Leov, a film by Sudhanshu Saria, seeks to normalise love between same sexes...
At first glance, Loev is a universal story that could have taken place in any city from Boston to Budapest, but a closer look reveals an invisible, fourth character in every scene: the politics of India.
India’s highest court recently passed Amendment 377 into law, declaring homosexuality punishable by life imprisonment and making criminals out of millions of its citizens. By extension, the court made it very easy for any cinematic work endorsing or depicting this love to be censored, obstructed and banned. It was in this environment that Loev was shot, in absolute secrecy.
When hot shot Wall Street dealmaker Jai thinks of putting some pleasure into his 48-hour business trip to Mumbai, his young, music-producer friend, Sahil, drops everything, including his reckless boyfriend Alex, to help him execute the perfect getaway. Hiking the hills and canyons of Maharashtra, amidst half-attempted conversations and sudden silences, business calls and old jokes, the friends discover there is more than just time-zones keeping them apart. Things take another turn when Alex shows up with a new male companion by his side, throwing up old conflicts and bringing unanswered questions to the fore. The complex legal and social codes gagging these men shape the way they express, understand and recognise love.
Gender, sexual-orientation, creed, class—all these superficial divides seem irrelevant in the court of love. Love is mercilessly confusing, painful and euphoric to its patrons, no matter how one chooses to spell it. Sudhanshu Saria, the director of film, tells more in a freewheeling chat…
Love is an integral part of mainstream Indian cinema and your way of showing love here is different. What do you have to say about that, given the fact that the audience is more inclined towards Yash Chopra-Karan Johar movies?
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