Love Sex Aur Dhokha

The first thing you will infallibly raise your eyebrows is the ‘title’ of the movie. Sleazy, unconventional, whatever you name it. But Dibakar Bannerjee has opened up new avenues for alternate cinema in India, and has pioneered into digital film-making.

The story, Oh wait! Should I say it has three stories or a story entwining three sub-plots? The first sub-plot is about a budding film-maker who falls in love with his film’s heroine. They elope, get married and try to live happily ever after…until the girl’s father has other plans.

The second sub-plot is about a security camera executive of a departmental store, who in order to clear debts, makes a porn clip in the security camera with a sales girl of the store.

The third sub-plot is about a news reporter desperate for a story and forced by his employers to do a sting operation. He befriends a wannabe actress who was promised and betrayed a music video by a pop star and performs a sting operation on him.

The high point of the movie that hits the audiences is the interconnected potpourri of the three plots. The film has traces of noire humor and Dibakar Bannerjee is able to successfully caricature Delhi in his characters.

The script of his previous movies Khosla ka Ghosla and Oye Lucky! Lucky Oye! was written by Jaideep Sahni. This one is by Kanu Behl. The audience strongly feels the absence of Jaideep Sahni’s locking script. The film loses its hold on the audience especially after the interval due to certain scenes being unnecessarily added or elongated.

But the glitches in the script are well covered by its different cinematography. The camera with all its angles, still and shaky gives the audience, a visual treat. The camera work has strong reminiscence of Steven Soderbergh’s ‘Sex, Lies and a Video Tape’.

Dibakar Bannerjee reminds you of Andy Warhol’s factory cinema and surrealism reaches a new peak with LSD.

Overall it is a must watch, if you are a fan of alternate cinema.