Set in the backdrop of a Punjabi village, Shararat has a number of stories running parallel to each other. Meher Hassan is a foreign returned granddaughter of a stubborn Naghma. The dadi at the one hand, has an axe to grind with her family for not allowing her to marry someone of her own choice and on the other hand is upset with her son and daughter for marrying of their own choices (Now that’s who we call a hypocrite). Her daughter is now dead, leaving behind a son who is sent to an orphanage. Naghma’s son opts to settle abroad with wife and daughter (Meher) after his mother refuses to accept his wife. He then sends Meher to visit her grandmother. Not letting go of her stubborn streak, Dadi accepts the granddaughter, making a silent pledge to never let the girl leave. Finding her an incentive in the form of a good looking guy is the only way to stop her from going back. The innocent foreign returned Meher however outsmarts her Dadi and falls for an immaculate Moammar Rana who happens to be the nephew of the gardener of her house.
There is another story running in the village Moammar hails from. A friend (Shaan), who is haunted by violent memories of a disturbing past, an innocent village belle Nirma who nurtures one-sided feelings for Moammar Rana, a saintly Beyjee who preaches the lesson f love and tolerance forms the core of the story back in the village. The film moves forward with all the respective love stories going through the usual trials and tribulations before they blossom.
