The best thing about Veere di Wedding is how tenderly it regards human desire. Though full of different desires, the central characters are tentative about expressing some of them, uncertain of acceptance. Some of this is because of their personal histories. Some, because they are women. This combination of reasons is what makes Veere di Wedding, despite its flaws, fundamentally humane and effortlessly feminist.

Here is a film that says something quite rare — making a mistake is not a big deal. It is, in fact, life itself and how each of us learns how we want to craft our journeys. That’s how the film begins, but also, scrupulously ends: with a voice-over that assures us, that despite this current closure, the characters will make more mistakes, have fresh learnings (sure, this may be a clever sequel alert, but it also happens to be an important declaration).