Fandry

In the village of Akolner, Jabya’s Kaikadi family lives in a makeshift house on the outskirts of a caste-segregated community. They depend on a string of menial jobs just to survive, while the upper-caste residents project fear and dominance. Daily life is shaped by dehumanization and a constant sense of vulnerability.

Jabya is drawn to school and quietly notices Shalu, a forward-caste girl. Their connection remains unspoken, with Jabya hoping she notices him in return. The schoolyard becomes a space where caste lines feel both distant and inescapable.

Jabya and his friend Pirya spend long hours with a slingshot, chasing a black sparrow through the wilderness. Two signals recur in their world—the red-wattled lapwing, or titawi, said to foretell bad luck, and the striking sparrow that keeps appearing. These omens thread through their days and hint at a restless fate.

A bicycle mechanic named Chankya enters Jabya’s life and offers sympathy and a different lens through which Jabya can pursue his dreams. He becomes a mentor figure, gently guiding Jabya toward possibilities beyond the village’s rigid expectations. The relationship gives Jabya a spark of hope amid oppression.

Chankya recalls a brutal episode where he married a wealthy upper-caste woman who was taken away by her brother. Since then, he has renounced family life, leaning toward spirituality, mysticism, and liquor. His history adds a layer of complexity to his mentorship of Jabya.

Jabya’s father embodies fear and submission shaped by the caste hierarchy, often yielding to the village’s oppressive norms. He struggles to protect his family while feeling powerless within the social order. This dynamic reinforces the cycles of control that suppress Jabya and his sisters.

A marriage proposal for Jabya’s sister arrives, and the father agrees to pay a dowry of ₹20,000 to the groom’s family. The amount places a heavy financial strain on the already burdened family. The moment foreshadows the economic violence threaded through their community.

The family’s resources are stretched as they try to meet the dowry obligation, highlighting the economic pressures created by caste and gender traditions. The looming debt adds to the constant strain Jabya observes at home. The weight of unpaid expectations compounds the father’s sense of duty and fear.

A village order assigns Jabya’s family the task of killing a rampaging pig, and they must perform the act in front of Jabya’s classmates, including Shalu. The exposure becomes a bitter public humiliation that compounds Jabya’s sense of inferiority. The event unfolds in a communal space where eyes feel heavier than the task itself.

When embarrassment peaks, Jabya hides in an alley where the black sparrow reappears and whispers of ash that can hypnotize someone into loving the person who sprinkles it surface. The idea remains a dream-like, magical notion that briefly offers escape. His father finds him, scolds him, and the moment ends in a public rebuke.

The family manages to catch the pig, but the ensuing procession becomes a stage for relentless taunts and jeers. The crowd’s hostility reinforces Jabya’s sense of vulnerability and the cruelty of the village’s power dynamics. Public spectacle amplifies the pressure to conform.

The insults escalate, including the Kaikadi slur fandry, which targets Jabya’s identity. The accumulated humiliation sparks a deepening anger within him, signaling a breaking point against dehumanization. The moment marks a pivot from passive suffering to visible resistance.

In a blaze of defiance, Jabya abandons the pig and hurls rocks at his oppressors. The act is a raw eruption against the cycles of oppression that have shaped his life. The scene crystallizes his resolve to resist in the face of contempt.

The film closes with Jabya’s defiant stance as he throws a rock directly at the camera. This deliberate break of the fourth wall pushes viewers to confront the ongoing cycles of oppression and resilience. The image lingers, inviting reflection long after the moment is over.