The world of Jhumkewali , designed by Srishti Vaideeswaran is pleasantly bathed in hues of pinks, blues, browns and yellows, wherein whimsy coexists with rustic charm. This is not to say that their love story isn’t political, because they are, in fact, surrounded by unrest. The emotional lives of both Bindu and Rekha are never fully private, always interrupted by the external—family, ideology, the city itself. And yet, these interruptions become part of the choreography, lending humour and grit that keeps the audience tethered. There’s a subtle politics in their interactions too: the playful power of agency, the flirtation that’s both innocent and revolutionary at a time when even glances carried risk. Rekha, the youngest in a house ruled by three elder brothers and cushioned by stability, moves through this world with a daring confidence that flirts with rebellion. Misra says, “Whether it’s joining the women’s union, hanging out with Bindu, or studying what she loves, Rekha goes after what she cares about, no matter the consequences. She’s so young but has a kind of determination that I and I think many of us hope to have.”