Marital unions in India are commonly depicted as vibrant, lavish festivities where families unite to uphold customs. Yet, for numerous women, the journey of an arranged marriage can be profoundly unsettling, driven by societal pressures and patriarchal norms. The Marathi-language film Sthal: A Match
reveals this often-overlooked aspect of Indian nuptials, providing a candid perspective on the humiliations that women and their families endure during the process of finding a suitable match.
sheds light on this lesser-seen side of Indian weddings, offering an unfiltered look at the indignities faced by women and their families during the matchmaking process.
narrates the tale of Savita, a young woman eager to seek higher education and develop a career. Yet, her ambitions are eclipsed by her father’s constant endeavors to find her a spouse. Daulatrao Wandhare, a cotton farmer facing hardships, is resolute in arranging a suitable marriage for his daughter while dealing with the struggles of his trade. For Daulatrao, an advantageous marriage proposal is as crucial as obtaining a just value for his harvests.
helmed by Jayant Digambar Somalkar, the movie is notable for its authentic depiction of arranged marriage customs and the emotional burden they impose on women. In contrast to Bollywood’s glittering portrayal of matrimonial ceremonies, Sthal
highlights the degradation and dehumanization that numerous women experience. The film’s realism is bolstered by its ensemble of debut actors, all selected from the village where filming occurred. Nandini Chikte, portraying Savita, offers a compelling performance that has garnered her numerous awards.
focuses on the humiliation and objectification that many women endure. The film’s authenticity is further enhanced by its cast of first-time actors, all chosen from the same village where the movie was shot. Nandini Chikte, who plays Savita, delivers a powerful performance that has earned her multiple accolades.
establishes the mood for the narrative. In a dream-like scenario, Savita questions a potential suitor, humorously flipping conventional gender roles. Accompanied by her female family members, she observes the anxious young man awkwardly handling drinks. Yet, this amusing scene is fleeting, as Savita is suddenly awakened and informed to get ready for another round of men arriving to evaluate her as a prospective wife.
sets the tone for the story. In a dream sequence, Savita interviews a prospective groom in a lighthearted reversal of traditional gender roles. Alongside her female relatives, she watches as the nervous young man stumbles while serving drinks. However, this playful moment is short-lived, as Savita is abruptly woken up and told to prepare for yet another group of men coming to assess her suitability as a bride.
In reality, the dynamic is starkly different. Savita is dressed in a sari and seated on a small stool, her eyes lowered, as she faces a barrage of questions from the prospective groom’s family. They interrogate her about her name, education, hobbies, and even her willingness to work on a farm. Once the questioning ends, the men step outside to discuss her physical appearance. Comments about her skin tone and height reveal the shallow criteria by which she is judged. Despite her qualifications and aspirations, Savita is reduced to an object of scrutiny, her worth determined by arbitrary standards.
During an interview, Nandini Chikte shared how emotionally demanding it was to bring Savita’s story to life. “Even though I was acting, I genuinely experienced the anger and humiliation for Savita,” she expressed. “It was disheartening to witness how her ambitions were largely ignored, while the potential groom never faced the same level of evaluation.”
In an interview, Nandini Chikte described how emotionally taxing it was to portray Savita’s journey. “Even though I was acting, I felt the anger and humiliation on behalf of Savita,” she said. “It was disheartening to see how little consideration was given to her dreams, while the prospective groom was never subjected to the same scrutiny.”
The film also addresses the pervasive issue of dowry, a practice that remains widespread in India despite being illegal for over six decades. Dowry often places a significant financial burden on the bride’s family, with parents going to extreme lengths to meet the demands of the groom’s family. In Sthal
, Daulatrao is shown putting his land up for sale to gather funds for his daughter’s marriage, even though farming is his only source of income. This reflects a harsh reality where families often incur massive debts to secure a marriage, only to face the risk of dowry-related violence later.
Director Jayant Digambar Somalkar drew inspiration for Sthal
from his own life experiences. Growing up with two sisters and several cousins, he witnessed the matchmaking process firsthand. He recalls observing these rituals without questioning them as a child but began to see them differently as an adult. The turning point came in 2016, when he accompanied a male cousin to meet a prospective bride. Watching the young woman sit on a stool and answer questions about her appearance and background left him uncomfortable. “The discussion about her height and skin color felt dehumanizing,” Somalkar said. Encouraged by his fiancée, now his wife, he decided to explore the subject through his filmmaking.
is not the initial Indian film to address this topic. Throughout the years, both Bollywood and regional films have brought forth various narratives about arranged marriages. The widely watched Netflix series Indian Matchmaking
explores the matchmaking process as well, but it centers on affluent, urban families where women tend to have relatively more autonomy.
Somalkar asserts that his film provides a more realistic viewpoint. “The everyday reality for many Indians differs greatly from mainstream media portrayals,” he stated. “For families in rural and low-income areas, the task of finding a suitor for their daughters often seems daunting. Marriage is perceived as a means to uphold the family’s honor, prompting parents to make significant sacrifices to meet this societal duty.”
By shedding light on the challenges encountered by women such as Savita, Sthal
urges viewers to rethink deeply rooted customs. It questions the dehumanization of women under the guise of marriage and the societal pressures that place marriage above educational and career goals.
Somalkar aspires for the film to initiate significant discussions. “One film can’t transform society immediately, but it can begin a conversation,” he remarked. “I want audiences to reflect on how these customs affect women and their families. It’s time to shift away from viewing marriage as the pinnacle achievement for a young woman.”
delivers a powerful narrative and genuine performances, Sthal
acts as a strong critique of societal norms that uphold gender inequality. It gives voice to women like Savita, whose stories frequently go unnoticed, and advocates for changing perspectives on marriage, education, and women’s autonomy in India.
Though progress might be gradual, movies such as Sthal
While change may be slow, films like Sthal
play an important role in challenging the status quo and inspiring audiences to imagine a more equitable future.