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Then there are characters plunging into breathless self-pleasuring, and even a tree, in a Kolkata park, aroused by Sushmita Sen’s beauty (The Japanese Wife, Charulata 2011, Bheetu, Nirbaak); couples cuddling and canoodling (oh, so many); absurd adult comedies (Obhishopto Nighty); aching embraces and passionate make-outs (where do we start, though the recent Khawto is one such); virtual heartache (Antaheen, Ami Aar Amar Girlfriends); modern casual sex and easy romance (Aamra, Kolkata Calling, Bong Connection); same-sex love (Chitrangada, Family Album, Chha-e Chhuti, Arekti Premer Golpo, Memories in March); BDSM (Shaheb Bibi Golaam); full frontal nudity (Chatrak, Cosmic Sex, Gandu); a sisterhood of sexual vendetta (Bishh); politics of sex workers (Koyekta Meyer Golpo, Rajkahini); body-shaming of a flat-chested heroine (Shunyo E Buke); a Bengali hubby entreating his haughty wife: “Ekta blow job debe (Will you give me a blow job)?
Modern Bengali cinema is known for re-inventing the cinematic norms from the poetically theoretical to the in-your-face physical and romantic fantasies, that which is evident in the western world.Many years ago, my Punjabi editor in Delhi had pronounced, “South Indian cinema is all about sex and dirty talk”, and looked at me accusingly.“Now, Bengali cinema is not like that at all,” he continued, dreamily rattling off the names of the masters in Kolkata and their films replete with elegant frisson.” asks filmmaker Srijit Mukherji, currently the toast of Bengal’s film lovers.There is the quintessential intense romance, almost always accompanied by the recitation of Bengali poetry, elegant frisson and quivering restraint (Noukadubi, Chokher Bali among others); sexual disharmony in urban marriages (Bedroom, Shukno Lanka, Charulata 2011); infidelity (Dosar, Ekla Akash, Aparajita Tumi); and Oedipal mess (Icche, Takhan Teish).
Retrospectives of his films have been shown in major cities of the world.