Ajeeb Dastaans web series: Somewhere In This series, You’re Sure To Spot Yourself

Ajeeb Dastaans web series reaffirms the intricate condition of being human at the convergence of numerous personalities, and treats it with the genuineness and non-reductivity it merits.

*FEW SPOILERS ALERT

Ajeeb Dastaans web series, a bunch of four autonomous short movies, presently playing on Netflix, weaves stories that portray a few of the whole range of feelings and inspirations that characterize the human condition. I have explored each independently, to do equity to the accounts.

How feminism can change men’s lives

Majnu

‘Majnu’ opens with an anticipated scene. We are welcomed into the Hindi heartland, as we witness a man from a nearby zamindar/alcohol noble family tell his companion the evening of their wedding that he adored another person and will not have the option to feel that with her. The marriage is to be a social hoax. At the point when she asks what is anticipated from her, the drained saying of a lady being the ‘ghar ki maryaada’ is focused on. In what is our first sign that this is definitely not a regular story, she advises him precisely her opinion about him and all men in our nation, and, as a splitting shot, requests that he meet her eye.

In 34 energetic minutes, this dull film, amazingly shot and altered, takes us from the recognizable to the new, toward an unexpected closure, however not without first focusing on the subjects of female longing (and its results), and the profoundly harming impact that a culture of poisonous manliness has on men.

As veils fall and weaknesses are uncovered, the coarse, appalling side of the heroes offers route to a smidge of compassion toward the individuals who utilize beast power and tormenting as foghorns for their sex to their own burden. In the event that there is an account that shows us how women’s liberation can transform men, it is this: if the platform that is man centric society and harmful manliness was destroyed, what number of men would be allowed to show their actual cravings and internal identities in a gentler, more credible world? How at that point would they abstain from ricocheting their torment and injury on the most helpless around them (women, workers, anyone in a difficult spot) and quit sustaining a pattern of misuse and ruthlessness?

This short from Ajeeb Dastaans web series shows that reclamation is conceivable, and with a bend in the story, flips our feelings and bumps us to scrutinize the victimizers what made them like this, what drove them to solidify their veneer, how does male controlled society all the while smash those it apparently benefits–and analyze our own drivers in keeping up the norm as women.

Indeed, even as the completion has every one of the kinds of a potboiler (not uncovered for spoiler reasons) the short closes with the impression that another story is conceivable, and some realistic expectation in the midst of the misfortune and agony. Jaideep Ahlawat sparkles in a bona fide and controlled execution as Bablu Bhaiyya, as this women’s activist story communities a man, and our aggregate requirement for a drastically extraordinary social design.

When gender, class, and those privileged clash

Khilauna

In this disrupting film set in Lucknow, sex, class and sexual strain crash to make an ideal whirlwind. The focal point chooses a female homegrown laborer with a youthful sister in her consideration, who aims for a superior existence with an essential convenience like dependable power. As her disdain toward the class she works for stews, and she utilizes her situation for little advantages, she faces class advantage, an accepted absence of office over her own body, the unlimited requests of man centric society, and the numerous ways women across class divisions are relied upon to bargain their bodies for endurance.

So profoundly settled in are class and sexual orientation assumptions, that women betray each other in the battle for force, and savagery is nevertheless an ‘improper’ look at without flinching endlessly. Hatred and disgrace in this story come from need: regardless of whether that be power, monetary force, social cash, or a youngster.

There are snapshots of office, for example, who the hero (Nushrat Bharucha) decides to be with, and how she conveys her situation as the aide of a weak new mother to her own advantage, however those are rare in this grave story, with a foreboding foundation score to coordinate. There is a propensity of fun at others’ expense at women who are unashamed and brazen about the manner in which they convey themselves, since ‘great’ women should do their absolute best to not be seen considerably the world effectively high on testosterone.

The horrifying completion, very improbable to have been appeared on screen previously, is left open-finished, with the crowd wrestling with awfulness, pity and a specific misery that floods from this specific setting to flood our broke, casteist and authoritarian culture in general. Hard-hitting and irritating for what it’s worth, we have the advantage of turning away from our screens, however are left pondering about those for whom these situations are a lived insight until the finish of their days.

Women in places created for them by patriarchy, and places they wish to be in

Geeli Pucchi

As the third film from Ajeeb Dastaans web series opens, we see the camera follow Bharti (Konkona Sen Sharma), an emphatic assembly line laborer and the lone lady on the floor, pushing for herself. She is addressing not getting an advancement she merits. We pull for her until a character calls attention to her last name. Mondal. Furthermore, in the talking about that name, watchers are welcome to envision the carrier’s reality what their identity is, the thing that their experience is, what their family resembles, how ages of progenitors helped a living. She is solidly and terminally opened as Dalit. Indeed, even as we pull for her harder, we start to flatten. Until she discloses to her Doubting Thomas associate to push it. Not long after. arises one greater personality. Bharti is gay. There was a lady in her life, and a solitary tear at the side of her eye affirms she is as yet vexed.

Enter Priya (Aditi Rao Hydari), the individual who has been recruited for the work Bharti needed, and all that she isn’t: upper position, hitched, protected and regarded for the entirety of the abovementioned. It is clear she has the work in view of what she is, not what her identity is. As Priya connects with an at first blunt Bharti, their accounts unmistakably help us to remember how society lays its limits for women. At some random time, there is: a lakshman rekha around what women should be, a considerably more tight noose around what wedded women should be, and afterward, when you don’t realize whether to snicker or cry at the ludicrousness, all things considered, the endorsed methods of how a wedded veggie lover lady should be.

Indeed, even as Priya asks why she can’t adore her socially suitable life partner and still craves after a school companion, she is suffocating in self-question. The principles of heteronormative man centric society are so inflexible and watertight that women question their own mental soundness before it even happens to them that it could be the framework. Numerous never make it that far.

The film conveys awful nuances that arrive at a crescendo in a hand hastily removed, in a look of acknowledgment tossed, in the lines read among name and position and history and character. As Bharti investigates Priya’s birthday festivity through a mass of office glass, you understand she’s consistently outwardly, glancing in, never truly welcomed in spaces occupied by the ‘good’, continually existing on the outskirts. As she is delivered much obliged for supporting Priya and her family, Bharti is offered tea in a different cup (metal for her, pretty flower cups for every other person) as a consistent token of the hindrance she can’t, should not, won’t at any point penetrate.

The film takes a bend, as, rather than enduring as a casualty, we witness Bharti expertly execute an upset. Smoothly and calculatingly, she picks herself and her fantasies, and reclaims from Priya what she wouldn’t have esteemed at any rate. While the two entertainers sparkle in their jobs, Konkona Sen Sharma possesses Bharti so totally, she astonishes. Aditi Rao Hydari splendidly depicts a gullible weakness that is charming and disturbing in equivalent measure. This short places women up front, in both – the spaces made for them, and the ones they wish to reconsider for themselves.

How communication is so much more than speech

Ankahi

In a proceeded with investigation of the manners in which we can exact savagery on one another, this film ventures into the universe of handicap, articulation, loss of voice, being concealed, and words, both said and implied.

The scene opens on two of my #1 entertainers Shefali Shah and Manav Kaul–in inclined position. It is the following morning. From consequently, every edge they occupy is suffused with a wizardry few can carry with no verbally expressed words and just their eyes. This delicately and flawlessly shot film, with the background of South Mumbai’s pioneer engineering as sheer verse, grasps our hand and brings us into the universe of the conference tested, sincerely tested and the individuals who, regardless of useful eyes, essentially can’t see.

It shares the novel but then ordinary battles in long haul relationships, and how correspondence is far beyond discourse. The content makes us extremely upset in the very most ideal manners, and unexpectedly, for a story fixated on gesture based communication, has the best discoursed. Solidly focused is the enthusiastic experience of the female hero (Shefali Shah). Her aggregate passionate disregard, rage at being excused, and the spreading out of a delicate, at that point energized sparkle of expectation is the internal universe of so many of our sex.

At the convergence of an adjusted content, splendid entertainers and delicate bearing stands this vital story of a lady in general, untrustworthy, proud individual. An individual first, before her sexual orientation. The science among Shah and Kaul is a delight to observe, and the camera absorbs their joined loads of ability.

Ajeeb Dastaans web series. This assortment of stories reaffirms the unpredictable condition of being human at the convergence of various personalities, and treats it with the genuineness and non-reductivity it merits. Watch Ajeeb Dastaans. Some place in that snare of stories, you will undoubtedly spot yourself. Furthermore, maybe recognize that being human is chaotic, excruciating, lamentable, anxiety ridden, confident, and loaded up with bliss—many, numerous things, yet none of them fundamentally ‘ajeeb’.

Also Read – How to Wear Saree

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