Image instagrammed by AamirKhanproduction house. (courtesy: AamirKhanproductionhouse)

New Delhi:

Welcome to the Laapataa Ladies version of the Met Gala 2024. Aamir Khan Production house, one of the producers of Kiran Rao’s much acclaimed film Laapataa Ladies, shared a funny post on Instagram as the film continues to receive love after it released on the streaming giant Netflix. The post features a picture of Phool, dressed as her part, (played by Nitanshi Goel in the film) standing on the famous staircase of the Metropolitan Museum of Art’s Costume Institute in Manhattan, New York (where the annual fundraising event Met Gala takes place). The picture is a photoshopped one. Sharing the picture, the production house wrote in the caption, “Our Phool blossoming in the garden of time.” FYI, the theme of this year’s Met Gala was Sleeping Beauties: Reawakening Fashion” and the dress code was “The Garden of Time.”

The promotional stunt worked and the Internet started commenting on the post instantly. A user wrote, “I finally watched it, I laughed, got teary eyed. It was worth it.” Another comment read, “Isse kehte hai content (This is real content).”  Another comment read, “Hahah love it.” Another comment read, “When content and cast speak louder than anything. Loved watching the film.” Take a look:

Celebrities like Kareena Kapoor, Alia Bhatt, Sunny Deol, Priyanka Chopra, Rajkummar Rao, Salman Khan, Karan Johar have already expressed their admiration for the film.

Directed by Kiran Rao, Laapataa Ladies stars Nitanshi Goel, Pratibha Ranta, Sparsh Shrivastava, Ravi Kishan and Chhaya Kadam. The film makes a strong statement against the patriarchal shackles that bind a woman to domesticity and take a toll on her dreams and aspirations.

In his review for NDTV, film critic Saibal Chatterjee gave Laapataa Ladies 3.5 stars out of 5 and he wrote, “Adapted from a story by Biplab Goswami and scripted by Sneha Desai (who has also written the dialogues with additional inputs from Divyanidhi Sharma), Laapataa Ladies is a social satire with a pronounced feminist accent that gives the film its rationale. The film is breezy and light on its feet. It is never, therefore, in danger of being bogged down by the weighty issues that it addresses. Its simple clarion call is in favour of the rights of women who are robbed of their dreams post-marriage and it is couched in simple methods that do not seek to draw too much attention to themselves.”