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Kinshuk Surjan’s documentary follows women in dire financial straits whose bereavement compounds their social plight, which they confront together
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Film — Phuong Le
Out in rural India, a crisis casts a dark cloud over the seemingly tranquil vistas of wheat fields and soy farms. Over the past 20 years, more than 400,000 farmers have killed themselves , beset by mounting debts and low market prices for crops. Shot in Maharashtra, the state with the highest rate of farmer suicides in India, Kinshuk Surjan’s documentary sensitively captures another tragedy that lingers after death: left behind by their dead husbands, generations of grieving widows struggle to find their way in a society still burdened by patriarchal values.
Sanjivani, a woman in her 30s, is one such case. Eight years after her husband killed himself, she has taken over some of the farming responsibilities, along with other odd jobs, to provide for her two children. The camera rarely finds her at rest; Sanjivani not only works in the fields but also performs domestic labour for her extended family – cooking, cleaning and doing laundry. Her resilience is stunning to witness, but even more impressive is the emotional support provided by a tight-knit network of other widows. Together, the women gather for counselling sessions where they can freely discuss their emotional, physical and financial issues.
One widow, for example, laments her former status as a child bride; another talks defiantly of her decision to remarry, still a taboo act in this conservative village. Though each has their baggage, the women all share the pain and anger of being rendered invisible by their widowhood. On certain celebration days, they are not even allowed to go out, for fear of inflicting bad luck on others. Sanjivani’s transformation over the course of the film, however, inspires hope. As she continues her education and works at a local pharmacy, Sanjivani’s steps towards independence show that, with the support of the collective, life can – and must – go on for the marginalised and forgotten.
• Marching in the Dark is on True Story from 28 August.
Sanjivani, a woman in her 30s, is one such case. Eight years after her husband killed himself, she has taken over some of the farming responsibilities, along with other odd jobs, to provide for her two children. The camera rarely finds her at rest; Sanjivani not only works in the fields but also performs domestic labour for her extended family – cooking, cleaning and doing laundry. Her resilience is stunning to witness, but even more impressive is the emotional support provided by a tight-knit network of other widows. Together, the women gather for counselling sessions where they can freely discuss their emotional, physical and financial issues.
This report is published with credit to theguardian.com. Full available text from the wire is above. Read on theguardian.com →
Source: theguardian.com · Phuong Le. Published 24 Aug 2026, 10:00 am.
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