Abstract
In Maharashtra, a few numbers of films have been produced on Dalit marginal or subaltern narratives, mainly based on the intersectionality of caste and gender conflicts. Unfortunately, these films have not received good responses nor got a box office success like Sairat movie did in the twenty-first century. In India, caste conflict, Brahminical hegemony and gender discrimination issues have produced fewer cinematic narratives about subalterns and badly left them without a voice. This article significantly exemplifies the Sairat movie to understand how a young generation in Maharashtra (especially from the rural areas) is facing caste hierarchy, class conflict, discrimination, gender-related issues and challenges in their lives. A class conflict and the characters’ struggle can be seen through the protagonists Parshya (Akash Thosar) and Archi (Rinku Rajguru) when they get married and start living their lives as an average couple, but nothing happens as a happy ending. This story re/presents the struggle of inter-caste marriage couples, social unacceptability and exclusion. They fail to resist the social, political and caste conflicts and get killed. In short, they become a victim of honour killing. To conclude, Sairat represents social, gender and caste conflict and reflects the struggle of youngsters in inter-caste marriages.
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