Narrative stories about divine entities or myths in Hindu traditions, especially stories from the Purāṇas and epics, have been very influential in shaping notions of gender in Hindu world. People may or may not know the narratives from the Vedic literature, but they know stories from the Rāmāyaṇa and the Mahābhārata very well. Children are introduced to the epics through storytelling and annual calendrical festivals right from their childhood. The performative traditions of retelling epic stories such as rāmalīla have been popular for hundreds of years in temples dedicated to Rama, Sita, and Hanuman in India. The narratives from the Hindu epics have become even more accessible and popular through television serials and Bollywood films. The rituals in the temples, folk performances, and visual media expressions of the narratives from Hindu epics have channeled Hindu ways of thinking and being in many ways. The lived practices and popular culture based on Hindu epics have served as models of leading an ethical and successful personal and social life for Hindus. For example, Sati is venerated for her ascetic practices aimed at securing the perfect husband in the form of Shiva. Savitri, another exemplary woman in Hindu myths, is celebrated as the quintessential Hindu woman for resurrecting her deceased husband through her ascetic powers. Sita is revered as the epitome of Hindu womanhood for her unwavering commitment and profound devotion to her husband, even amidst the challenges of exile in the forest. Many women remember and embody these characters through everyday life ritual practices such as vaṭasāvitrī to this date. While it is interesting to learn about people’s engagement with narratives as they find inspiration for living ideal lives, it will also be instructive to learn about how people engage with religious stories when they don’t find themselves in ideal situations. Neera, the protagonist of the film Kunku, is a case in point. Neera’s mind is steeped in the Hindu models of ideal womanhood until she finds herself married to a man thrice her age. After realizing that she is not in an ideal situation, how does she engage with the religious narratives that were the backbone of her idea of womanhood?