In my late teens, when the butterflies in my heart started fluttering with what I realized was the desperate need to fall in love like every silver-screen heroine I had witnessed till then, there were a million songs from Bangla and Hindi films available to express my longing. From ‘Yaad aa rahi hai (I am remembering you)’ of Love Story (1981), ‘Gazab ka hai din socho zara (Just think how amazing these days are)’ from Qayamat Se Qayamat Tak (1988), and ‘Dil Diwana bin sajnake mane na (Without a lover I cannot control this mad heart)’ from Maine Pyar Kiya (1989)—the hit numbers were all about love—love longed for, love found, love lost. Films, the main source of entertainment and sanctuary for imagination those days, revolved around love, as did our slow, post-school afternoons of giggling friends whispering about the goings-on between girls and boys we knew. In all of this our vital takeaways were two important things: 1) Life was useless unless you found love, and 2) Love was pointless unless it was the ‘one true love’. And we all acquired the anxiety of being declared useless and pointless if we failed.