‘Heeramandi’ first look showcases Lahore’s red-light district during freedom struggle

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Mumbai, Feb 1 (IANS) The first look of the upcoming webseries ‘Heeramandi: The Diamond Bazaar’ was unveiled on Thursday. The series marks the OTT debut of Indian auteur Sanjay Leela Bhansali.

The first look paints a compelling picture of pre-independence India bringing together an ensemble cast, with beautiful canvas and larger-than-life sets. It showcases the signature Bhansali production design coupled with intriguing performances by its lead cast.

The series stars Sonakshi Sinha, Aditi Rao Hydari, Richa Chadha, Sharmin Segal, and Sanjeeda Sheikh.

The first looks also paints a stark contrast as the vibrant and colour frames featuring the leading ladies are followed by cold and grim textures featuring Sonakshi in a black outfit

The first look is reminiscent of many of SLB’s iconic works in terms of textures, framing, composition and costumes.

The art of Sanjay Leela Bhansali’s storytelling is visible in every frame making it the most Indian story told in the most Indian way for the global audience.

The series explores the cultural reality of Heeramandi, a dazzling district, through the stories of courtesans and their patrons set against the tumultuous backdrop of the Indian freedom struggle of the 1940s.

Earlier, talking to Netflix Co-CEO Ted Sarandos, Sanjay had mentioned how strong female characters are an integral part of his stories. He said: “Be it Manisha’s character in ‘Khamoshi’, who looks after her differently abled parents, Nandini in ‘Hum Dil De Chuke Sanam’, who has the courage to pursue her love and then make a choice, the character of Mastani in ‘Bajirao Mastani’ or that of Rani in ‘Black’, for me the impact of a story increases manifold with a strong female character.”

He further mentioned: “A strong female character is the fulcrum of any project for me. I won’t make ‘Bajirao Mastani’ if there’s no Mastani.”

‘Heeramandi: The Diamond Bazaar’, directed by Sanjay Leela Bhansali, will soon premiere on Netflix.

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