Netflix’s latest release Ajeeb Daastaans is an anthology of 4 tales told by four directors which is backed by Karan Johar. The 2 hours 22 minutes film boasts of a stellar cast who have successfully managed to emote the frustrations of their characters on stage. The film is essentially a compilation of four essays plucked from four personal lives belonging to different classes of society. Although the film is not path-breaking in any sense, but together and individually, the short tales are a comment on the vices and hypocrisies prevalent in the society. It showcases the same by implementing bold narrative tropes to bring to light issues of casteism, repressed sexuality, crumbling marriages, class differences and more. 

The first story Majnu directed by Shashank Khaitan features Fatima Sana Sheikh and Jaideep Ahlawat in leading roles where Sana Sheikh transgresses her boundaries and dares to have an affair outside of her crumbling marriage. Based in the tier 2 city of BaraBanki, the classic Bollywood revenge drama is nice in bits and parts. Aside from outstanding performances by Sheikh and Ahlawat, the character arcs are weak and have not been developed enough. Babloo (played by Ahlawat) lacks the conniving traits and brazen methods which are otherwise identical (and must-haves) in local goons. The love affair between Lipakshi and Raj is not well-defined either and is loosely hung by the thread of ‘I Love You’. 

The next in queue is Raj Mehta’s Khilauna which is inarguably one of the best films of the anthology. The film features Pyaar ka Punchnama fame Nushrat Bharucha and Paataal Lok fame Abhishek Banerjee in leading roles. Child actor Inayat Verma deserves a special mention who actually steals the show with her phenomenal acting and her wonderful performance. While Banerjee is equally amazing and manages to light up the screen with his expressive eyes and demeanour even with a handful of dialogues on screen. The story in whole is a critique on the Indian class system and has tried to draw a parallel between the Kothi walas (people who live in mansions) and Katiya walas (poor people who use illegal electricity). 

However, Geeli Pucchiyan by Neeraj Ghaywan is hands down one of the best tales of the anthology featuring Konkana Sen Sharma and Aditi Rao Hydari as protagonists. Making a bold statement on casteism prevalent in the society, the multi-layered film also talks about repressed sexuality, greed, betrayal, workplace harassment and human selfishness. Konkana in the form of Bharti has brought to live the everyday tussle of a Dalit lesbian woman. Hydari has successfully represented Priya Sharma who is the extra dose of artificial sugar that we will all love to hate. 

The last film in the anthology is Kayoze Irani’s Ankahee which could be deemed one of the weakest in the collection. Starting with a cold cut open, the story features Shefali Sharma who is dealing with an inconsiderate husband in addition to the struggles of a daughter who is rapidly turning deaf. She seeks solace in a stranger and then shuts him down when her own marriage falls into place cryptically. The end of the film is rushed and reflects the inefficiency of the script writers. While the motive is unclear and inadequate, the primary impetus of the film also seems lost. 

All four tales are similar in a few ways and have yet tried to maintain their distinctive identities. Some of them have heavily tried to rely on bizarre climaxes to maintain the uniqueness while a few others have a veteran cast. It has resorted to outlandish plot points and offbeat themes but still something remains amiss throughout. The character arcs are not well-defined, their motives inept. All in all, Ajeeb Daastaans is well, not so ajeeb after all (barring a few instances) and even the bright light of a blazing cast is not able to outshine the flaws.