In the village of Akolner, a pre-teen named Jabya Somnath Awghade Kachru Mane lives in a makeshift house on the outskirts of a caste-segregated community, sharing space with his parents and two older sisters, one of whom is a widow with a toddler. The family belongs to the Kaikadi community, an oppressed caste, and their everyday life is built around a string of menial jobs. Owing to the caste-ridden power structure, Jabya’s father projects fear and submission, a temperament that is veiled and exploited by the village’s upper-caste residents.
Jabya is drawn to school, where a one-sided crush grows on a forward-caste girl named Shalu Rajeshwari Kharat, a connection he has never spoken aloud but eagerly seeks to notice him in return. He and his school friend Pirya Suraj Pawar, armed with a slingshot, pass long hours after class chasing a black sparrow through the wilderness. The film repeatedly disperses two signals: the call of the red-wattled lapwing, known locally as titawi, said to foretell bad luck, and the striking, fork-tailed black sparrow that keeps appearing in their world.
Into Jabya’s life steps a bicycle mechanic named Chankya [Nagraj Popatrao Manjule], a man who once married a wealthy upper-caste woman only to have her brother violently take her away. Since that brutal episode, Chankya has renounced family life, leaning into spirituality, mysticism, and liquor. He becomes a mentor to Jabya, offering sympathy and a different lens through which Jabya can pursue his dreams.
Back at home, Jabya’s family endures ongoing exploitation and dehumanization from the villagers. A marriage proposal comes for Jabya’s sister, and the father undertakes to pay a dowry of ₹20,000 to the groom’s family, a financial strain that intensifies the family’s burden. A village order then assigns Jabya’s family the task of killing a rampaging pig, a duty that compels them to perform in front of Jabya’s classmates, including Shalu, heightening Jabya’s embarrassment.
The moment of crisis arrives when the embarrassment becomes too much to bear. He hides in an alley, where the black sparrow reappears and the legend surfaces about ash that can hypnotize someone into loving the person who sprinkles it. Yet this magical notion remains only in Jabya’s dream—his father finds him, chases away the bird, and publicly disciplines him.
In the climactic sequence, the family successfully catches the pig, but the ensuing procession brings relentless taunts and jeers. The insults intensify, including the calling of Jabya “fandry,” a slur in the Kaikadi language. As anger boils over, Jabya erupts, abandoning the pig and hurling rocks at his oppressors. The final shot lingers on his defiant stance as he throws a rock directly at the camera, a deliberate break of the fourth wall that leaves a piercing, unflinching moment for viewers to reflect on the cycles of oppression and resilience.
