Unions in India are frequently depicted as festive and opulent gatherings, where families unite to celebrate customs. Nevertheless, for numerous women, the arranged marriage process may be a profoundly troubling ordeal, stemming from societal pressures and patriarchal norms. The Marathi-language film Sthal: A Match
reveals this often overlooked aspect of Indian matrimonial ceremonies, providing an unvarnished view of the hardships encountered by women and their families throughout the process of finding a suitable match.
takes place in the rural scenery of Maharashtra, Sthal
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
Directed by Jayant Digambar Somalkar, the film stands out for its raw depiction of arranged marriage rituals and the emotional toll they take on women. Unlike Bollywood’s glamorous portrayal of weddings, Sthal
begins with a gripping scene in Sthal
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.
This scene is repeated several times throughout the film, highlighting the repetitive nature of the matchmaking process. Savita’s parents reveal that this is the fourth or fifth time she has been rejected. Each rejection deepens the family’s frustration and despair, as they face the societal expectation of marrying off their daughter. For Savita, the experience is both degrading and infuriating. Her protests—expressing her desire to complete her education and pursue a career before considering marriage—are dismissed as unrealistic in her conservative community.
, the narrative also tackles the widespread problem of dowry, a tradition that persists in India notwithstanding its illegal status for more than sixty years. The dowry system frequently imposes a heavy financial strain on the bride’s family, with parents often resorting to drastic measures to satisfy the groom’s family’s expectations. In Sthal
, Daulatrao is depicted attempting to sell his land to raise money for his daughter’s wedding, despite farming being his sole livelihood. This illustrates a grim reality where families frequently accumulate significant debts to arrange a marriage, only to encounter the threat of dowry-related abuse afterward.
from real-life experiences, Director Jayant Digambar Somalkar crafted Sthal
from his personal background. With two sisters and numerous cousins, he observed the matchmaking rituals closely. As a child, he didn’t question these practices, but his perspective shifted as an adult. The moment of change occurred in 2016, when he attended a meeting between a male cousin and a potential bride. Seeing the young woman seated and being questioned about her looks and background made him uneasy. “The focus on her height and skin tone felt dehumanizing,” Somalkar reflected. Motivated by his fiancée, who is now his wife, he chose to delve into this topic through his film.
The film’s candid depiction of arranged marriage practices has garnered it widespread praise. Nonetheless, Sthal
The film’s unflinching portrayal of arranged marriage rituals has earned it critical acclaim. However, Sthal
explores the matchmaking process as well, but it centers on affluent, urban families where women tend to have relatively more autonomy.
, for example, delves into the matchmaking process, but it focuses primarily on wealthy, urban families where women have comparatively more agency.
Somalkar believes his film offers a more grounded perspective. “The reality for most Indians is very different from what’s shown in mainstream media,” he explained. “For families in rural and lower-income communities, finding a match for their daughters often feels like an uphill battle. Marriage is seen as a way to secure the family’s honor, and parents are willing to go to great lengths to fulfill this societal obligation.”
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.”
With its compelling narrative and genuine performances, Sthal
acts as a strong criticism of social norms that sustain gender inequality. It gives a platform to women like Savita, whose narratives are frequently ignored, and advocates for changing perspectives on marriage, education, and women’s autonomy in India.
serves as a powerful critique of societal norms that perpetuate gender inequality. It offers a voice to women like Savita, whose stories are often overlooked, and calls for a shift in attitudes toward marriage, education, and women’s agency in India.
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.
