Arranged marriages are often described as being “made in heaven,” but for many women in India, the matchmaking process can feel like a painful ordeal.
That’s the premise of Sthal: A Match, a Marathi-language film that has won multiple prestigious awards and is now set for its theatrical release in India.
Directed by Jayant Digambar Somalkar, Sthal follows the story of Savita, a young woman in rural Maharashtra who dreams of completing her education and building a career.
However, her father, Daulatrao Wandhare—a struggling cotton farmer—is determined to find her a “good match,” treating her future like a business transaction.
A Raw and Realistic Portrayal of Arranged Marriage
Unlike other Bollywood films that romanticize weddings, Sthal takes an unfiltered look at the humiliating process that many young women endure when seeking a husband.
The film’s lead actress, Nandini Chikte, describes the experience as “deeply humiliating,” as prospective grooms and their families scrutinize a woman’s height, skin color, and family background before deciding on a match.
One of the film’s most powerful scenes repeats throughout—Savita is dressed in a sari, made to sit on a wooden stool, and is interrogated about her personal details.
Meanwhile, the men step outside to discuss whether she meets their expectations.
Comments like “She’s a bit dark” and “She’s also short” highlight the harsh reality of how women are judged.
This scene resonates with many Indian women, as society often prioritizes marriage over their personal ambitions.
Savita’s protests—“I don’t want to get married yet. I want to finish college and take the civil services exam”—fall on deaf ears, as her family insists that marriage is her ultimate goal.
Tackling the Dowry System
The film also addresses the ongoing problem of dowry, a practice that remains widespread despite being outlawed for over 60 years.
Many families take on crushing debt to meet dowry demands, yet thousands of women still face domestic violence or even death due to perceived dowry insufficiencies.
In Sthal, Savita’s father considers selling his land—his only source of income—to provide an adequate dowry, mirroring the sacrifices that countless Indian families make to secure their daughters’ futures.
Inspired by Real-Life Experiences
Director Jayant Digambar Somalkar based Sthal on personal experiences.
Having grown up with sisters and female cousins, he witnessed the matchmaking process firsthand.
However, it wasn’t until he attended a bride-seeing ceremony as an adult that he truly understood its impact.
“I felt uncomfortable when the woman sat on a stool and was asked questions,” he recalls.
“And when we stepped out to discuss her height and skin color, I realized how objectifying it was.” Encouraged by his wife, he decided to make Sthal as a wake-up call for society.
Challenging Bollywood’s Glamorization of Weddings
India has long celebrated grand weddings on screen, from Hum Aapke Hain Koun to modern Netflix shows like Indian Matchmaking.
However, Somalkar argues that these portrayals only reflect the experiences of wealthy, educated families, where women have more freedom to choose their partners.
For most Indian women, marriage is not just a celebration—it is a societal expectation, often imposed with little regard for their personal desires.
A Film That Sparks Conversation
“One film won’t change society overnight,” says Somalkar. “But it can start a conversation.”
By shedding light on the struggles of women like Savita, Sthal challenges audiences to rethink the deep-rooted traditions surrounding marriage in India.
It serves as a powerful call to action—urging society to prioritize women’s dreams and choices over outdated customs.
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