The idea of possessing sarees of all kinds elucidates Sudakshina. Although she has two wardrobes full of such satin, she still ventures virgin areas of an unknown jungle only to get a glimpse of the village, to know the story of underprivileged women who earn a living by selling sarees at a loss.
Every member of the family shames her for her obsession. While some do it unintentionally, the sly mother-in-law adopts a new hobby to harass Sudakshina when she gets the chance to do so. She remains adamant about her demands for rich, homemade cuisines while being well-aware of the fact that Sudakshina is a busy woman, who helps around the household.
The father-in-law, niece Pala, and husband Raj act as her emotional support. In the midst of everything, it's comforting to watch Prateek being completely secure with the idea of his wife in the company of an old college friend. Although he does engage in occasional leg-pulling, that only happens when best-friends consider it their birthright to mock each other. But there are days when he finds her obsession with sarees rightfully annoying. Mainly, because Sudakshina's obsession sometimes does seem to be a bit too extreme.
The feminist angle
The feminism in this film is layered. Here a woman fights for her dignity while softly adjusting with the deep-rooted patriarchy. Sudakshinar Saree is a slow-paced film but it doesn't bother you because it captures the elements of the lackadaisical life in Bengal. We softly learn about the history of sarees, culture and how it became a fashion statement in Bengal.
Sudakshina reflects the life of a homemaker, who misses the times when she used to be a cigarette-loving, politically-active, gold-medalist in college, who had to bury the writer within herself when the marriage happened. Eventually, her life changed for the better when she chanced upon an old friend from college, who admired her writing skills.