Zoya Akhtar and Reema Kagti, two visionary filmmakers in the realm of Indian cinema, have been making waves with their groundbreaking work that redefines marriages and relationships. Their latest creation, Made in Heaven Season 2, is a testament to their prowess in resetting perceptions around matrimony and exploring the complexities of flawed relationships.
With Made in Heaven Season 2, Akhtar and Kagti have once again showcased their astute storytelling abilities. Each episode of the series is directed by a different filmmaker, bringing a diverse range of perspectives to the exploration of marriages and relationships. The series tackles various social malaises associated with matrimony, offering a determined and clear voice that highlights the flaws and challenges within these unions.
One of the standout features of Made in Heaven Season 2 is its commitment to inclusivity and representation. The series delves into LGBTQ+ experiences in the context of Indian society, particularly through the character Mehr, a trans-woman played by Dr. Trinetra Haldar Gummaraju. By portraying the personal struggles faced by marginalized individuals, such as Mehr, the series fosters empathy and creates mainstream acknowledgment of these challenges.
Akhtar and Kagti have a rich filmography that stands as a testament to their commitment to exploring the complexities of relationships. Their earlier works, such as Luck by Chance (2009) and Honeymoon Travels Pvt Ltd (2007), set a precedent for their future endeavors by delving into the intricacies of human connections with authenticity. These films presented relationships as they truly are, going beyond the standard projections often seen in cinema.
The seed of Made in Heaven can be traced back to their film Dil Dhadakne Do (2015), which shed light on the hypocrisy surrounding affluent marriages and friendships. By showcasing transactional relationships within a wealthy couple, the film peeled back the layers of high-society unions, exposing the harsh realities that often lie beneath the surface. Although Dil Dhadakne Do did not receive the commercial success it deserved, it solidified Akhtar and Kagti’s unique voice in presenting relationships and marriages.
What sets Akhtar and Kagti apart is their willingness to portray romantic interactions and marital dynamics as inherently problematic, rather than glossing over them. This approach lends a refreshing authenticity to their storytelling. In Gully Boy (2019), for example, the film captures the troubled marriage of the protagonist’s parents and how their desires take a backseat to economic survival. Akhtar and Kagti consistently present love stories that feel true to life, even in non-relationship dramas.
Beyond their directorial roles, Akhtar and Kagti have also had a significant impact on the industry by nurturing like-minded talent. Made in Heaven is a prime example of their ability to assemble a creative team that mirrors their vision. With precision, the series dissects the central theme that while love may possess a divine quality, marriage is far from a celestial arrangement.
While Made in Heaven Season 2 is not without its flaws, such as occasional disorienting voiceovers and its Delhi-centric focus on problematic marriages, the stories it tells apply to prejudice and social evils across Indian society, regardless of class or economic status. Akhtar and Kagti have undoubtedly rewritten the standard template of marriage and romance, introducing a much-needed progressive take on relationships in both cinema and digital content.
As Zoya Akhtar and Reema Kagti continue to redefine marriages and relationships, their influence permeates the Indian cinematic landscape. Through their visionary storytelling and commitment to authenticity, they have challenged conventional narratives and sparked much-needed conversations about the complexities of human connections. Made in Heaven Season 2 is a testament to their unwavering dedication and their ability to bring diverse narratives to the forefront, expanding the horizons of Indian cinema and popular culture.
