Sameer, a young city bred man travels to the tribal village, Gumma, with his uncle who is a tribal welfare officer. Gumma is a remote village situated between the border of two states. He decides to stay for a few days and learn about their traditions, falls in love with a tribal girl. Meanwhile he discovers the land dispute of the villagers between the two neighbouring states. Sameer tries to help the people save their land and culture. Will he succeed? What are his chances?

Blind painter Bijon Basu of early modernist school of paintings spent much of his life inspiring students by bringing stories to
life around him through his paintings and idealism. Now late in his life, he resides peacefully in the village of ‘Ekla’, where he is admired for his character and talents. Bijon’s life is interrupted by a proposal from Palash a gallery owner of Kolkata to create a series of murals for decoration of an exclusive restaurant in the city of Kolkata, a journey that brings young strong-minded yet frustrated contemporary painter Tithi into his life to assist him. Their relation-
ship unfolds through the lines of the mural, as they struggle with idea about Art of their generations and life philosophies. Bijon’s blindness never stopped him from creating beauty. And now he is asked to see the world around him more clearly than ever before. For whom does a painter create? For those who can pay? Chitrokar, presents the tension between the artistic endeavour and commer-cial reality through a painter’s eye.

Ravi, a mild mannered hardworking bachelor, with a lifelong tunnel vision problem is on the brink of blindness , unless
he can raise money for an immediate eye transplant. After exhausting all honest avenues for funding with no success,
financial opportunity and ethical dilemma presents itself when he discovers the dead body of his young female neigh-bor, and her wealthy boss who is desperate for Ravi’s silence at the gory crime scene. Arguing that his needs justify it, he decides to accept a modest bribe for his transplant but soon
becomes trapped in a cycle of medical, judicial and moral corruption eventually becoming one of the police’s key wit-
nesses and prime suspects in the girl’s murder.

“Harikatha Prasanga” narrates the story of a Yakshagana artist Hari
who has gained extreme popularity portraying female roles. Life of Hari unfolds through different perspectives captured in three epi-sodes across four audio-visual interviews conducted by filmmakers Sharmila and Sundar.

Rangasamy is one of many “sons of the soil”. Hailing from the long line of labourers who live on the border of Kerala and Tamil Nadu, he yearns to own a piece of land and make a living by farming it himself, instead of toiling in the spice plantations of others forever. After years of dedicated service to the local communist party, led by the passionate Chaako who advocates on behalf of the labour-
ers, Rangasamy is finally in a position to purchase his own land. However, buying land is only half the battle for the poor like him-prospering from it amidst the corrupt dealings of the wealthy, the party and globalization is the far greater struggle which Rangasamy learns the hard way.

A young village girl in northeast India wants to start her own rock band, only to be hit with the cruel reality of life that is metaphori-cally revealed through the forces of nature. There’s a serenity to the film, an unhurried quality—you’re watching life unfold and there’s no rush to get to a climax.

In the neighbourhood, chess is a popular pass time with roadside
games bringing together men from different strata. Their pawns include morality and religion, causing social and political tensions to
erupt when a tournament gets underway. But the men are only the most visible players. Against this simmering backdrop, a domestic worker with a secret hobby, a young woman in love and a former journalist struggling with married life must make their moves with care. When caste, class, religion and gender come into play, there are boundaries to be negotiated, and the very rules of the game stand challenged.

Anuradha puts sleepless people to sleep with the magic of her beautiful voice, except one man Tanmay, an old acquaintance who
hasn’t slept in twenty years. When all her attempts to put him to
sleep fail, she searches for answers, realizing that the only way left, perhaps, is to examine past. Neend is a poetical, a quiet and
meditative chamber piece designed around poetry, that unfolds in layers, beginning one night and ending in the next. The narrative is infused with glimpses of Anuradha’s solitary life, her reminis-
cences, her poetry, and conversations with Tanmay, leading up to a
quietly surprising and metaphorical ending. Genre-wise, it can be
seen as a ‘poetrical’, a variation on the musical genre. The film was
born out of a mutual love for poetry shared between the director and lead actress Ms Deepti Naval.

In crumbling back lanes of modern Kolkata, a married couple can only see each other in their dreams after they work opposite shifts. While being a wordless drama, it is strikingly reminiscent of detail-obsessed European films like Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. In the absence of dialogue and plot and and other familiar comforts, we’re forced to concentrate on the minutiae of life: a fish on a slab, ready to be cut open, eyes still blinking; water sizzling on the surface of a pan; grains being poured into a container; the sun slowly disappearing below the horizon. We’re made to notice textures, colours, hear sounds that we would normally ignore. At times, the bustle of life is replaced by musical selections—shehnai maestro Bismillah Khan’s rendering of raga Tilak Khamod, Geeta Dutt singing Tumi Je Amar—and then the image slows down, stretches out and unwinds like something
out of a Wong Kar-wai film.

It is the story of one day in the life of a failed Bollywood session
violinist whose life revolves around remarkable nothingness. Life, that day, throws a carrot at him and he ends up finding expression
in an unlikely place. The day unfolds to reveal startling truths about
music, art, life and survival. One day, one stranger, one request, one
life changing moment that makes everything pale into insignificance – this is what The Violin Player is all about.

The film is an anthology of three stories from Far East India, each exploring a different stage of human life .The first story is
about a child, involved in armed conflict. The next story is about a boy, a drug peddler, and his journey into the drug world. The third story is about a man, an elephant poacher, who ends up killing 15 elephants to fend for himself and his young wife. The movie was filmed over two years in various polictically sensitive areas of North-East.

Thithi is a dramatic comedy about how three generations of sons react to the death of the oldest in their clan, a man named Century Gowda: a locally renowned, highly cantankerous 101-year-
old man. Set in a remote village in South India, the three storylines intertwine before converging at Century Gowda’s ‘thithi’ — the final funeral celebration, 11 days after a death. Century Gowda’s
eldest son, Gadappa (literally translating to “Beard Man”), is himself
a little old man who spends his time nonchalantly wandering the village fields, puffing cheap cigarettes and swigging brandy.
Gadappa’s far more materialistic son, Thamanna, plots to illegally sell Century Gowda’s five-acre property, even though the land of-ficially belongs to his father. At the same time, Thamanna’s confi-
dent pubescent son, Abhi, shrugs his responsibilities to relentlessly pursue a shepherd girl.

The Waterfall traces the evolution of a young city boy, Karun, to appreciate the value of the environment as well as think critically about climate change and development. On a trip to his ancestral home in the interiors of the state of Orissa in India, he reflects on the nature of his relationship with a beautiful landscape and its relationship in turn with his city life.As the film unfolds the two young boys get deeply connected to the waterfall. Gradually they
come to know a disturbing news. The forests are going to disappear.
The city boy while exploring the landscape gets to know about ideas of development. The city boy comes back with a new percep-tion to the city. How a waterfall becomes the river and how the river flows through the water pipes in the houses in his city. He also learns that the mysterious hills and forests that they were explor-ing are about to be taken over by a company. The community of people living in the forests under the leadership of an old man has been standing up to safeguard the forests which has taken billions
of years to form.

A creative mind discerns human anguish even in the midnight cries of a keteki bird. Renowned author Priyendu Hazarika returns after a long absence to the town where once he was inspired to begin his journey as a writer. A book at times imitates the author’s life. Memories stir and he remembers people he loved and lost. He admits to lacking the courage to weave a painful, harsh truth into
his stories. At the end of the day however, he decides to face his own truth, alone, away from the appreciative audience.

Opalaa tried to win his love a lot but failed. She noticed that the most important person in the family was Ananta, the Guru to this family. He was young and handsome. But he was strange. And her
husband, Shyam served this person with devotion taking him as no other than Krishna. Opalaa, as a result, hated this man. When she came to know the secret of this relationship, she took poison to commit suicide, but Shyam took care of her and with affection and love treated her back to life.

Days after their wedding, Ramamurthy and Seetha gather the young and old of their village for a holy pilgrimage. They must
sacrifice a goat raised by Rama’s no-nonsense grandmother, to fulfil her vow made to the family deity. But when Rama takes the truck, carrying all their guests and fatally runs over a man, the people of Naduvapatti are torn on whether they should hide the body and
continue on their way to protect the newly-weds or face the con-sequences of reporting to the police; even though their are no eye witnesses apart from them, their goat and their God.

A sewage worker’s dead body is found inside a manhole in Mumbai. An ageing folk singer is arrested and accused of performing an inflammatory song, which may have incited the worker to commit suicide.The trial unfolds in a lower court, where the hopes and
dreams of the city’s ordinary people play out. Forging these fates are the lawyers and judge, who are observed in their personal lives beyond the theatre of the courtroom.

Ottaal (The Trap) is an adaptation of one of Anton Chekhov’s timeless works, Vanka. A story of the 18th century, but one that has travelled the time and space to be retold in the present day at a small village in the South of India.

Shiv, with a supportive family, a close group of friends and a normal life in all respects, sets out on a journey to discover what
he seeks in the outside world, not knowing when, if at all, he will return. He is searching for something but isn’t sure what exactly
he seeks. He finds that the outside world is distinctly different from the one that he inhabits. He ventures out, completely vulnerable, on a journey that takes him through diverse landscapes of life–
arid, vast, claustrophobic, open, abundant.Experiencing a whole new life is simultaneously frightening, exhilarating and intense. He faces insecurity, enjoys adventure and freedom and learns about different philosophies. He encounters various people along the way. Some resolved, some confused and some in-between but each seeking something. Although there is assurance in finding co-travelers on your path, no two stories are alike and in that lies the crux of each one’s journey. A trembling mind has set out on a journey into the unknown towards light...its own light.

The film plot synthesises two different stories set in a post-Op-eration Blue Star Punjab in the ‘80s. Fear and paranoia pervade the atmosphere as the general public is caught between ex-
cesses of both Khalistani militants and the Indian government forces fighting them. The first story is about a militant diktat in Punjab that prohibited family-owned dogs from barking, and
the other is about two Hindu friends travelling to Amritsar in a nearly empty train.The film merges the two plots into one by
making one of the friends travelling in the train recount the first story.

It is a film washed in the deep green waters of the sea off Kerala, about lives that are moored and can never be moored on a small isle in Kollam.There is a lovely, old house on that island: its rooms
festooned a bit too perfectly with curios. An earthen pot is on the
table, the sardines are cooked, the toddy jug is full. An old man is waiting for his wayward grandson Keshu. He hasn’t been here for over a decade. And now he is coming home, carrying memo-
ries and troubles. Keshu’s father wants to take him to NIMHANS for counselling; his grandfather will have none of it. The island
will cure him of his restlessness. The water that laps on the land
in an antique rhythm, the blood that ties them together: could there be a greater chord, a more beautiful leash? Munroe Island (or Mundrothuruth, as it is called in Malayalam) is about about
troubled men in a perfect home with an attractive, largely silent maid Kathu.

The film is about an old tribal man from a forgotten tribe of India.
He belongs to the North Eastern tribe of India called the `Wancho
tribe,’ dreaded for their practice of head hunting. When the govern-ment decides to develop the Old man’s forest, he resists. A young official, who belongs to the same tribe as the Old man and also speaks his language, befriends him and tricks him to spend a few days in the city. When the old man finally comes back, everything has changed forever.

What happens to communities that suffer the pain of conniv-ing against themselves; when they fight an everyday battle for existence, when they survive with self-perpetuated inaction and
complacency, when their dignity sold cheap. Shuka Asuchi revolves around what is generally referred to as the ‘re-establishment of community self’; reclaiming of self- dignity by way of questioning the insatiate power and hegemony of the powerful; rejecting self-
perpetuating exploitation and denial of their consent to be manu-factured. The film hopes to engage the audience to the deceptive
divide ensuing from conflict of the rich and poor when the invisible
and inexplicable conflict in reality is between the poor and the poor.

The film does not deal with witchcraft as a practice. It depicts the
humanitarian crisis surrounding the cases of witch hunting taking
us closer to the people, who have been accused, ostracized, tortured and the circumstances that have led to it. The film primarily engag-es in three cases from some parts of Odisha, India, which finds res-onance in other parts of the country as well. A teenage girl kills an old woman, one of her relatives thinking that she is a witch and the cause of her father’s death. A village turns into a mob over night to kill three people, a man and two women who were identified as witches by a witch doctor. A family believed to bring ill fate, ex communicated and threatened after they cook meat. Talking about the nuances of the incidents, the film tries to explore the politics of witch hunting - how superstitions, greed, ignorance, fear, insecuri-
ty, power in combination can result in immense suffering.

A young Tamil woman, grappling with unknown tensions in her four year long marriage, develops a complex relationship with her new neighbor, a middle-aged man, who has a mysterious past of his own. This relationship soon begins to unravel many secrets, which change their lives forever. Set in the fascinating city of Kolkata, the film tries to explore themes such as guilt, redemption and female sexuality in the context of an Indian marriage.

A special battalion of police is deployed by the government to do away with Maoist menace (A banned Left organization) in a tribal village near forest. The police forcibly occupy a tribal primary
school for their camp. One day, the police are on lookout for some people in the forest near the school at night. A policeman follows
a person deep into the forest and nabs the person. The person arrested happens to be a woman. He tries to come out of the forest with the arrested person, but he loses his way in the wild.
The woman knows the path to get out of the forest but she is not
willing to show him the way. Thus, both the hunter and the hunted are stranded in the thick forest. Power, Crime, Man, Woman, the Hunter, the Hunted... all such equations change utterly and are no more what they used to be.

Tomba, a depressed fisherman gets a gun accidentally. He marvels
with the gun as his power of self-protection. He transforms him- self to an assertive man who began to believe that the gun would solve all his problems.”Lady of the Lake” fits snugly into the middle ground between fiction that resembles documentary and documen-tary that borrows narrative components from fiction.It opens with
a montage of burning huts. The troubles on the seemingly placid waters are viewed through a married couple . The wife frets about their daughter’s fate and complains about her husband’s endless
brooding. She dismisses his claims that he has been seeing an old woman on the lake as a hallucination, and is alarmed when he produces a gun that he finds in the reeds.

Four lives intersect along the Ganges: a low caste boy hopelessly in love, a daughter ridden with guilt of a sexual encounter ending in a tragedy, a hapless father with fading morality, and a spirited child
yearning for a family, all longing to escape the moral constructs of a small-town. It is a story of the celebration of life, death and everything in between. The spirit of the film, the melancholy and the grief in the heart of it can be summarized by one of the dialogues;”Yeh dukh kaahe khatam nahi hota?”Why does this sadness never
end?’’

Shalini is the daughter of Ayya Swami, manual scavenger, and Pappathi who is a housemaid. She tries to hide her caste background to avoid social exclusion among her friends in the school. She tries to pressure her father to give up the work he is doing, but fails as
his vocational options are circumscribed by his caste identity. Her father’s death in an accident while he was working in the manhole reveals her identity to her friends. She finds it hard to face social
antipathy towards her because of her family’s social and caste back-
ground. After the death of her father, the burden of running the

family falls on her mother. Shalini also starts to work in the local super market as a shop floor assistant. She manages to pass the en-
trance exam to do a graduate course in Law. Her friend Marimuth,

also engaged in manual scavenging to support his studies, faces
the same fate as her father while doing his final year. It shakes her
faith in the course she has followed in life and she decides to fight
against the no exit situation in which those engaged in scavenging
are caught in.

Janaki, a divorcee trying to find meaning in life in a sea turtle conversation project run in a coastal village, accidentally meets an anonymous young man Manav who has escaped from a hospital he was admitted for attempted suicide. Janaki tries to create a non-judgemental, non-intrusive, warm atmosphere to help him
boom. Janaki herself, her driver-assistant Yadu, conservatist Datta-
bhau, servant Bablya and street kid Parshu-become the vulnerable young Manav’s support system. This film is not just about depres-sion, loneliness or the subconscious endangering feeling that the world doesn’t need you but also, about survival. It compares the
mental shell of a patient of depression with that of a turtle; With-drawal from the world at the slightest sign of an impending threat is the common behavioral pattern of both. Overlapping the stories
of two people who have dealt with mental health issues alongwith
a turtle saving program, Kaasav will make you feel like you matter.

According to a myth in Bodo community, exploited man after
death transforms into a horned owl (Hudu) and comes back to his/
her home and keeps calling from a tree. The film takes this myth
and uses it as a metaphor to intensify the thematic development. The film explores the social and political upheavals of the indige-nous Bodo community post the Second World War. Close to 40,000 people have lost their lives to communal violence and insurgency over the past 35 years in the northeast regions of India, many of the victims entirely innocent bystanders. Raimali, a young rape victim, knows this firsthand. As she lies in an abandoned house, she recalls how separatist violence has marked her life, that of her lover and
their families, contrasting its disruption with indigenous folklore
and the immutability of the Assamese landscape.

Capital I is an existential psychodrama revolving around a mysteri-ous and unknown artist and depicting the transformation of mind
of a young girl whereby she finds herself trapped in between realis-tic relationship and attractions and a strange relationship with her hallucinatory lesbian partner.

Gaalibeeja, which literally translated into English means ‘Wind Seed’. Gaalibeeja is a visually arresting meditation on cinema and modernity. The road is the central protagonist of the film con-necting the various characters. The film opens with Prakash, a civil engineer, leaving for a road widening project in an unnamed village. His encounters along the way–a peddler of pirated DVDs who hands him a set of road movies, a farmer at a highway bus stop, and a poster sticker on his bicycle–form the backbone of this idiosyncratic film. While the paths of these diverse characters intersect and interrupt one another, it becomes clear that they
each live in a vastly different time and space–one that is shaped by class and access to progress. While paying homage to the likes of
Wim Wenders, Jim Jarmusch, and Abbas Kiarostami, Prasad blends
social critique with exquisite cinematic form in his take on the “road movie.” The film presents a fragmented narrative through images and soundscapes. The road carries us, connects us, it equally disrupts lives. The film explores this ambivalence and the different temporalities people inhabit.