LSD 2: A Film Ahead of Its Time – A Review by Dibakar Banerjee

LSD 2 is an anthology of three interconnected stories that really pack a punch. The first story follows Noor, a trans person who takes part in a reality TV show called Truth or Naach. Noor uses her identity to gain popularity on the show, but her relationship with her estranged mother becomes a sensationalized plotline. The second story revolves around Kullu, a transwoman working at a local subway station. When Kullu is found injured on the road, she decides to file a rape case, revealing the prejudice faced by the trans community. The third story focuses on Shubham, a star YouTuber known as Gamer Paapi. Shubham craves validation and money from his subscribers, but his life takes a turn when he is questioned by the police after a student’s death. While the first two stories shed light on the importance of validation in our society and the struggles faced by the trans community, the third story explores the dark side of the internet and its impact on our lives. Overall, the film delves into themes of validation, societal issues, and the power of the internet. It’s a thought-provoking journey that challenges our shallow perspectives on life. Hope that helps!

Paritosh Tiwari, a cis man, effortlessly embodies the character of transwoman Noor, blurring the line between actor and character. His performance lingers in your mind long after the film ends. Swastika Chatterjee and Bonita are also fantastic in their story, shedding light on the woke yet insensitive and misogynistic society we live in. Anubhav Singh as Gamer Paapi delivers a convincing performance, but unfortunately, the story lacks coherence, making it less enjoyable compared to the other stories. Technically, LSD2 is a top-notch film. It presents multiple perspectives through CCTV footage, mobile phone videos, and studio cameras. Cinematographers Anand Bansal, Riju Das, and Priyashanker Ghosh do a splendid job of making the narrative feel authentic. The film dynamically changes screens to match the medium it portrays, and the editing by Naman Arora is superb. Dibakar Banerjee tackles the internet, our obsession with it, and how it shapes our narrative in today’s world. The treatment may be unfamiliar to regular Indian cinema viewers, making the film ahead of its time. Some may find it incoherent or too bold. While it drives home important points about our society’s digital obsession, not everyone may resonate with its approach.