The second season of Amazon Prime Video’s Four More Shots Please! starring Sayani Gupta, Kirti Kulhari, Bani J, Maanvi Gagroo and extra, centred round 4 sassy and uniquely completely different ladies, premieres on 17 April.
Produced by Pritish Nandy Communications and directed by Nupur Asthana, the sequence that additionally boasts of a virtually all-female solid and crew, follows the lives of 4 ‘flawed’ ladies as they navigate by way of romance, profession and intercourse. This season will see the characters “making new mistakes”, “love each other a little more fiercely” and “choose themselves over society and expectations”. The present will start in Istanbul and conclude in Udaipur, with a serious chunk of the narrative returning to Mumbai.
“It is much more explosive with lot more drama this time. The friendship and the interpersonal relationship between the girls have grown. It is much more real now. They are also maturing and coming to terms with their own vulnerabilities and quirks,” says Sayani who’s again taking part in the no-nonsense journalist Damini Rizvi Roy in Season 2.
“I love my character. She is so unafraid, brave, honest, and all this comes naturally to her probably because I am quite close to the character. I am also ambitious, control freak and perfectionist. I also have a bit of OCD (obsessive compulsive disorder) but Damini is clinical. Also, she is very political and I am also quite vocal and opinionated. All my life I have never conformed, I have always made my own set of rules. But I am not complicated at all. I live simple life, I am never confused about the men in my life, whereas, Damini is more confused, complex and there is lot of emotional turmoil in her life,” provides Sayani.
The change in Maanvi Gagroo’s character Siddhi Patel — who continually struggles along with her physique picture — in Season 2 is sort of drastic, says the actress. While she was as soon as searching for validations in grownup chat-rooms, she is now attempting to discover what she desires to do in life and she has change into a stand-up comedienne. “My character in the first season realises that she needs to break out of that mould, that conditioning, and in season two she will be seen trying to figure things out for herself. She will struggle with that, fail, succeed and have fun,” says Maanvi who was lately seen in a pivotal function in Shubh Mangal Zyada Saavdhan.
“When we started the show, my character wasn’t relatable to me at all. I was told that because how her ‘mother’ has been with her, she is not a confident person. She was groomed for the marriage market and told to understand that once she is married her life will be sorted. But wanting to discover yourself and that you don’t want anyone to complete you, is what I could relate to. But the director explained to me that the idea is to show that while she is the same person, there has been a major shift in her personality and her outlook towards life,” says Maanvi, furthering, “Now close to me, I’ve sort of grown with Siddhi which occurred subconsciously. For occasion, I used to by no means put on quick attire earlier than season one as a result of I might really feel acutely aware of my thighs and legs. But in season one, Siddhi has solely worn quick attire. And it so occurred, that put up season one, I began sporting these sort of attire. I bear in mind Anu (Menon, director of season one) advised me, ‘You realise you have started dressing up like Siddhi?’ I used to be not acutely aware of that.”
Kirti Kulhari will likely be seen reprising the function of Anjana Menon, a lawyer and single mom. “I was hesitant initially when I was offered the part due to very understandable reason especially since society and the industry has looked at women in a certain way. I am glad that I didn’t give in to my fear. The show looks at women differently and places their issues at the centre fearlessly. I wanted to be a part of this change. Even in cinema these days, when hero or heroine tries to be aspirational, play larger-than- life characters, people reject. They don’t want that bullshit. People want to see real characters. The show has changed me a lot. It has liberated me of a lot of my conditioning, ideas and belief system that we grew up with. Even lot of men are watching the show. Women have taken back something from the show. The conflicts and problems seen for the girls in the previous season we kind of see resolutions to all of that and at the same time we have new characters coming, new situations building up, new problems coming in and there are some very clear and specific themes for every character in season two as well. That is very exciting,” says Kirti.
While male ‘buddy’ films are a style to themselves, movies depicting ladies relationships, or female bonding have been uncommon, and since Four More Shots Please! centres round woman bonding it was undoubtedly a problem for the makers as they questi oned its acceptance.
“There was a bunch of ladies writing the present and after they began down to jot down that was one main level of concern that will folks watch female bonding. In mainstream Bollywood you at all times speak about male bonding with female protagonists taking part in the passive participant, be it in romance or intercourse. There was a requirement of a present or a movie that talks about ladies taking management of their lives, or making the alternatives – good, unhealthy or ugly. None of those ladies are excellent and they’re unapologetic about it. They have the braveness to make errors. They aren’t slowed down by the societal understanding of what’s proper, what’s fallacious. Then, there was dearth of city ladies illustration. Independent, self-sufficient ladies who resolve who they wish to be with, what sort of friendships they wish to bask in. There was undoubtedly a niche and now with Four More Shots Please!
having accomplished nicely extra and extra folks wish to make stuff like that. Women’s sexuality wanted to be normalised and this present manages to push that envelope a bit of bit. It is extra inspiring and fulfilling when you have got so many ladies writing to us,” says Sayani.
“The more we tell such stories and have so many women owning the screen, in front as well as behind the camera, it will help break that feeling which says there isn’t enough women characters on screen. This will have more mainstream viewers watching and enjoying it,” provides Asthana. “But then, now we have seen unhealthy movies even on male bonding. We solely bear in mind Dil Chahta Hai or Zindagi Na Milegi Dobara. We ought to first cease categorising as women-oriented or male-oriented, and as soon as now we have sufficient variety of women-oriented movies then that will be potential. We can simply have tales and then we will select good or unhealthy content material,” says Maanvi.
Four More Shots Please! has obtained its fair proportion of criticism as nicely. It was dubbed shallow, missing nuance, and it was panned particularly for its near-constant portrayal of the ladies as fairly pin-ups who are inclined to drink on a regular basis. And the actors and the makers insist that nice care has gone into making it higher than the primary.
“I completely agree with that. I, too, have a huge problem with films that only show women smoking and drinking in the name of empowerment. This show is not trying to say that smoking and drinking is okay. The women happen to do that because they are from that strata. Siddhi doesn’t smoke but it is not that she is not empowered. We are not being judgmental because then that is stupid. There should be no stigma attached. Do we judge men who smoke and drink?” says Sayani.
Maanvi is extra vociferous in her response. She says, “Let’s not be judgmental and resolve these ladies are good or unhealthy on the idea of traits and habits. That is my critique of people that say ingesting doesn’t imply feminism. Women proven in Four More Shots Please! are extraordinarily privileged. They are wealthy ladies from South Bombay, and even when they characterize one per cent of our inhabitants does that one per cent not deserve illustration? I could make a narrative on a fly if I wish to. Don’t ask me why I made this movie, simply inform me in case you preferred this movie or not. Don’t critique the present that you just needed to see, critique the present that you’re watching.”
She furthers, “Of course, we have taken cinematic liberties, we don’t always dress so well, or do up our hair and do make-up like that, or wear heels. But we also won’t wear chiffon sari in Switzerland and gyrate, right? Secondly, even though on the surface you feel these women are privileged and empowered which they are but they are also having to face the same kind of prejudices that someone in a two tier city might be facing though of a different kind. The problem, the issues, the conflicts that they might be facing are very real. That’s the beauty of the writing.”
Adds the present’s director, “I had seen the show four months before it was released and before any critique or reviews happened. For a show like this reviews will always be polarised. When you see a bunch of women navigating their own lives on their own terms I am not sure how easy it is for people to digest in the country. It was challenging for me because how often do you get to tell the story of young women in Mumbai.”
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Updated Date: Apr 15, 2020 08:02:46 IST