Vishnu works at the local tannery, and on the day the film opens, he requests a half day of work. He is expecting a guest at home who is special enough to not only let go of half a day’s wages, but also to irk his boss with a leave request soon after a recent one the previous week. 

As the story develops, it is revealed that a lot of Vishnu’s hopes to overcome his day-to-day problems hinge on this visit of the ever-evasive guest. In the process of portraying it, the film brings to the fore the cyclicality of hope in the face of despair, especially in the face of despair. Despite all odds and bleakness, Vishnu vehemently holds on to what he calls “blind faith”, while his immediate reality remains crippled with financial difficulties and responsibilities. In a world rife with exploitation, where a clay model is swiftly replaced by another, an idol attains overwhelming power, and the wait for a better tomorrow becomes the driving force. 



The narrative presents its comment on the many tribulations of existence by way of abstraction and the divine. The portrayal and approach to all of these ideas are skilled and notable, supported equally by the performances and screenplay.

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