If you find humor in the absurd and relish tales that smirk at the chaos of modern life, ‘Afsos’ is the treat you didn’t know you were craving. Released in early 2020, this strikingly original Indian web series based on the novel ‘Afsos’, created by Anirban Dasgupta and Dibya Chatterjee, serves a bold appetizer of thrills, fate, and urban solitude. Situated in the vivid cultural melange of Mumbai, it uncorks a tale of procrastination and survival, with its main character, Nakul, finding himself in situations that can only be described as a darkly comedic nightmare.
So, who is Nakul? A character floating in ennui, Nakul is a failed writer grappling with life’s existential meaninglessness. In dire straits, he decides it’s time for his grand exit. Only, in an acutely ironic twist, his new lease on life begins when he contracts a notorious assassin to end it. The catch? Nakul, somehow fueled by the urgency of his gloomy plans, realizes sweet life might just be worth living after all. The problem? The assassin knows no refunds!
What sets ‘Afsos’ apart is its daring romp through themes many shy away from. This isn’t some left-leaning platitude on finding yourself or embracing your inner rainbow. This is a show that takes pleasure in prodding the delicate ego of societal norms — a fantasy that abandons the politically correct for a waltz with the sardonic.
Enter an ensemble cast of brilliantly quirky characters. There's Maria, the cold yet charming hitwoman who proceeds with her lethal task with the precision of a diligent chef. There’s Upadhyay, the determined policeman walking the fine line of justice and madness, embodying an authoritarian quest that, let’s face it, is a rare gift in a world enamored with ‘freedom'. Then there's Fokatiya, a wayward spiritual guru who adds an extra layer of unpredictable mischief to this fine farce. Each player perfectly complements this absurd dance of life and death, with sharp dialogues and storied backgrounds that provide a peppery kick to the rugged narrative.
The settings enhance every bit of this chaotic delight. Mumbai becomes not just a backdrop but a testament to the cacophony of human folly and aspirations. Its hustling streets echo Nakul’s joy of escape and quest for belonging, while the city’s shaded corners tell a tale of clandestine schemes. This is the spectacle of India’s megacity seen through the eyes of dark comedy, not through the lens of tolerance, diversity, and all those fluffy concepts swollen from overuse in mainstream media.
One cannot discuss ‘Afsos’ without touching on its thrilling game of destiny. Unlike many that advocate flowery notions of destiny’s grand design, Nakul’s misadventures question it with compelling wit. The grim chase between the assassin and prey brushes up beautifully against philosophical inquiries into whether we blindly run from or unconsciously seek our fated ends. This narrative cocktail of comedy and existentialist ruminations creates a richer taste than the sugar-free musings beloved by bleeding hearts.
The true genius of ‘Afsos’ lies in its unpredictability and irony. It is ingeniously crafted to mock the solemnity of the topics it covers while letting us indulge in the guilty pleasure of gore-dipped humor. The show’s tight pacing ensures that once you embark on Nakul’s journey, the thrill will keep you hooked. Like a firecracker in a silent courtyard, ‘Afsos’ bursts onto the scene, ignoring the muted mores of what comedy ‘should’ be.
The cinematography and music are the perfect accompaniments, driving the narrative with a rhythmic pace that reflects the volatile energy of its absurd premise. The score punctuates high-pitched moments deftly, while at times whispering melancholic notes about life’s bizarre unpredictability.
What Anirban Dasgupta and Dibya Chatterjee bring to life is a visually stimulating challenge to the classic tropes of storytelling itself. It transports you into a wonderland of reflective humor where time races against intention, interrupted only by bouts of laughter and thrill. If you were on the lookout for narrative risk-taking without the saccharine cliches adorning today's so-called 'innovative' shows — look no further.
‘Afsos’ doesn’t just entertain; it questions why we ever let laughter play second fiddle to societal rebuke. It's time we tossed those outdated norms back into the vault. Here’s to humor, irony, and a fantastic plot that never waits for approval and upsets all the right folks along the way. Because sometimes, regretting all the laughs you didn’t have is the greatest ‘Afsos’ of all.