“Kyu hum aurton ko taleem lene se rokte hain?” asks Annie during her graduation day speech. This question echoes through the alleys of the social structure we live in. While the empowerment of women and conversations around gender equality have made great progress in the world, there remain girls and women who are caged and pushed away from the light of education. Every year, innocent children are forced to let go of their childhood and happiness because of the regressive mindset of patriarchal society.

“May Ri,” is an eye-opening drama on child marriages directed by Meesam Naqvi and conceptualized by Sana Fahad.

Annie (Aina Asif) is a bright fifteen-year-old girl who excels in her studies and wants to pursue her goals. She has had a harsh childhood and has grown up seeing her mother Ayesha (Maya Khan) being subjected to extreme domestic cruelty at the hands of her male chauvinist father Habib, a product of the patriarchal society. She has always resented her mother’s life, vowing never to end up in a similar situation. However, she is forced to marry Fakhir (Samar Abbas), her first cousin, at the wish of his father, Zaheer (Naumaan Ijaz), shattering all her dreams in the blink of an eye.

The story revolves around the evils of child marriage and the repercussions it has on the psyche of young children.

Both Annie and Fakhir bear the brunt of such a decision and the friction between them only grows. Naqvi makes sure to show some moments of respite between both the characters as they laugh like young children and support each other in tough times. However, Naqvi does not endorse such a marriage and the conclusion of the drama series is a testament to that.

The men in the drama are placed at the periphery and their actions only create havoc for women.

For instance, Habib’s decision to enter into a second marriage with Raheela (Hiba Khan) leads to chaos in the lives of Ayesha and her two daughters. It shows how men get away with anything and consider it their right to use women as their slaves.

Throughout the series, one can observe Ayesha, a gullible and kind soul, attempting to compromise with her circumstances and accepting her travails. However, it is the beauty of Naqvi’s craft that a woman who always lived in fear of being divorced by her husband found the strength to ask for a divorce herself when her tolerance reached its pinnacle. This powerful scene is bound to resonate with women around the world, giving them strength.

After Zaheer passes away, it is his wife, Samina (Maria Wasti), who takes charge of the family and his business. A woman of liberal thoughts, she grapples with both domestic situations and finances single-handedly, making an effort to support every woman in the family. Samina’s resolute endeavour to empower Annie gives her the chance to continue her studies.

In one scene, while talking to Ayesha, Samina emphasizes the need to make Annie both intellectually and financially empowered, expressing her desire for the next generation to be free from the constraints of patriarchy. The beautiful relationship between Samina and Ayesha is noteworthy as it breaks away from the typical devrani-jethani villainy. In a moving scene, when Habib divorces Ayesha and forces her to move out of the house, it is Samina who slaps him and throws him out. Such a narrative is twice removed from the stereotypical norms of society.

Fakhir is the only man in the house who values and respects women. He makes all efforts to protect Annie and supports her in continuing her education. His character development from a carefree boy to a mature individual is responsibly depicted.

The character arcs of Fakhir and Annie are beautifully scripted as they engage in serious conversations about their relationship and make informed decisions. Naqvi skillfully avoids succumbing to the audience’s desire for a romantic relationship between the two. Despite both characters possessing great personalities, the core of the story was never centred around the love between Annie and Fakhir. Instead, it consistently emphasized the importance of education and the pursuit of one’s career.

The drama concludes at the moment when Annie and Fakhir part ways for good, each embarking on a journey to achieve their respective goals. Liberation extends to all the women in the family as Samina assumes the family leadership, Ayesha runs a home for abused children, and the girls in the family focus on their studies. Notably, in the final scene, women take centre stage, leading independent lives, with no male characters in the vicinity

May Ri’ is a story of women, for women, and by women.

Men of good character become allies in the narratives, while the cruel souls are shed off. Naqvi’s vision and nuanced direction bring out the best in every character. All the threads woven throughout the narrative come together seamlessly, producing a compelling story with strong messages. ‘May Ri’ is indeed an eye-opener.