‘Kho Gaye Hum Kahan’ is Bollywood’s first shot at Gen Z’s internet loneliness
However, when a small segment of society attempts to express something universal, dissonance is bound to arise. Both Akhtar and Kagti seem to have been aware of this, as evidenced by the way Siddhant Chaturvedi’s character Imad Ali is portrayed. Terminology is overused and ideas are introduced without a single thought to support them. He is a run-of-the-mill version of a “traumatized” and “emotionally stunted” man. Although his problem is complex, its treatment is common. He has a therapist, but their conversations consist mostly of banalities. He is traumatized and he likes women who have had similar experiences. Convenient storytelling.
Also read: From shell to reel.This is how shy and introverted Gen Zers deal with the pressure of posting.
purified struggle
This purified aesthetic was largely credited to Akhtar-Kagti’s work. It’s an exciting contrast when contrasted with the anxiety boiling inside. Moreover, the easygoing luxury and its distinctly urban Indian assemblages are a joy to behold. Geraiyaan, with its odd plot points and occasional plot holes, worked for the same reason. The prevailing understanding of the Millennial Z demographic – a push towards careless intellect, performative politics, and a total focus on love and relationships – makes for an interesting watch. This is mainly because this sector is still relatively undeveloped in India. Both academically and cinematically.
There are many new things ko gay hum kahan. One of the main characters, an interesting character in his own right because he has class anxiety, forms a relationship with a social media influencer. All of her interactions are transactional, and her internet persona is inseparable from her “real” self. There is no such thing as “authenticity” and everyone and everything is a means to an end. That’s not an inaccurate statement. The influencer economy is booming, and social media performance is more valuable than ever. She’s also the only character who isn’t taken seriously, which is a definite plus. Ananya Panday embodies the awkward, desperate girlfriend trope. Although these are accurate depictions, the weight of the depictions can sometimes feel dishonest.
The film struggles with the desire to represent life and love in an inclusive way. It inserts a “class” perspective but fails to fully commit to the cause. The only characters who confront how class shapes social structure lack the necessary self-awareness.
Also read: TikTokers dubbed ‘Shudras of the Internet’: Indians weren’t immune to casteism even on social media
digital intermediary
Instagram is the film’s most consistent feature, as is the way the characters use it to further their own causes. Imad is something of a Tinder addict, and the manic pixie-dream-girl Simran (Kalki Koechlin) is working on a project called Humans of Tinder, in true “artist-influenced” style. There is. The digital world is given equal importance to the non-digital world in shaping a character in a constant state of flux, disrupted by mid-twenties and further amplified by social media and dating apps.
In an essay titled “Me in the Internet,” Gia Tolentino writes: “The everyday expression of self on the Internet still corresponds to[sociologist Erving]Goffman’s theatrical metaphor: there are stages, there is an audience. It also adds a lot of other nightmarish metaphorical structures.”
Although the Internet is a never-ending performance, Tolentino also notes the fact that there is no rest. Exposing yourself to strangers and friends on the Internet is a continuous loop from which it is difficult to break out. The main reasons for this are instant gratification, a sense of self-identity and worth, and the all-important social currency.
It is also the fact that real-world human relationships are digitally mediated. It’s here that the film is at its most effective, showing how our phones are extensions of ourselves, where intimacy is forged and often destroyed.
Views are personal.
(Edited by Prashant)
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(Tag Translation) Ananya Panday
