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Neeraj Ghaywan’s Geeli Pucchi is widely regarded as the anthology's strongest segment, offering a nuanced intersectional critique. It juxtaposes two women: Bharti (Konkona Sen Sharma), a Dalit woman in a technical, masculine-coded job, and Priya (Aditi Rao Hydari), an upper-caste, feminine, submissive wife. The narrative deconstructs the "sorority" myth, showing that caste boundaries often supersede gender solidarity. Bharti’s manipulation of Priya to gain a promotion is not portrayed as a victory, but as a tragic necessity. The "strangeness" here lies in the ambiguity: the oppressed becomes the oppressor, revealing that in a stratified society, female solidarity is a luxury not everyone can afford.

Abstract This paper examines the 2021 Hindi anthology film Ajeeb Daastaans, produced by Dharmatic Entertainment for Netflix India. The film is analyzed through the lens of modern Indian feminism and the "anthology format" popularized by streaming platforms. By deconstructing the four short films—Majnu, Khilauna, Geeli Pucchi, and Ankahi—this study explores how the anthology subverts traditional Bollywood tropes regarding marriage, class, and sexuality. The paper argues that Ajeeb Daastaans uses the "strange tale" format to expose the inherent fragility of domestic spaces and the complex, often amoral choices of its female protagonists. Download - Ajeeb Daastaans -2021- Hindi Netfli...

Starring: Fatima Sana Shaikh, Jaideep Ahlawat, and Armaan Ralhan. Neeraj Ghaywan’s Geeli Pucchi is widely regarded as

The Plot: The story revolves around a married couple, Latika and Raj. On the surface, they have a functional marriage, but there is a stark lack of romance and intimacy. Raj is desperate to buy a vintage car from a man named Bablu, a local mechanic and small-time crook. To secure the car, Raj and Latika visit Bablu’s garage. Starring: Fatima Sana Shaikh, Jaideep Ahlawat, and Armaan

The Twist: While negotiating the car, Latika finds herself drawn to Bablu. He is rough, unrefined, and the complete opposite of her husband. Bablu begins to woo Latika aggressively, and she starts an affair with him, finding the excitement missing in her marriage. However, the affair is cut short when Bablu disappears after selling the car to someone else.

The Ending: Raj eventually buys the car from the new owner. In the final scene, Latika finds a letter from Bablu inside the vintage car. It reveals that Bablu never really cared for the money or the car; his sole intention was to sleep with Latika to spite her husband, proving that he could take what Raj wanted most. The story ends with Latika realizing she was just a pawn in a strange game of ego between two men, leaving her marriage even more hollow than before.