Dolly Kitty Aur Woh Chamakte Sitare Trailer: Two Sisters Take A Joyride To Freedom

Dolly Kitty Aur Woh Chamakte Sitare review

The trailer for Dolly Kitty Aur Woh Chamakte Sitare is out now and it is positing itself as nothing short of a cracker of a film. With director Alankrita Shrivastava at the helm, and actors Konkona Sen Sharma and Bhumi Pednekar in the lead, this film purports to break all shackles of patriarchal narratives and take women on a feminist joyride. It is set for a Netflix release on September 18.

The trailer follows the story of cousins, Dolly (Konkona Sen Sharma) and Kajal (Bhumi Pednekar), as they “navigate through the twists and turns life throws at them in this journey to find their place in the world,” in the film’s own words. Aside from the lead women, the cast comprises of Vikrant Massey and Amol Parashar, two young but seasoned names from the OTT world of content.

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Synopsis: A Tale Of Two Sisters Finding Themselves

The trailer begins with a literal joyride in an amusement park of sorts, introducing us to the two sisters in Noida, UP. Kajal has moved in with Dolly and her family, with big-city dreams in her eyes, and a shot at actualising her life goals. She complains to her sister that jiju wants to have sex with her, a claim Dolly laughs off. And thereon begins a deep dive into the sisters‘ dynamics with the men in their simple, middle-class world.

Sometimes sweet, and a whole lot complicated, the women explore their sexuality and their identity as women and everything else in between. Dolly, a seemingly middle-aged woman who is unable to find sexual satisfaction in her relationship with her husband – a plight echoed by counts of other women in India who are told that seeking sex or pleasure is a sin for our gender. And so, she goes behind his back to begin a clandestine liaison with a delivery boy (Parashar), who is much younger in age to her.

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Meanwhile, Kajal, with a little bit of hesitation undercut with self-pride, finds a job as at Red Rose Romance App – a call service for people lusting after sensual pleasure. She begins work as a companion for new men with every call, who, expectedly, ask her lewd questions to satiate themselves. Through this experience that looks like a blend of Tumhari Sulu and Dream Girl, she finds prospective love in one of her customers (Massey).

Different Women, Different Perceptions Of Feminism

Here’s what the film definitely is: an exploration of women’s sexual needs and their own tolerances to it, a journey of realisation that this big, bad world is run by men and women are only confined within small spaces in it, and finally, it is an attempt at liberating women from those spaces.

And here’s what the film is not: a rigid definition of feminism. As it should be, the definitions of feminism for these two sisters are not set in stone. They know they are on their own personal journeys, and so, adapt according to whatever seems suitable to them as per the situation. For instance, Dolly finds empowerment in owning her sexual self by looking for pleasure outside her marriage – which basically is adultery – and sees no wrong in it. But when Kajal tells her the kind of job she does, as an object of lust for men, Dolly tells her, “Achhe ghar ki ladki log ye sab kaam nahi karti hain.” But Kajal is resolute, because her job, whatever the profile, is helping her become financially independent.

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One must also note that the regular Bollywood “tools” of female emancipation – read: alcohol and cigarettes – have been assimilated into the script ever-so-naturally. Their conversations throughout are so insightful, so engaging that the bottles of whiskey on screen are the last things you’ll notice. Heck, you may even miss them.

Here is the Netflix film’s official trailer: 

Image Credit: Netflix

Views expressed are the author’s own.