A woman takes the biggest step of her life when she infection from ‘Miss’ from ‘Mrs’. And through this change, there is ‘Mr.’ in the relationship holding his hand. But what if a man really never understands him? What if she dreams of turning into a house at home, she never really feels like her? What if marriage comes at the cost of leaving all his aspirations behind? These are not imaginary questions; They are real reality for countless women.

Starring Zee5’s latest film Mrs., Sanya Malhotra, delays the story. A Hindi adaptation of highly acclaimed The Great Indian Kitchen cannot occupy the raw intensity of Mrs. origin, but it still leaves you deeply.

See the trailer here:

https://www.youtube.com/watch?v=gus6FQL_HFQ

Sanya’s Richa meets Diwakar (Nishant Dahiya) through a systematic marriage setup and immediately creates a connection. On the wedding day, his father -in -law (brilliantly painted by Kanwaljit Singh) welcomed him with words, “You are now our daughter.” But in the coming days, Richa realizes how hollow this feeling is really because the family exploits a daughter -in -law in the name of ‘duties’.

She does not tirelessly receive a single word of praise. Instead, she meets with endless criticism-her mother-in-law chills her to handle her food during cooking, her father-in-law insisted that she follows traditional methods in the kitchen, and her husband sexually The convenience does not see much, completely devoid of romance or emotional relationship.

Mrs has kept a mirror a mirror for the patriarchal system in the society. However, it is not just those men who eliminate these oppressive norms; The conditioning of women also plays an important role. Therefore, the mother -in -law is surprising to see the mother -in -law to carry out domestic work like a sacred ritual. From preparing detailed food and washing utensils to taking out her husband’s shoes, she does all this without any question-and hopes that her daughter-in-law will do the same.

Richa’s struggle is beyond her in -laws. Even when she turns to her mother for support, she joins with indifference. The overwork in the kitchen has been rejected with his argument, ‘All this will have to be learned (you have to learn this) and’ adjust ‘. And when she finally dare to stand for herself, her mother urged her to apologize inste How deep in the days became oblivious.

The basis of Mrs is universal, bound to make many women trigger, angry, or feel heartbreak.

Sanya Malhotra gave an excellent performance, easily depicted a change with a vibrant, young girl of Richa, who wants to become a dancer for a person wearing tireless insults. It is heartbreaking to see her frustration and pain because she jokingly jokingly and cooks for her husband while drinking with friends.

Nishant Dahiya is externally assured as a respectable doctor, who holds the mask of his harsh, regressive mindset. The scene where he shines his wife after opening his wife about his wishes and needs love, acts as a reality check on wrong treatment, many women are behind closed doors. Kanwaljit Singh, Bhi, is extraordinary, whispening you because he gradually wires Richa’s confidence with his obsessive compulsions and cold performance.

Mrs is an unstable reflection of a reality, many women silently tolerate, making it an important watch. Although this great Indian kitchen cannot fully catch the unfiltered rawness of the kitchen, it still saves an intestinal depiction of systemic patriarchy. With her powerful performances and poignant story, Mrs.s forces the Mrs. audience to face the uncomfortable truth – not only sympathy, but also introspection and change.