Dibakar Bannerjee‘s Love Sex Aur Dhokha 2 (LSD 2) was released in theatres on April 19. It’s a spiritual sequel to the filmmaker’s pathbreaking 2010 film Love Sex Aur Dhokha, which starred actors Anshuman Jha, Nushrratt Bharuccha and Rajkummar Rao, among others. LSD 2, on the other hand, stars actors Bonita Rajpurohit, Tusshar Kapoor, Swastika Mukherjee, Mouni Roy, Anu Malik and Urfi Javed, among others.

The film opened to positive reviews, but has had a slow start at the box office. According to industry tracker Sacnilk, LSD 2 made roughly Rs 15 lakh on day one. On Friday, the film witnessed an overall occupancy of 5.48 percent. In Mumbai, with 211 shows, an occupancy of 7 percent was observed. In Delhi and NCR the occupancy was 4.25 percent for 243 shows. In Chennai, where there were only 6 shows, the occupancy observed was 42 percent.

LSD 2’s limited release coincided with the debut of Vidya Balan and Pratik Gandhi’s Do Aur Do Pyaar, but the films released prior to this — Akshay Kumar and Tiger Shroff’s Bade Miyan Chote Miyan and Ajay Devgn’s Maidaan — are still running in cinemas. Tabu, Kareena Kapoor Khan and Kriti Sanon’s Crew is also still running successfully in cinemas.

Dibakar’s last theatrical release was Parineeti Chopra and Arjun Kapoor’s Sandeep Aur Pinky Faraar (2021). The film’s theatrical run was cut short because of the Covid-19 pandemic. It started streaming on Amazon Prime Video soon after and received a lot of love from critics and audiences.

 

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The Indian Express’ Shubhra Gupta gave LSD 2 a rating of three and a half stars and called it a “sharp and impactful” film. She wrote, “This is Banerjee at his angriest, his rage leaching out of every frame (‘Tees’, his previous film, a futuristic look at the past and present, is stuck in a limbo). Wait, let me dial back. This is not just an angry film. ‘Love Sex Aur Dhokha 2’ is a scream of rage, mixed with a confounded befuddlement. It’s been a while since I’ve seen an Indian film as politically and socially trenchant as this one. Up till now, I’ve always thought of LSD as the director’s best film: it was a clear first on many counts, a meta-film that spoke to our internalisation of films-as-pop-culture, seeped into our DNA, and troubling questions of the barrier between what can be seen, and what should be seen, while keeping an eye on the moral centre. This ‘LSD’ redux is not as original, but is as sharp, and as impactful. When Banerjee cuts us, we bleed..”

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