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dream girl movie is a 2023 Indian Hindi-language comedy-drama film directed by Raaj Shaandilyaa and produced by Ekta Kapoor and Shobha Kapoor under Balaji Motion Pictures. A spiritual sequel to the 2019 film dream girl, the film stars an ensemble cast featuring Ayushmann Khurrana, Ananya Panday, Paresh Rawal, Annu Kapoor, Rajpal Yadav, Vijay Raaz, Asrani, Abhishek Banerjee, Manjot Singh and Seema Pahwa

Now comes dream girl movie – also directed by Shaandilyaa and starring Khurrana – and it is even more bald than the first. The plot is practically the same – Karam and his father (Annu Kapoor) are riddled with debt, and Karam must use his special ability to change their fortunes. If he was an adult entertainment call centre employee in the first, he’s tasked with becoming a bar dancer, a psychiatrist, and a daughter-in-law in the sequel. In Shaandilyaa’s universe, all men almost instantly become slippery in front of “Pooja” – Karam’s female avatar.

The premise, again, is ripe for commentary on gender fluidity or transpersons on screen. However, Shaandilyaa uses it to laugh at lecherous men and hapless women desperately seeking love. Vijay Raaz as Sona Bhai – the owner of a dance bar – falls in love with Pooja. Seema Pahwa, an aunt undergoing divorce, lusts after a younger man. Annu Kapoor as Jagjit Singh – Karam’s bumbling, silly father – is as entertaining as he was in the first film dream girl.

Like in the original dream girl movie, even the sequel opens with jokes thick and fast. The one-liners are so frequent that it even seems promising for a bit. Khurrana is a riot in one scene, as he helps his father dodge a credit card recovery agent’s call with his ingénue routine as Pooja. However, the film shows its true colours soon enough – it reveals itself to be a film that is only interested in the laughs, no matter how it gets them, whether it’s with gags around mistaken identities, or older actors sportingly playing fools in more than one situation.

The film wants to appear progressive, given how Khurrana frequently and effortlessly cross-dresses or wears lipstick, and also when a character is revealed to be queer. But the filmmaker’s intent is laid bare with lazy, transphobic lines a character says at one point. The queer coding in the film seems insincere, given how ultimately the gaze of the film deals with stereotypical identities of men and women.