For millions of Hindus, Navratri is not merely a festival—it is an emotion woven deeply into cultural life. Celebrated twice a year, it culminates on Ashtami or Navami with the ritual of Kanjak or Kanya Pujan. On this day, nine young girls and a boy (often called Lonkda) are invited into Hindu homes and worshipped as living embodiments of Goddess Durga. They are served puri, halwa, and chana, offered gifts, and their feet are touched in reverence. The ritual symbolizes purity, devotion, and gratitude toward feminine divinity.

While the ritual is sacred and widely cherished, it also carries social nuances and everyday complexities. These subtleties are brilliantly explored in Kanjak: The Girl Without a Name, a poignant Hindi short film adapted from Sachchidanand Joshi’s short story Kanjhak ka Jhanjhat (“The Trouble with Kanjak”). Directed with sensitivity by Rahul Yadav, the recently released film is a compact yet deeply resonant narrative set against the backdrop of Durga Puja celebrations in a middle-class Delhi household.

Chaos Before the Ceremony

At the heart of the story is a dignified, devout woman affectionately known as Aunty, portrayed with quiet intensity by Malvika Joshi. She is meticulously preparing for Kanya Pujan, determined that every ritual detail be flawless. However, the morning unfolds into chaos. The household helper Meena fails to show up. Essential items—plates, offerings, and even the ceremonial carpet—go missing. Family members grow restless and impatient.
Aunty’s anxiety steadily mounts. Her frustration reflects a deeper, often unspoken truth: women are frequently burdened with the responsibility of upholding cultural and religious traditions to perfection. The sanctity of the ritual feels threatened, and the domestic tension mirrors the invisible pressures placed upon her.
The film carefully captures these authentic family dynamics—subtle irritations, generational gaps, and underlying devotion—without exaggeration. What begins almost as a comedy of domestic errors gradually deepens into something far more introspective.

The Mysterious Arrival

Just as tensions peak, a young woman addressed simply as Didi arrives unexpectedly—accompanied by exactly nine girls. Her appearance feels almost providential. Calm and self-assured, she effortlessly restores order. She locates the missing items, organizes the seating, engages the children with warmth, and gently reassures Aunty.
The transformation is immediate. The house, moments ago filled with stress, begins to radiate warmth and harmony. The girls laugh, sing, and participate joyfully in the ritual. Didi’s quiet efficiency and composed presence elevate the ceremony beyond mechanical observance, infusing it with genuine devotion and community spirit.
Among the visiting girls is a thoughtful child portrayed by Savleen Kaur. In a brief but meaningful conversation with Aunty, she raises an uncomfortable truth: we have badly polluted our rivers. Her words linger, piercing the festive cheer with environmental reflection. The remark is especially poignant in Delhi, where after Kanjak celebrations, crowds often gather at the banks of the Yamuna River to immerse leftover offerings—ironically contributing to the river’s pollution.
This moment subtly questions whether ritual without responsibility truly honours the divine.

A Spiritual Twist

As the ceremony concludes, the atmosphere turns contemplative. A soulful rendition of Kabir’s bhajan plays softly: मोको कहाँ ढूंढे रे बंदे, मैं तो तेरे पास में “ Where are you searching for me, O my friend? I am near you.” The lyrics underscore the film’s central revelation.
Without revealing specifics, the narrative delivers a powerful twist concerning Didi’s identity. The revelation shifts the story from domestic realism to spiritual allegory. It gently suggests that divinity is not confined to elaborate rituals or distant idols, but resides in human connection, compassion, and faith. The “girl without a name” becomes a metaphor for the sacred presence we often overlook.The climax is introspective rather than dramatic, inviting viewers to reflect rather than react. It lingers quietly in the mind long after the film ends.

Faith Beyond Formality

Joshi’s original story, known for its subtle social commentary, is faithfully adapted. The film touches upon themes of inclusivity, the role of women in preserving culture, and the need to transcend superficial barriers of caste, class, and religion. It questions whether rituals performed mechanically retain their spiritual essence, or whether true devotion lies in empathy and openness.
Rahul Yadav’s direction maintains a delicate balance between humor, tenderness, and philosophy. The pacing is tight, the performances natural, and the storytelling unpretentious. Malvika Joshi beautifully portrays Aunty’s journey from anxiety to wonder, while the child actors bring spontaneity and innocence to the screen.

A Gentle yet Powerful Reminder

Kanjak: The Girl Without a Name is far more than a festival-themed short film. It is a gentle reminder that true devotion lies not in rigid formalities, but in humanity itself. In an era where celebrations often become per formative, the film invites viewers to rediscover the essence of faith.
It challenges us to reconsider where we seek the divine. Perhaps the sacred is not distant or abstract, but present beside us—unnamed, unnoticed, yet profoundly real.
In its quiet, unassuming way, the film offers both cultural authenticity and spiritual depth. For anyone interested in Indian traditions, social reflection, and meaningful storytelling, this short film stands out as a must-watch narrative with heart and enduring resonance.

Email:--------------------vivekshukladelhi@gmail.com