21.02.26
At Filmfool, some screenings stay with you a little longer. Our screening of Badhaai Do was one of those evenings where the film did not end with the credits. It began there.
We had the opportunity to host the director and writer duo of Badhaai Do for a post screening conversation, and what unfolded was an honest and layered discussion about representation, commercial cinema, and the responsibility of storytelling.
Badhaai Do is not a perfect film, and I mean that in the best way possible. It is a film about flawed characters making complicated choices, which is exactly what makes it feel real. The story follows a gay cop and a lesbian PT teacher who enter into a sham marriage under family pressure. Society expects the usual script. Get married, go on a honeymoon, have children, perform gender roles, and continue the cycle. Instead, they imagine marriage as an escape, a strategic arrangement where they can live as roommates, split expenses, and quietly continue their individual lives.
During the discussion, the makers shared something particularly interesting. The concept of a lavender marriage, a term widely used in queer discourse, was something they discovered much later in their research process. It was not something they initially set out to depict with that terminology. Hearing that was both surprising and slightly amusing because globally many queer individuals have historically resorted to such arrangements to survive heteronormative pressure. The fact that their narrative organically aligned with an existing lived reality made the film feel even more grounded.
One of the most important parts of the conversation was about authorship and gaze. The film is written and directed by cis heterosexual creators. However, what stood out was their willingness to consult members of the LGBTQ+ community, to ask questions, and to check what felt authentic and what did not. They spoke about being conscious of the heteronormative gaze, of writing for a community they do not belong to, and how that awareness shaped the screenplay.
Unlike the typical Bollywood trope of caricatured queer characters reduced to comic relief, Badhaai Do attempts to present individuals with insecurities, contradictions, and emotional depth. They are not symbols. They are people.
While Rajkummar Rao and Bhumi Pednekar carried the film with sincerity and restraint, I personally found myself wanting more from the arcs of Chum Darang and Gulshan Devaiah. Their characters felt layered and deserving of deeper exploration. Perhaps that is also the sign of good supporting performances. They make you curious beyond the frame.
Beyond the narrative, the evening gave us insight into the magic of auditions, the craft of writing within commercial frameworks, and the constant negotiation between art and market. What makes a film commercial. Is it stars, structure, accessibility, or emotional relatability. The conversation reminded us that commercial cinema does not have to dilute sensitivity. It simply has to communicate it honestly.
At Filmfool, our Film Screenings in Mumbai is never just about watching a film. It is about staying back after the lights come on. It is about questioning, disagreeing, laughing, and learning. Once the credits roll, the real cinema begins in conversation.
And that’s what makes these evenings unforgettable at filmfool
