This essay explores the affective and spatial relations shaping the cinematic world of the film Geeli Pucchi, directed by Neeraj Ghaywan for the Ajeeb Dastaans anthology on Netflix. I analyze the spatial arrangements and affective economies moving the characters Priya Sharma and Bharti Mondal toward and away from each other. I aim to speak about how rage plays a role in how Bharti negotiates her relationship with Priya, which involves how her righteous rage helps her (a) stand up for herself, (b) have a more progressive imagination and desire friendship/relationship rebelliously (c) recognize how she has to fight for herself versus fighting for Priya’s entitled, caste-enclosed demands of her. This essay is written in solidarity with all those raging Dalit queer folks and women, who generate their rage against the savarna capitalist machine. I will also note how Dalit rage becomes a part of a rebellious mode of and a liberatory vision of life itself which also constitutes of acts of looking out for oneself and one’s community, making one’s place in the world more livable, and pursuing joy in a difficult world, where raging does not always translate to, even as it includes, scenes of visible anger.