NARI features interviews with dozens of women, aged 10 to 97, from different castes, classes, and backgrounds in the southern states of Telangana and Andhra Pradesh. The resulting collage depicts a complicated, and often contradictory, composite view of a woman's life in present day India. 

Split into four chapters, the film begins with portraits of old age and progresses backwards down to youth. Through this structure several juxtaposed themes emerge: hope and loss, ideals and reality, dreams and regret. The importance and power of literacy is emphasized as we see first-hand how even a little bit of education can change a young girl's life forever. 
 

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The locations include the Girl's Tribal Welfare School, nestled in the woods of West Godavari, an all-girls school with all tribe children where we hear from young girls with strong personalities and a hunger for learning.  
 

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We visit a women's welfare center in Hyderabad and hear from passionate adolescents who have fought with their own families to further their higher education.

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We sit on a stoop in a Vizag slum and have conversations with middle-age cleaning women who are often the sole breadwinner in their families while dealing with loan collectors and alcoholic husbands.

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Women at an Old Age Ashram in Malkajgiri tell us tales of loneliness, abandonment and heartbreak.

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Feminist writer Satyavati Kondaveeti lends her voice to give a historical and social context to the tales we hear and poems by feminist poet Nirmala Kondepudi, heard throughout, emphasize the themes of the piece.

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This work is framed by conversations with the filmmakers own mother and grandmother, lending a personal thrust to the narrative.

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The filmmaker's mother, Durga Dingari, also a producer on NARI, is a journalist who worked on pieces about child labor and women's issues in the 1980s and 90s before she moved to America for her own husband’s job.

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NARI works with local NGO’s, unions and other community organizations on-location to provide an inside look to many private and previously off-limits spaces. The resulting film lets the subjects tell their own stories in their own words and tries to give a voice to the voiceless in a broad cross section of Indian society.