STYLE

The film is an effort to present a different narrative style, that manages to not only concentrate on narrating a story but to evoke levels of reflection in the audience which open up swirls of possibilities. As a result the spectator forms a very active part in deciphering the story, forming her or his own conclusions.
Rather than telling every detail of the happenings in the family, the film concentrates on the inner struggle of a young girl, who instead of accepting her

fate, actively deals with the "forces" and "voices" that seem to determine her life in order to come to her own decision. The end of the film leaves the question open, whether her decision will bring Sanyogita happiness or not. Yet, it shows a Sanyogita who has gained strength and appears more apt to confront life.

THEME

The intention of the film is to show the emotional development of a woman, in a crucial and often threatening new situation, when she is just married and has to adjust to a new household, with her in-laws being at the same time curious and hostile. Sanyogita's situation is marked by an absence of male partners for interaction, which is the real disappointment in her marriage.
She misses the support of a husband in dealing with the mother-in-law who has problems accepting a new member in her household. But more than that she is disappointed about the lack of bodily closeness. In this strange environment, the moments of sexual excitement, leave her even more lonely at the end.
Sanyogita's efforts to come to terms with her new life is marked by inner dialogues in which she addresses both her mother as well as the goddess. Her struggle to grow up, to become adult and to win agency is thus placed in a setting that is marked by two opposite forces, her impulse and emotions on the one hand and more lonely at the end.
Sanyogita's efforts to come to terms with

her new life is marked by inner dialogues in which she addresses both her mother as well as the goddess. Her struggle to grow up, to become adult and to win agency is thus placed in a setting that is marked by two opposite forces, her impulse and emotions on the one hand and the female voices (of the mother-in-law, the mother and the goddess) who function as cultural agents, telling her what is right and wrong on the other.
The film sets out to accompany Sanyogita during this important phase of her transformation, offering the viewers snapshots of the life that surrounds her as well as insights into her emotional world. Only slowly these snapshots form up to tell the story of a woman, who dares to take her own decisions.