Indian horror, he argues, is obsessed with women who transgress. Too sexual, too independent, too alive. They’re promptly turned into ghosts. In Veerana (1988), the spirit is overt in her seduction. In MangalSutra (1981), a woman dares to desire a married man and is punished for it. “The blame is always hers,” he notes. Never the man’s for getting seduced in record time.

There’s a point somewhere in the middle of Technicolour Lovers: Reel 1 when the narrative stops feeling like a comic and starts feeling like a hallucination.

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