Ajeeb Daastaans full movie free download: This morning Bolly4u the famous piracy site has the download link from Ajeeb Daastaans new original movie on Netflix. Anthology movies are in vogue right now. The best thing about the format is that in most anthologies, there is at least one standout movie. Like Zoya Akhtar’s shorts in Lust Stories or Dibakar Banerjee’s in Ghost Stories or Avinash Arun’s in Unpaused. In Ajeeb Daastaans, that film is Geeli Pucchi by Neeraj Ghaywan.
While the short doesn’t match the scorching brilliance of the earlier one, it’s the clear winner in this patchy four-film collection. Geeli Pucchi means wet kiss. The term refers to the weak bond between two women in a small town in North India. Bharti Mandal, played by a wonderful Konkona Sen Sharma, is the only woman who works on a factory floor. She is smart, ambitious, tough.
When a co-worker insults her, Bharti retaliates. But not with a bang. She punches him in the face like a boxer in a ring. We are told she fights every two or three months. We are also told that the factory does not have toilets for women. But Bharti is not complaining – neither about that nor about her toxic colleague. Her anger simmers just below the surface. Bharti is female, Dalit and gay. Which means she has been marginalized three times. Her talent and ability alone will never be enough to move her forward.
Priya Sharma is the opposite. Neeraj highlights Aditi Rao Hydari’s porcelain beauty and Aditi skillfully nails Priya’s naivety, her constant chatter and her childlike eagerness to befriend Bharti. As the higher caste ‘Sharma Ji ki bahu’, Priya is allowed to work, but she is not allowed to walk to the factory.
Priya has a privilege that she is blissfully unaware of, but in fact she is more trapped than Bharti. In short, the two women find warmth and a hesitant intimacy – there is a beautiful scene where Bharti cooks chicken for Priya who is not allowed to eat non-vegetarian food in her husband’s house. But in the end, Bharti realizes that the gap between them cannot be bridged. Caste and gender have always played a leading role in Neeraj’s cinema, but here too he throws in sexuality.
He and writer Sumit Saxena create a layered story that keeps spinning with refined subtlety. Beware of the details – like how the word ‘chudail’ binds the two women or the way Bharti’s face hardens when she realizes she will always be the outsider or the excellent use of a steel mug. Alokananda Dasgupta’s background score amplifies the complex emotions embedded in the story
– loneliness, longing, resentment, revenge. And the ending will leave you both conflicted and satisfied.
Debutant director Kayoze Irani also tells a story about a weak bond. Ankahi is about a housewife, Natasha, who struggles to keep her life on track while her daughter loses her hearing. Her husband, who appears to be in denial, claims he is too busy learning sign language. As their bond is reduced to screaming matches and silences, Natasha finds refuge in friendship with Rohan, a hearing-impaired photographer. Their relationship takes place in beautiful gardens, cafes, comedy clubs and his beautifully decorated apartment.
The jagged edges here are in the emotions only, but Kayoze has a lovely warmth and Shefali Shah and Manav Kaul are great. These two are such seasoned players that they speak volumes with meticulous expressions. The ending reminded me of Jason Reitman’s 2009 movie Up in the Air. I hope that after watching this, more directors will see Manav as a romantic lead. A lot of charm is waiting to be tapped. The other two stories in this collection – Majnu by Shashank Khaitan and Khilona by Raj Mehta – seem to have been conjured up in a parallel universe from that of Neeraj and Kayoze.
The first is a deliberately meaty story about a violent political leader who, he puts it, is forced into a “gatbandhan ki shaadi.” He abandons his wife on their wedding night, so she flirts madly with any man who crosses her path. At one point she squeezes a bicep and says suggestively, “gym jaate ho?” Not many actors can make this writing look good. Fatima Sana Shaikh fails, as does the usually great Jaideep Ahlawat. This is the rare instance that he appears to have chosen his performance.
In Khilona, Nushrratt gives Bharuccha her best shot at playing a seductive housekeeper who tries to support herself and her daughter. The story, also from Sumit Saxena, tries to comment on class divisions or as someone puts it – Kothi wale aur katiya wale – but the plot is too amateurish to land.
The dastaan in Ajeeb Daastaans is plural, which brought me back to Abbas Tyrewala’s film Jhootha Hi Sahi, where characters kept describing things like ajeebs.
There are plenty of ajeebs here too. But you know, what stuck with me was the expression in Bharti’s eyes in the last shot of Geeli Pucchi. Look for that at Ajeeb Daastaans. It is available on Netflix.
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