{"id":7286,"date":"2016-06-13T11:10:13","date_gmt":"2016-06-13T05:40:13","guid":{"rendered":"http:\/\/13.201.39.237\/?p=7286"},"modified":"2016-06-13T11:10:13","modified_gmt":"2016-06-13T05:40:13","slug":"ajeeb-daastaans-review-netflix-anthology","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=7286","title":{"rendered":"Ajeeb Daastaans Review: This Netflix Anthology Gives You a New Perspective of Seeing the World Around You"},"content":{"rendered":"\nI<\/span>n a scene from \u201cGeeli Pucchi\u201d, the third short in Netflix\u2019s anthology series Ajeeb Daastaans<\/em>, a boss tells a woman employee demanding a more intellectual job at his factory, \u201cInn mardon mein aur tum mein pata hai kya antar hai. Ye sab kaamgar hain aur tum karigar.\u201d At first sight this seems like a gendered opinion, performed for our sight as a casual dig at the ineptness of men. As the film builds, you realise this statement carried a carefully warped sentiment that has more to do with caste than gender. Neeraj Ghaywan\u2019s film is the toast of yet another Netflix series that though middling in execution has a good set of ideas driving most of its stories. It\u2019s understandable that one would eventually seem better than the other, but in the case of Ajeeb Daastaans<\/em>, the interpretation of \u201cajeeb\u201d is fairly spread out over genres with moderate to stunning impact.\n\nFilm anthologies are like a bag of chips. Made from the same source material but one unlike the other. There are pieces that just feel more satisfying to hold and eat than the other, despite the same essential make-up. Anthologies have also, kind of, become Karan Johar\u2019s thing. Perhaps it is his half-assed attempt at platforming filmmakers better than himself. Both Lust Stories<\/a><\/em> and Ghost Stories<\/a><\/em> were uneven anthologies pillared by the odd gem. Here too the scale tips in Ghaywan\u2019s favour. That said, the others aren\u2019t that far behind.\n\nHowever, the first film in the anthology, titled \u201cMajnu\u201d kind of wastes a terrific Jaideep Ahlawat in the role of a rich and corrupt dynast. Ahlawat is forcibly married to Lipakshi, a marriage he doesn\u2019t intend to invest in. Lipakshi (Fatima Sana Sheikh) is an outspoken bride, prepared to grasp what she believes she deserves. \u201cIss desh ke sare mard dhongi kyun hain,\u201d she declares from the off. \u201cManju\u201d ends with not one but two twists that to an extent undermine the kooky, almost soap-like setup of the film that director Shashank Khaitan should have wholly committed to.\n\nThe second film, \u201cKhilauna\u201d, starring Abhishek Banerjee and a miscast Nushhratt Bharucha, is a rather potent study of the way the poor love. When not obsessed with creating its shock ending \u2013 which does deliver on its horror value \u2013 this short is effective in conveying our classist view of intimacy \u2013 that it\u2019s the dresses we wear, the language we speak, which define intent and morality. In one telling scene a privileged man casually declares doubt over Banerjee\u2019s intentions with Bharucha\u2019s character and her younger sister. It\u2019s a casually surreal moment that underlines the ease with which privilege automatically acquires moral authority over the underprivileged. The film\u2019s change in gears towards the end makes you wonder if it would have been better suited with poetic quality of surveying the hopeless rather than following the cathartic intervention of the angry and the disillusioned.\n\n

Film anthologies are like a bag of chips. Made from the same source material but one unlike the other.<\/p><\/blockquote> \n\nThe middling quality of the anthology\u2019s second film leaves room for redemption and it arrives in the form of Neeraj Ghaywan. The director\u2019s \u201cGeeli Pucchi\u201d is the only character driven story of the anthology where Konkona Sen Sharma and Aditi Rao Hydari brilliantly essay two women who tenderly find in each other\u2019s company a sort of refuge, but also a source of subsequent envy. Sharma plays Bharti, a machine operator at a factory who is joined by Hydari, a soft-spoken, na\u00efve newcomer on campus. Being the only two women on the floor, both bond over common grievances \u2013 absence of a women\u2019s toilet to begin with. As the two grow intimately close, Bharti realises that Hydari\u2019s naivety is also a function of the caste privileges she enjoys. Bharti is constantly reminded of her place and therefore carries the outlook of a woman toughened by the injustices of time. Hydari on the other hand, though confused and lonely, can still inspire sympathy in others by the virtue of being more feminine and of caste where victimhood is sympathised with.\n\nSharma is nerveless and emphatically brilliant in speaking through the depth of her face. She remembers to break down only when alone. In one achingly poignant scene, she is relegated in the eye of men around her to an instrument while Hydari is celebrated for her historically labelled superiority. The camera zooms in on a dirty paper tissue that Bharti is instructed to dispose of. It\u2019s symbolically affecting as a totem of this country\u2019s blindness to caste privilege. Rather than latch onto her victimhood, however, Bharti executes a sinister plan to get to the opportunities she yearns for. It\u2019s a delicious metaphor for the resistance people of the lower caste have to show in this country to survive.\n\nThe last film, titled \u201cAnkahi\u201d, anchored by two assured performances by Shephali Shah and Manav Kaul is a strong note to end on, one that is as poignantly romantic as it is effective. Shah plays a housewife coming to terms with her daughter\u2019s loss of hearing while Kaul plays the deaf photographer she finds solace in. Shah\u2019s poise matches Kaul\u2019s charm in a story that is as much about the illusions of love as it is about its grounding realities.ss\n\nAjeeb Daastaans<\/em> as is common to Indian cinema is streaked with love and despair, boundaries and breakages. But in this new anthology there is a whiff of new perspectives; especially of the new ways of seeing the world around you and uncoil its mannered complexity. Despite the noisy shenanigans of the first film, the other three, especially Ghaywan\u2019s \u201cGeeli Pucchi\u201d and Kayoze Irani\u2019s \u201cAnkahi\u201d, redeem ideas that are well worth the intrigue and risk of going to a format that hasn\u2019t yet comprehensively delivered.\n","protected":false},"excerpt":{"rendered":"

Netflix\u2019s anthology series Ajeeb Daastaans is an effective commentary on caste, class, and gender, which offers new perspectives to complexities that surround us. The toast of the series, however, is Neeraj Ghaywan\u2019s \u201cGeeli Pucchi\u201d, starring Konkona Sen Sharma and Aditi Rao Hydari, a story about two women who find refuge in each other\u2019s company, only to discover their differences.<\/p>\n","protected":false},"author":137,"featured_media":7287,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[11238,11239,11240,10758,11241],"class_list":["post-7286","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-ajeeb-daastaans","tag-ajeeb-daastaans-review","tag-netflix-anthology","tag-streaming-now","tag-what-to-watch"],"yoast_head":"\nAjeeb Daastaans Review: This Netflix Anthology Gives You a New Perspective of Seeing the World Around You<\/title>\n<meta name=\"description\" content=\"Netflix\u2019s anthology series Ajeeb Daastaans is an effective commentary on caste, class, and gender, which offers new perspectives to complexities that surround us. 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