The author’s idea, who also wrote the screenplay was to draw a parallel between the crisis of a young Anglo‑Indian singer who becomes pregnant by a musician friend in London, and Mother Teresa’s loss of faith in Calcutta, as revealed in her correspondence after her death.
The screenplay alternates between present‑day scenes, in which the young Kavita returns to India to escape her family, and scenes from the past that recount the vocation of the famous Albanian nun at the bedsides of the dying. From there, the two stories must be brought together to achieve a form of transmission, a spiritual liberation. But because it is directed with a certain verve and so well acted by the two leads, it is a real crowd‑pleaser. And if for a moment one feared it might be a religious film (a genre on the rise in the United States, without overstepping its bounds) with an anti‑abortion message, the film fortunately proves subtler. It is about stifling traditions and the pursuit of freedom, about deep doubts and self‑sacrifice, intertwined in a way that can speak to everyone.