<\/span>\n\nEven Reena (a tender Manisha Koirala), a 40-something unhappy and bored <\/span>housewife<\/span><\/a> in Banerjee\u2019s short, is desperate to have autonomy over her own primal instinct. For her, lust can\u2019t exist without self-assertion; what\u2019s the point of sex if it doesn\u2019t have the stamp of her authority over it? It\u2019s why she feels distanced from her patriarchal husband (Sanjay Kapoor doing a vulnerable version Anil Kapoor from <\/span>Dil Dhadakne Do<\/span><\/i>) who\u2019s a control freak and starts an extramarital affair with his best friend (Jaideep Ahlawat rocking the poker-face). But only later, does it dawn on her that even her illicit relationship wasn\u2019t merely the product of her attraction. Instead, she was driven to it by her self-obsessed husband, for whom her independence is invisible. Unlike Kalindi, for Reena, love has got nothing to do with lust. Instead it\u2019s about having the right to start over again.<\/span>\n\nIn Johar\u2019s short, it\u2019s impossible to not see Megha (Kiara Advani) the newly-wed in search of her own climax, as the younger version of Reena. Like her, even Megha succeeds at not letting love and lust coalesce. And,although she\u2019s acutely aware of her desultory sex life, this reality escapes her oblivious husband (<\/span>Vicky Kaushal)<\/span><\/a> for he believes in only five thrusts. That leaves Megha to be the harbinger of her own orgasm, which also means that she has effectively been denied the privilege of lusting for someone and it paying off. Even ironic is the fact that it\u2019s her <\/span>orgasm<\/span><\/a> that sounds the death knell on her marriage. (If <\/span>Veere Di Wedding <\/span><\/i><\/a>ruffled feathers with one <\/span>masturbation<\/span><\/a> scene, <\/span>Lust Stories<\/span><\/i> will be the cause of heart attacks for multiple grandmothers.) <\/span>\n\nDespite their different circumstances and their varied relationship with lust, it\u2019s evident that they are the same person in different stages of her life: A woman who is in control of her lust, one who has the opportunity to control it, one who is trying to reclaim her control, and one who is yet to experience the pleasure of lust. In doing so, <\/span>Lust Stories<\/span><\/i> leaves its audience with one evocative question: What does it mean to be an Indian woman and choose to lust unabashedly? <\/span>\n","protected":false},"excerpt":{"rendered":"

In the Netflix anthology Lust Stories, Zoya Akhtar, Dibakar Banerjee, Anurag Kashyap, and Karan Johar do the delicate dance between emphasising how \u201clust\u201d is a forbidden emotion for Indian women and how despite this conditioning, women seem to know exactly how to recognise it.<\/p>\n","protected":false},"author":103,"featured_media":2719,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[1287,1290,5498,5499,5500,5501,1341,5502,4214,5503],"class_list":["post-2716","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-anurag-kashyap","tag-dibakar-banerjee","tag-kara-johar","tag-lust-stories","tag-lust-stories-review","tag-manisha-koirala","tag-netflix","tag-sanjay-kapoor","tag-vicky-kaushal","tag-zoya-akhtar"],"yoast_head":"\nLust Stories: What\u2019s Stopping Indian Women From Demanding Sex?<\/title>\n<meta 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