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London Indian Film Festival; UK Premiere of ‘LSD’

London Indian Film Festival; UK Premiere of ‘LSD’

July 17, 2010
Pulkit Datta

Here's a festival dedicated to independent Indian cinema, opening with one of the most innovative and enjoyable films of recent times.

It’s quite an exciting time we’re witnessing in terms of Indian cinema. Not only are the films diversifying evermore across the board but there is also a genuine interest internationally in India’s cinematic culture. However, while ‘Bollywood’ is the buzzword, the smaller more independent films from India are also fighting to be in the spotlight, and deservedly so. On July 15, London’s Cineworld (Haymarket) was host to the opening night of the 1st Annual London Indian Film Festival (LIFF), which aims to exclusively showcase powerful independent Indian films to a global audience that goes beyond NRIs. The festival opened with a bang with the UK premiere of Dibakar Banerjee’s immensely innovative and enjoyable film Love Sex aur Dhokha (LSD). Here’s a summary of the opening night, including a review of LSD and interviews with Dibakar Banerjee and one of the film’s leads Anshuman Jha.

Speaking to The NRI before the opening, festival director Cary Rajinder Sawhney highlighted the main goal of the LIFF is to “punch up the profile for independent Indian films in a market that hasn’t yet been tapped.” Sawhney, who has in the past worked with the British Film Institute and led the ImaginAsia festival, said he hopes to internationalize independent Indian cinema so there is widespread critical appreciation and mainstream distribution of these lesser known films that talk about the real India.” With an intriguing lineup of films, starting with the opening night film LSD, Sawhney and his LIFF team appears to be off to a good start.

Banerjee’s LSD begins with a super cheesy, gaudy, overdone-with-graphics, introductory tease promising reality cinema. It’s ridiculous and reminds you of the many films and TV shows that have begun this way, but that’s exactly the point. From the very first second, the film submerges you into a cinematic experience you haven’t seen; yet it is of a world that seems all too familiar. As Banerjee puts it, “The film pretends to be not a film.” LSD is divided into three intertwined episodes, each telling engaging stories about contemporary India using unique camera techniques.

The first story is about Rahul, a hardcore Aditya Chopra-fanatic who falls in love with the heroine of his college film, Shruti. They live a Bollywood romance, witnessed constantly through Rahul’s camcorder, until it all goes shockingly wrong. Actor Anshuman Jha, who plays the male lead here, says that his character is “the real Rahul, who wants to live out cinematic fantasies but eventually has to face the reality of what he wants.” This episode is treated both as a spoof and homage to Chopra romances aided by a hilarious father character to spur the story. Especially funny is the scene when the father leads Rahul and his cameraman around his mansion ordering them to shoot his prized material possessions. The camera becomes an active participant in this episode as the characters often talk directly to it or repeatedly glance at it. Only occasionally does it feel like a forced presence.

The second story is set in a supermarket seen entirely through CCTV cameras, establishing it as a theatrical stage where characters flit in and out. Adarsh is a smart MBA graduate who is in desperate need of some quick money. Influenced by his friend, he hatches a plot to seduce one of the supermarket employees, Rashmi, in front of the watchful cameras to sell it as a sex video on the internet. Cue emotional complications and meddling supporting characters, and this segment of the film is gripping for such convincing acting during several very long and difficult takes. Banerjee referred to this story as a “sort of play, the camera is static, there aren’t any close-ups, no cutting to focus on the action. Instead, the movement within the frame is meant to tell the entire story.” This segment does a great job of making the viewer feel voyeuristic; we’re not supposed to be secretly watching these interactions in the supermarket, yet we can’t look away.

The third chapter of the film shifts to a sting journalist Prabhat and the world of spy cameras. Under pressure from a sensation-hungry boss, he helps out an aspiring dancer Naina get revenge on “India’s biggest pop star” Loki Local by catching his demands for sexual favors on camera. It’s a very topical story, reminiscent of the boom in sting journalism that took place in India over the last decade. Loki’s character is incredibly fun to watch and helps lift what is probably the slowest story of the three. It does, however, continue with the film’s goal to push the boundaries of “what people don’t want to talk about, how we’re all being watched in some way, how our lives are increasingly public,” according to Jha.

The most fascinating aspect of LSD, besides a very taut script, is the use of the camera (in whichever shape or form) as the principal character. The human characters are constantly aware of its presence and use it in different ways to accomplish what they want. This technique makes it perhaps India’s most commercially successful experimental film. Banerjee, however, says he never intentionally sought to make an experimental film, stating, “had I known it was breaking this or that rule of filmmaking, I would have been too nervous. I just made the film I wanted to make.” LSD presents a new chapter in Indian filmmaking. It is unapologetic, unafraid, and completely and utterly honest about a segment of modern Indian society. When asked for his reason for making such a film, Banerjee concluded, “I was interested in reflecting a grammar that is all our own. We live in an India where digital video, CCTV, internet porn, MMS’s, and spy cameras are all around us. I wanted to make a film that used these tools.” The six principal leads, including Jha, are all new but exhibit very natural acting talent. Each one fits into his or her role effortlessly keeping you interested throughout.

Already a commercial success in India, the team of LSD and the organizers of LIFF hope to expose the film to a much more widespread international audience. It’s not just a major accomplishment in terms of innovative camera techniques but it is also thoroughly entertaining as a reflection of us. After all, who doesn’t like a good look at someone else’s dirty laundry? A must watch!

The LIFF will continue until July 20. Click here for the full schedule of the festival (will open a new page).


  • rajesh
    24.07.10 11:48 AM
    have you seen adam rifkin's "look". Check out the trailers on you tube. LSD is a rip off of that film. just that the stories are indian. here is the link
  • The NRI
    The NRI
    23.07.10 03:15 PM
    Dear Hayly, thank you for reading although I would have rather wished you had been sure of your facts before making the first allegation. Pulkit, is indeed in London thanks to the innovation of modern transatlantic air travel. To put your mind at rest, I can confirm he also attended most of the screenings including the films he reviewed.

    With regards to your other comments, I am sure Pulkit is more than capable of addressing them if he so wishes.
  • Hayly
    23.07.10 11:56 AM
    If the author of this review lives in New York, how did he attend the LIFF? This sounds like a hack, someone who never actually attended the event but is now passing off as though he did, by writing an in-depth analysis of the films showcased in the event, he thinks he can getaway with it. I'm afraid he's wrong - you're a hack and you've been rumbled. Just look at the way he writes, he's obtained quotes that are printed elsewhere.
  • Afshan Mujawar
    Afshan Mujawar
    18.07.10 10:43 AM
    Great to see interest in the Indian film industry dveloping internationally. We have so many small budget, independent movies that are true gems but go down without a notice because they can't afford the grand marketing that big house movies get. This is a great way to promote them!

    KSD made waves within India, developing an almost cult status. Of course, the controversial topic meant that their would be hardcore traditionalists who panned it as a poor attempt at publicity, but it really wasn't. The stries it told are very real and happen all the time. The manner in which they are shot is exactly how the common man gets to know about them in real life. So, at the end of the day, one can say, the movie was more REAL than most reality shows on air today (which are scripted anyway so..)

    I look forward to hearing more about the LIFF as it progesses!

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