Realizing that these acts were only one piece of the larger puzzle of gender inequality in Indonesia, Lemelson shifted his focus to domestic violence and particularly how it coincided with polygamous kinship forms.

"[3] The film is presented in thematic chapters, with each new section introduced by a traditional Wayang Kulit shadow-puppet performance about the issues surrounding polygamous unions.

[6] In earlier cuts of "Bitter Honey", the film had focused on the husbands in these polygamous arrangements, but Lemelson quickly realized that the more compelling story arose from examining how these marriages are experienced by the co-wives.

Sadra's main narrative thread concerns generational cycles of violence and his abusive relationship with his first wife and mother, and its effect on his children.

[8] Darma frequently seeks sexual relationships outside of his marital bonds, including with sex workers—putting himself and his wives at risk of STD infection.