The famous director of scathing satire Dibakar Banerjee’s “LSD 2,” is his latest offering. This fearless film takes viewers into the realms of reality TV, social media, and alternate realities, and one can see the complications of these realms behind ordinary things.
The “LSD 2” trilogy is three non-linear tales latched together through a variety of storytelling instruments, including cameras, cell and e-screens, VR helmets, and emerging AI. Individuals here look forward to the energetic hope that the universe is often seen as a result of a chain of events, thereby forming the backbone of three separate stories.
Among the plots, we encounter one about Noor, a transwoman who is seen to be popular on a reality show and collecting votes who becomes embroiled in a fiery fight with her mother, only to throw a glass of water at the end. The episode’s creation is later reenacted on the sitcom set, where the characters distinguish themselves from reality.
However, Banerjee, as the writer alongside Prateek Vats and Shubham, looks at the dark side of our social behaviour as a dog eater, bringing light on social issues, entropy, the bombastic nature of television and the changing panoramas of content creation. The movie pursues the risks associated with the meta-universe, which is shaped out of reality. Also, the way the news channels have been merged by the impact of technology and how the off-camera and on-camera worlds are entirely different is shown throughout the film.
“LSD 2” enchants viewers with its ironic manner, delivering a wittingly daring espy to our immediate future that starts getting disturbingly close to our present realities. Banerjee’s seamless narrative leads us to disconcertingly reflect on how viewers and audiences perceive screens individually. Thus, a cinematic storm of reliance is created, but a reflective picture is taken.
