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Since Netflix, it seems, has vowed to launch anthologies every few months, we get one different one — after Lust Tales, Ghost Tales, Paava Kadhaigal, Pitta Kathalu, and others — inside the kind of Feels Like Ishq.

It is a compilation of 5 boy-meets-girl (plus one girl-meets-girl) stories, each lasting roughly half an hour. In distinction to Lust Tales (which moreover dealt with relationships), the shorts on this anthology are light-hearted. The transient for the writers and filmmakers, it seems, was to provide you a “sweet love story” that may give the viewers — youngsters and 20-somethings — that quintessential “warmth, fuzzy” feeling.

The writers and directors — Monisha Thyagarajan and Ruchir Arun (Save The Da(y)te); Gazal Dhaliwal and Tahira Kashyap Khurrana (Quaranteen Crush); Sulagna Chatterjee and Danish Aslam (She Loves Me, She Loves Me Not); Saurabh George Swamy and Anand Tiwari (Star Host); Arati Rawal and Sachin Kundalkar (Interview); Shubhra Chatterjee and Jaydeep Sarkar (Ishq Mastana) — have sincerely tried to make their tales sweet. Nevertheless after binging the shorts, as a substitute for the warmth and fuzzy, one feels the nausea of overeating desserts.

Sachin’s The Interview and Danish’s She Loves Me, She Loves Me Not stand out among the many many tons.

The Interview is the one film set exterior the upper/upper-middle-class milieu. Shahana (Zayn Marie Khan) and Rajeev (Neeraj Madhav), belonging to completely totally different states and faiths, meet at an interview for a salesman place at a digital retailer in Mumbai. She is an enterprising youthful woman and he, a Malayali newcomer to the large metropolis, struggles collectively along with his language and confidence. Neeraj’s (Moosa in Family Man) effectivity shines in all probability essentially the most inside the anthology.

His character, at one stage, confesses to Shahana, “I am Mohanlal in my village. Nevertheless, coming proper right here… my Hindi… Nervous. Completely flop.” Collectively along with his Malayalam-laced Hindi, shy smiles, and a few mannerisms (like adjusting his wristwatch and clasping the shoulder straps of his backpack), he brings alive a small-town man in search of his ft in a metropolis. The interview can be the least contrived film inside the sequence.

She Loves Me, She Loves Me Not introduces an uncommon, fourth-wall-breaking protagonist, Muskaan (Sanjeeta Bhattacharya), asking “What’s love?” to a buyer assist agent of a relationship app that she plans to delete on her twenty-third birthday after looking through profiles of some guys. Muskaan falls for her cock-sure colleague, Tarasha (Saba Azad), nonetheless is conflicted about revealing her love.

Queer romance in this film, happily, is neither dealt with as a gimmick nor overemphasized. The temporary moreover displays thought of certainly one of its predominant characters going through an anxious assault, one factor that hasn’t been seen in mainstream films. Like Muskaan tells Tarasha at one stage, “In any case, Bollywood wouldn’t get this love story.”The rest of the flicks inside the sequence, nonetheless, fall in steadfast Bollywood territory.

Tahira’s Quaranteen Crush is solely maybe an exception. It explores the nascent romance of a school-going boy in Chandigarh, Maninder (Mihir Ahuja). He likes a woman, Nimmi (Kajol Chugh), who has rapidly moved within the subsequent door to quarantine. He befriends her on the pretext of delivering meals. He texts her from his mom’s phone (he doesn’t have one), pretending to be his mom.

From his house home windows, he zooms into her room through the phone digital camera. Nevertheless, his innocence is established (there is a humorous scene whereby he expresses awkwardness when his father —a bra salesman — explains the different sorts and sizes of his merchandise). Then, when he reads an informative article about a couple of males arrested for stalking his neighbor, he questions his actions. Mihir is convincing as a schoolboy conflicted with these feelings. Nevertheless, this battle will get resolved too rapidly and a contented ending awaits.

Perhaps due to the lesser-than-usual screentime, plots and characters seem unnatural or undercooked. It’s further evident within the rest of the three films.

Save The Da(y)te has a bridesmaid (Avni carried out by Radhika Madan) and a wedding planner (Jay carried out by Amol Parashar) looking for the runaway bride, who develops chilly ft on the eve of her wedding ceremony. The creator and maker could also be wanted to talk regarding the professionals and cons of marriage through their protagonists.

So, in what’s alleged to be a high-tense state of affairs whereas they look for a missing bride, we get strains like, “Marriage is kind of a mutual fund. Extreme risks lead to extreme rewards, ” and “…they stability each other’s strengths and weaknesses. Communication is the essential factor. Working away isn’t the reply.” There’s a slightly little bit of Geet-Adi (Jab We Met) vibe between the protagonists, nonetheless, most incessantly they converse like characters from a script pretty than people in actual life.

If Save The Da(y)te merely references Zoya Akthar’s Zindagi Na Milegi Dobara, Anand Tiwari’s Star Host does a hat-tip (intentionally or in some other case) by making the thought of certainly one of its protagonists overcome fear and experience a profoundly life-altering second by doing an adventure-tourism train. Like Hrithik’s character in ZNMD, Tara (Simran Jehani) moreover finds love (Aditya carried out by Rohit Saraf) all through a visit.

The final word temporary, Ishq Mastana, is about inside the milieu of protests. The lady (Mehr carried out by Tanya Maniktala) is an rebel with set-off and the person (Kabir carried out by Skand Thakur) is self-centered. Through the film, we get songs by Kabir Das, discussions on religion, and options like, “I don’t [fight for a cause] to change the world. I do it for me. So, that this world doesn’t change me.” No line sticks with us, no character sticks with us. All of them seem superficial.

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