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‘Lust Stories 3’ review: Mild mischief and generous comedy
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‘Lust Stories 3’ review: Mild mischief and generous comedy

Lust Stories 3, the third installment of the Netflix anthology series, features four short films exploring themes of love and desire. Directed by Vikramaditya Motwane, Kiran Rao, Shakun Batra, and Vishal Bhardwaj, the series continues to focus on Hindi-language narratives centered around Mumbai filmmakers. One segment follows two women in unfulfilling marriages who attempt a spouse swap after being inspired by a K-drama. Another explores a relationship between a nail salon employee and a pizza delivery worker, while a third delves into a failing marriage where communication breakdowns lead to unconventional solutions. The final episode, set decades earlier, is noted as the most memorable. Critics praise the performances but note some episodes lack imaginative twists.

Lust Stories 3, the latest installment of the Netflix anthology series, returns with a mix of mild mischief and generous comedy. The film, directed by Vikramaditya Motwane, Kiran Rao, Shakun Batra and Vishal Bhardwaj, continues the tradition of exploring themes of love and carnality through four distinct narratives. In Motwane's segment, inspired by a story by Avinash Sampath, two women in unfulfilling marriages find inspiration in a Korean drama about swinging. Shonali (Konkona Sen Sharma) and Padma (Radhika Apte) attempt a spouse swap during a vacation, leading to humorous and awkward encounters with Hemant (Vijay Varma) and Debu (Abhishek Banerjee). The episode features moments of inspired absurdity and exaggerated portrayals of desperation disguised as sexual exploration. Kiran Rao's contribution, based on a story by her and Tanaji Dasgupta, follows Nail parlour employee Lisa (Sana Thampi) and pizza delivery worker Karan (Gurfateh Pirzada). Their unlikely friendship reveals Karan's secret side hustle, while Lisa's reserved nature contrasts with his charm. Though the plot unfolds with little ambiguity, the performances highlight the dynamic between the characters. Shakun Batra's segment, co-developed with Sameeha Sabnis and Ashwathi Namboodiri, explores a marital crisis between Varun (Ali Fazal) and Sailee (Radhikka Madan). Communication breakdowns lead to a peculiar solution, silence. The narrative offers a poignant reflection on the role of language in relationships, with Ali Fazal delivering a standout performance. The final and most memorable episode, directed by Vishal Bhardwaj, transports viewers to 1987 Hyderabad. Set against a backdrop of Urdu literature and cultural tensions, it follows college lecturer Saira (Aditi Rao Hydari) and her husband Badru (Siddharth). Saira's longing for physical connection is influenced by the works of Saadat Hasan Manto, creating a nuanced portrayal of desire and societal constraints. The episode delves into the intersection of personal longing and literary influence, offering a rich commentary on the power of storytelling.

How this report was made. Objective News wrote this report from 2 source articles, using AI-assisted synthesis under our methodology. It is our own text, not a copy of any single outlet. Read our methodology.

Responsible editor: Matej BašaSpotted an error? Report it

2 reports

Scroll.in logoScroll.inIndependentCenterFactual 75Objective 60
‘Lust Stories 3’ review: Mild mischief and generous comedy

Lust Stories 3, the third installment of the Netflix anthology series, features four short films exploring themes of love and desire. Directed by Vikramaditya Motwane, Kiran Rao, Shakun Batra, and Vishal Bhardwaj, the series continues to focus on Hindi-language narratives centered around Mumbai filmmakers. One segment follows two women in unfulfilling marriages who attempt a spouse swap after being inspired by a K-drama. Another explores a relationship between a nail salon employee and a pizza delivery worker, while a third delves into a failing marriage where communication breakdowns lead to unconventional solutions. The final episode, set decades earlier, is noted as the most memorable. Critics praise the performances but note some episodes lack imaginative twists.

Bias read (Center): The article discusses a film and its narrative structure, which does not involve political issues, public policy, or governmental actions. Therefore, it is considered apolitical and leans toward the center.

Why factuality (75): The article provides a detailed description of the plot and characters in 'Lust Stories 3', aligning with common knowledge about the film's content and cast. It does not present any new information that contradicts the cross-source consensus. However, it lacks specific references to primary sources

Why objectivity (60): The tone of the article leans towards a critical perspective, suggesting that the film is 'mildly risky' rather than 'boldly risque'. This implies a subjective judgment rather than a neutral analysis. The language used to describe the film's content may also be seen as somewhat dismissive, affecting

The Print logoThe PrintIndependentProgressiveFactual: no official source document/info detectedObjective 50
Lust Stories 3 is pandering to the ‘female gaze’. Take notes, Bollywood

The article criticizes 'Lust Stories 3' for allegedly catering to the 'female gaze,' suggesting it represents a shift in storytelling that Bollywood should take note of. The piece frames the film as an example of progressive representation, implying that traditional Bollywood narratives may be outdated in comparison.

Bias read (Progressive): The article presents 'Lust Stories 3' as a progressive example of female-centric storytelling, which aligns with left-leaning perspectives on gender representation in media. It implies that mainstream Bollywood is lagging behind, suggesting a critique of existing industry norms rather than a neutral

Why factuality: no official source document/info detected

Why objectivity (50): The article uses strong, charged language ('pandering') which suggests a biased viewpoint. It does not provide a balanced discussion or alternative perspectives, indicating a lack of neutrality in its presentation.

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