… two big thumbs up for director Dibakar Banerjee’s Love, Sex aur Dhokha. It’s the kind of film you’ll be talking about for weeks.

You may not like everything you see in `Love, Sex aur Dhoka’, but Banerjee offers up a scintillating new way of seeing. Watch it.

It’s bleak, bittersweet, funny and markedly unglamorous, and yet you come out humming the theme tune, your head blown clear off your shoulders.

Hell yeah. Welcome to adulthood, Bollywood, can we get you another beer?

It’s a sort of flick you ideally discover without burdens of expectation: a caveat you must bear in mind, in case you were planning on rushing off to cinemas right away. Where any Bollywood movie without a gyrating, lip-synching hero perceives itself as ‘different’, this one, from an audience’s point of view, is truly an experiment.

Don’t expect time-pass entertainment. Think beyond run-of-the-mill and see how Ekta Kapoor re-invents herself as the producer of contemporary Indian cinema’s first full-blown experimental film.

LSD is the ‘cool’ film youngsters would enjoy, and its realness will strike a chord with a few. The more discerning audience may be left disappointed. But it is film you can’t ignore.

What is very smart is the way Banerjee weaves the lives of all three couples to make it one smart movie. At first, it appears as three separate issues but the end surprises. Intelligent cinema.

It real and it’s scary. Very scary. LSD is not for the faint-hearted.

So you have a film comprising elements its title aptly pronounces. Savour these stories told in a distinct edgy, kitschy style. Don’t miss..

Love Sex Aur Dhokha is not watchable just for you to decipher its comment on us as individuals or society. There are plenty that do that. It is not something you should go for just to see the ace-class production values. Nor is it just for seeing something different. It is one of those one-offs that are made worthy by the whole package.

Initially, the jerky, odd camera movements of LSD can prove quite unsettling for an audience used to sanitised, textbook frames. The kitschy metafilm (inspired from pulp fiction) adds to the bizarreness. But it doesn’t take long to fine-tune your vision to the inventive look, feel and idea of LSD.

The ensemble is just brilliant, and at no point in the film do you see them as actors. This is reality cinema at its best with all elements you usually associate with the larger than life genre — romance, action, comedy, song and dance. But, most importantly, it holds a mirror to male-chauvinist society and shows us our ugly side — we at our most unflattering, despicable real selves. Yet, it leaves us with a little hope of what we are capable of doing.

Clearly, the best film to have come out of Hindi cinema in ages.