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There’s a token gay character, whose only significant scene seems to exist to show how chill Kaira is.
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I can understand the urge to present Kaira-a cinematographer at the start of her career-as more than competent, but having her advise a director on how to reshoot his final scene, and his actually welcoming the suggestion is so far-fetched it’s almost science fiction. It’s almost as if the film’s inviting judgement when Jug asks Kaira about her boyfriends, she immediately snaps, accusing him of mentally slut-shaming her (Khan’s pained reaction is one of his best moments in the film).ĭespite a few nicely worked-out traumas, there isn’t much that disturbs Dear Zindagi’s placid surface. It’s not often you see a sexually liberated, commitment-phobic, parent-averse female character in a Hindi film. Freeing herself of both relationships, she heads to Goa and gets tangled up in equally fraught tug-of-war with her overly concerned parents. In the film’s opening stretch, which unfolds in Mumbai, we find out that Kaira’s cheating on her boyfriend, Sid (Angad Bedi), with a colleague, Raghu (Kunal Kapoor), who loves her but whom she keeps at arm’s length. It’s a small blow, but the thousands of people seeking psychiatric help across India will probably be grateful for a film that articulates these very basic truths.ĭear Zindagi takes its time depositing its protagonist on the couch. In a more heated moment, she asks her family why it’s acceptable to say that you’re visiting a doctor but not a mental health specialist. Over Skype, she tells her worried house help to think of Jug as a dimaag ka doctor, one you can tell your problems to.
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Kaira isn’t seeking help because she’s depressed or is hearing voices-she’s just having trouble sleeping. One of the heartening things about Gauri Shinde’s film-her second after the well-received English Vinglish in 2012-is its insistence that seeing a shrink isn’t something out of the ordinary.