Kiran Rao and Aamir Khan Discuss “Lost Ladies” at USC
Bollywood’s “Lost Ladies” Find Their Voice in USC Screening
Acclaimed director Kiran Rao and producer Aamir Khan brought their latest film, “Lost Ladies” (originally titled “Laapataa Ladies” in Hindi), to a packed Eileen Norris Cinema theater at USC on November 18th, captivating audiences with a story of female empowerment disguised as a comedic caper.
Following the screening, Rao and Khan engaged in a lively Q&A session moderated by SCA Professor Priya Jaikumar, delving into the film’s themes of patriarchal norms and women’s roles in Indian society.
“Lost Ladies” centers around two brides who are accidentally switched during their journeys with their respective husbands. This comedic mishap becomes a springboard for exploring the complexities of female identity and agency within a traditional Indian context.
Rao, known for her 2011 directorial debut “Dhobi Ghat,” emphasized the importance of casting lesser-known actors to ensure authenticity.
“We realized that using established Bollywood stars could set up expectations for those characters, which we didn’t want,” rao explained. “We wanted the focus to be on the story and the characters’ journeys, not on star power.”
The film marks Rao’s return to directing after a decade, inspired by a short story titled “Two Brides” by Biplab Goswami, which Khan shared with her.
“The premise of the story was perfect for exploring themes of women’s freedoms and their agency,” Rao shared. “It wasn’t about delivering speeches or monologues; it was about showing what women would do if they had the choice, the chance to choose their own paths.”
Rao highlighted the contrast between the two central characters, one aspiring to be a homemaker and the other yearning to study agriculture. This deliberate juxtaposition aimed to showcase the diversity of female ambitions,all rooted in the desire for independence from patriarchal control.
“We wanted to show that wanting a family and being a homemaker is a valid ambition,” Rao said. “But it’s significant that this choice comes from a place of agency,from a sense of self,and that the woman is valued as an equal partner in the marriage.”
While the film has garnered praise for its performances and witty screenplay, Rao emphasized the meticulous work put into the sound design and editing, ofen overlooked aspects of filmmaking.
“We used sound to create humor,to highlight the contrast between village and city life,” Rao revealed. “We encourage viewers to listen closely, especially in a good cinema theater or with headphones, to fully appreciate the layers of sound we’ve incorporated.”
The film’s international release saw its title translated to “Lost Ladies,” a move Rao believes makes it more accessible to American audiences.
“It’s easier to remember and understand the film’s premise just by looking at the title,” Rao explained. “We’re still ‘Laapataa Ladies,’ just with ‘Lost Ladies’ in brackets, acknowledging both identities.”
“Lost Ladies” is now streaming on Netflix, offering audiences a chance to experience this thought-provoking and entertaining journey of self-finding.
Bollywood’s ‘Lost Ladies’ Find Their voice at USC Screening
Acclaimed director Kiran Rao and producer Aamir Khan brought their latest film “Lost Ladies” (originally titled “Laapataa Ladies” in Hindi) to a packed Eileen Norris Cinema theater at USC on November 18th. The film, described as a comedic caper with themes of female empowerment, captivated the audience.
Following the screening, Rao and Khan engaged in a lively Q&A session moderated by SCA Professor Priya Jaikumar. The discussion delved into the film’s exploration of patriarchal norms and women’s roles in Indian society.
“Lost Ladies” follows two brides accidentally switched during their journeys with their respective husbands. This comedic mishap serves as a springboard to explore the complexities of female identity and agency within a traditional Indian context.
Rao, known for her 2011 directorial debut “Dhobi Ghat,” emphasized the importance of casting lesser-known actors to ensure authenticity.
“We realized that using established Bollywood stars could set up expectations for those characters, which we didn’t want,” Rao explained. “We wanted the focus to be on the story and the characters’ journeys, not on star power.”
Inspired by a short story titled “Two Brides” by Biplab Goswami, which Khan shared with her, Rao saw the premise as a perfect vehicle for exploring themes of women’s freedoms and agency.
“It wasn’t about delivering speeches or monologues; it was about showing what women would do if they had the choice, the chance to choose their own paths,” Rao shared.
Rao highlighted the contrast between the two central characters – one aspiring to be a homemaker and the other yearning to study agriculture. This intentional juxtaposition aimed to showcase the diversity of female ambitions, all rooted in the desire for independence from patriarchal control.
“We wanted to show that wanting a family and being a homemaker is a valid ambition,” Rao said. “But it’s meaningful that this choice comes from a place of agency,from a sense of self,and that the woman is valued as an equal partner in the marriage.”
While the film has been praised for its performances and witty screenplay, Rao emphasized the meticulous work behind the sound design and editing.
“We used sound to create humor, to highlight the contrast between village and city life,” Rao revealed. “We encourage viewers to listen closely, especially in a good cinema theater or with headphones, to fully appreciate the layers of sound we’ve incorporated.”
The film’s international release saw its title translated to “Lost Ladies,” a move Rao believes makes it more accessible to American audiences.
“It’s easier to remember and understand the film’s premise just by looking at the title,” Rao explained. “we’re still ‘Laapataa Ladies,’ just with ‘Lost Ladies’ in brackets, acknowledging both identities.”
“Lost Ladies” is now streaming on Netflix.