New Delhi:
In an era where Bollywood movies often focus on external conflicts, dramatic showdowns and explosive moments, Mrs, directed by Arati Kadav, has managed to carve its own space and stand out from the crowd.
Premiered on February 7 on Zee5, the film has generated more buzz than many other similar films in recent memory. With increasing search trends and discussions across social media platforms, Mrs has become a focal point for those seeking a reflection of the silent struggles that many Indian women face.
A still from Mrs.
But what exactly did Mrs do that its predecessors didn’t? How is this film different from other Bollywood offerings, especially in the same genre? Here’s an in-depth look at how Mrs is breaking new ground in the portrayal of women’s issues.
Subtle Depictions Of Invisible Abuse
Unlike many films that have tackled domestic violence in the past, Mrs refrains from showing explicit physical abuse. There are no visible bruises and no direct confrontations where the protagonist is being hurt by her spouse or family.
Yet, Mrs portrays a kind of abuse that is even more insidious – invisible abuse. The film captures the psychological and emotional torment faced by the protagonist, Richa (played by Sanya Malhotra), as she finds herself trapped in the suffocating expectations of her new family.
A still from Mrs.
Richa, a woman with dreams and aspirations, is married off into a household that imposes traditional gender roles on her without any regard for her individuality. The film doesn’t rely on the shocking and overt forms of abuse that Bollywood often highlights.
Instead, it subtly explores how constant dismissal of her needs, trivialisation of her desires and the erasure of her identity slowly begin to take a toll on her mental and emotional health. This is the kind of abuse that millions of women experience daily in silence, without anyone ever questioning or recognising it. It’s a slow death, one that isn’t visible but deeply impactful, and Mrs does justice to this narrative.
Mrs Breaks Free From Glorified Victimhood
Bollywood has often told stories of women who fight back in loud, dramatic ways, engaging in large-scale confrontations with their oppressors. Films like Kabhi Khushi Kabhie Gham (2001), Kabir Singh (2019) and Darlings (2022) often build their narrative around moments of violence, revenge or extreme emotional outbursts.
A still from Kabir Singh.
These films present their female protagonists as victims of physical or psychological abuse who eventually break free – whether by confronting their abuser or through a grand gesture of rebellion. While these films have undeniably sparked important conversations, Mrs takes a different approach.
In Mrs, the protagonist does not engage in overt battles against her oppressors. Richa’s evolution is not marked by loud declarations of independence or by confronting the men who mistreat her. Instead, her transformation happens in silence, with an inner understanding of her worth beyond the roles she is expected to play.
This makes her journey all the more powerful – it’s not about fighting back through explosive acts of defiance, but about finding quiet strength in the face of oppression.
A still from Mrs.
The film does not glorify traditional heroism but presents the resilience of a woman choosing to reclaim her identity without needing to shout or break things down in the process. This nuanced depiction of self-empowerment stands in stark contrast to films like Darlings, Thappad or Akash Vani (2013), where the protagonists’ responses to oppression are often more dramatic or extreme.
Perfect Depiction Of Silent Abuse
What Mrs does that sets it apart from other Bollywood movies is its focus on the silent forms of abuse. While many Bollywood films have explored the themes of domestic violence, Mrs takes a different route by subtly portraying how a woman’s spirit is worn down by unspoken demands, emotional neglect and a lack of agency.
Unlike Kabir Singh, which shows physical violence as the predominant form of control, Mrs portrays the everyday, invisible struggles that many women endure: the unappreciated labour in the kitchen, the constant dismissal of their aspirations and the lack of recognition of their individuality.
Films like Akash Vani, which highlighted issues in relationships like forced marriage or Tumhari Sulu (2017), which dealt with a housewife’s struggles to pursue her career, have attempted to show the internal conflicts that women face within their homes.
A still from Akash Vaani.
However, Mrs pushes the envelope further by presenting these issues as part of a larger societal framework. It isn’t just the relationship between a husband and wife that is problematic – it’s the way these roles are embedded into the very structure of family dynamics and society at large. The absence of physical abuse doesn’t mean the absence of suffering and Mrs makes that clear.
Where films like Darlings show a woman’s physical retaliation against abuse, Mrs delves deeper into a woman’s emotional and psychological battle as she realises that she is stuck in a system that continues to diminish her.
There is no immediate ‘rescue’ – there is no dramatic outburst or revenge. Instead, Richa’s struggle is one of self-realisation, where she comes to understand that the oppressive structure around her is much larger than the people she interacts with.
The Film Has No Villains, Just Victims Of The System
Another defining feature of Mrs is its refusal to portray any character as purely evil. In films like Kabhi Khushi Kabhie Gham (2001), the oppressive father figure, Yashvardhan Raichand (played by Amitabh Bachchan), is a clear antagonist who stands against his son’s marriage.
His sense of pride and ego sets up the primary familial conflict. Similarly, in films like Kabir Singh (2019), the hero is an intense and flawed character, whose toxic masculinity leads to emotional and physical harm to others.
In contrast, Mrs doesn’t give us clear-cut villains. The film shows how the oppressive structures within the home affect everyone. Richa’s husband, Diwakar (Nishant Dahiya), and father-in-law, Ashwin Kumar (Kanwaljit Singh), are not villains in the traditional sense.
They are victims of the same patriarchal system that forces them to see women as tools to serve their desires. The film presents them not as one-dimensional bad guys but as people who are so entrenched in their beliefs that they fail to see the harm they are causing.
Even Richa’s mother-in-law, who would traditionally be the “evil saas” in Bollywood, is depicted as a woman who has long given in to the system. She is not malicious, but she has internalised the very norms that keep women subjugated.
A still from Mrs.
This multi-dimensional portrayal of characters is a refreshing departure from the black-and-white depictions of “good” and “bad” that often pervade mainstream films. It shows how patriarchy affects everyone – not just the women – making it clear that those who perpetuate oppressive systems are often as trapped as those they oppress.
How Mrs Sparks A Conversation On The Unseen Burdens Of Women
In an industry where films often present sanitised and exaggerated portrayals of women’s lives, Mrs offers a more raw, relatable view. The film does not indulge in melodrama or overly dramatic moments.
Instead, it draws attention to the unnoticed, quiet suffering that many women endure in the confines of their homes. Mrs holds up a mirror to society, compelling viewers to reflect on the often invisible labour that women perform and how this labour is undervalued and dismissed.
By focusing on these subtle but significant forms of oppression, Mrs has initiated an important conversation. It asks the audience not to focus solely on the obvious, sometimes explosive conflicts, but to reflect on the quieter, more nuanced ways that women are burdened by societal expectations.
This film has managed to strike a chord because it resonates with people who can relate to the unspoken struggles faced by women in their everyday lives, making it a relevant and timely social commentary.
Mrs – A Turning Point For Bollywood Films
In conclusion, Mrs‘ success lies in its ability to create a sense of relatability without resorting to melodrama or sensationalism. It doesn’t just depict the struggles of women in a patriarchal system; it forces the audience to reckon with the every day, often overlooked realities that perpetuate that system.
While Bollywood has seen several films dealing with gender roles, domestic violence and the mistreatment of women, Mrs distinguishes itself by offering a more introspective, subtle take on the topic.
By presenting invisible abuse as the central issue, it addresses a form of oppression that has been historically ignored – making it a pioneering work in the contemporary conversation about women’s rights and empowerment in India.
