The movie is about Namdev, a 65-year-old chauffeur, who leaves Mumbai in search of a silent valley because he can’t take the noise anymore. It takes him to Ladakh, which isn’t as silent as he expected it to be. There he meets a 12-year-old bubbly boy, who is on his personal quest for a Red Castle to meet his parents.

Why did you buy roses for yourself? Just like that. Why are you learning embroidery? Just like that. It should be simple enough to follow your heart’s small desires, especially if you are 72 and have recently lost your husband. And yet, the matriarch in Kislay’s Aise Hee (Just Like That) finds herself on the defensive, constantly having to explain her actions to her family and the world at large.

On a rainy night in Calcutta a group of desperate addicts chase brown sugar, but the permanent intoxication they seek proves elusive. Cat Sticks weaves their stories into a chiaroscuro, traverses with them through states high and low, spaces real and unreal. A relentless downpour plays backdrop to lives balanced on a precarious high. Some of them seek a release, while others do not seem to want the night to end

The movie chronicles the life of Khadeeja, a married muslim woman confined within the four walls of the household, forced to conceal her desires in the name of religious and societal norms. When fate brings her to an abandoned life, she chooses a different way of financially and sexually liberating herself- to be a sex worker; soon to realize that her soul is still dissatisfied. Finding a new way of hope, she decides to give back to the forces that pushed her to live an orphaned life of humiliation and misery.

Lihaaf is adapted from a widely anthologised story written in 1942 by Ismat Chughtai, a well know Muslim woman writer of the 20th century. When a young Ismat is left to stay at the Begum’s house, she realises, there lie many secrets with her. At night the great shadows formed by the quilt of Begum and her odd behaviour in the absence of Rabbo, bring to light their hidden relationship, traumatising young Ismat.

Set against the backdrop of a remote village in Odisha, the film gradually unravels the hopes, despair, attitudes and motivations of the characters, linking their behavior to the social totality of which they are a part. Sakuntala, a widow, is worried about her son Aru, who is in search of a job. She thinks of getting him married as soon he gets a job. Smita, who lives in the same village, has an affair with Aru, she too hopes as soon as Aru gets employed, his mother could send a marriage proposal to her parents. Aru gets an interview call, in Bhubaneswar. He goes to inform about it to Raghu Dada, a dear friend of his late father. Raghu lives alone, whiles away his time with his friends Naba & Sapani, attending the evening ‘Sankirtan’ sessions and plays the card game ‘patience’. Raghu waits for his son and his family, before they leave the country. At times, Raghu talks with his dead wife in his lonely moments. However things take a turn, Smita’s marriage is finalized with another person while Aru is away. Raghu, who had been ailing, suddenly passes away, on learning that his son would be late in coming to the village. Aru learning about Smita’s marriage, sends a moving voice mail, mentions that perhaps what happened had to happen, but then life won’t stop………….Life shall go on.

Ghode Ko Jalebi Khilane Le Ja Riya Hoon follows four main characters: a pickpocket, a vendor of sweet and savoury snacks, a labourer-activist, and a conductor of ‘Heritage Walks’. We see Old Delhi through their eyes – their lives, hopes, aspirations, dreams – and hear it through their various languages and dialects. Patru, the pickpocket, decides to take people on alternative walks, showing them the underbelly of the city they think they know, but this lands him in trouble with local merchants and the police. That’s when he finally decides to conduct one last ‘Dream Walk’.  It is here that we enter the subterranean consciousness of the city’s migrant population. Together, these walks create a visual and aural history of Old Delhi from different points of view. And when Lali, the labourer-activist, too joins the fray, giving a speech urging workers to unite, he lands them all in jail…

On a hot summer day in Delhi, the plans of two young girls to cook a special pork dish for their best friend’s wedding are foiled. Their neighbors are adamantly against it because the dish smells. As they try out various ways to cook, this bittersweet comedy wafts through the pungent smells of racism in the metropolis.

The Flaneur is part shaggy dog story, part gumshoe noir, narrated in mellifluous tones by two-bit detective Shem (Adil Hussain, Life of Pi) who comes, as is customary with such tales, with a troubled back story of his own. Diengdoh brings dry humour and cultural specificity to his debut feature, which is set in Shillong, the capital of the north-east Indian sate of Meghalaya - home to the indigenous Khasi people. The title refers, not to a character, but to the Khasi word "lorni", used to describe an inquisitive person.

In 1975, Manjhri, a young girl is married off to a small village in the middle of nowhere in the Rann of Kutch. There, she joins a group of women shackled by patriarchal mandates. One day, while on their way to fetch water, they find someone in the middle of the desert and their lives are changed forever.

A motley crew of university students set out on a journey in pursuit of a mythical form of hash, confronting a series of encounters that begin to unravel the myriad realities of rebellion.

In a conflict ridden Kashmir, a Muslim half-widow finds herself, her 11 year old daughter and ill mother-in-law in a crisis when she attempts to get her missing husband’s death certificate from the government. Now she will have to find the strength to come out from an unthinkable and absurd situation.

In the rugged beauty of the undulating terrain of Jharkhand we pick out two people who represent the poverty and deprivation of the people who live here – Nathuni and Lakhua – on their way to the nearest town, prompted by the urgent need for work. Nathuni has left behind a paralytic husband and two children at home. Lakhua is a loner, but perpetually on the fringes of survival. Simple narratives of a woman who has to work doubly hard to feed her family; and of a man who, orphaned early in life, has flitted from one job to another, without the roots to hold him down to home and hearth.

Set in a remote village in the hill ranges of Kerala, Jallikattu unfolds during the course of a day and night. The events are set off when a butcher’s buffalo breaks free and runs amok. The hunt gathers storm and the whole village gets into the act of hunting down the beast on the run. All the dark layers of collective unconscious – ferocity, greed, lust, distrust and vengeance lurching below the surface erupt into the open to culminate in horrendous crescendo of violence, where the boundaries

Aani Maani is set in the world of Bhutto,the kebab seller,fresh out of prison for a crime he didn’t commit. It is the story of his daily struggle for his family’s upkeep, and how a seemingly inconsequential change in the world of their homes,wreaks havoc in their life.

Nirmali, a married Paediatrician in her late 30s, leads a peaceful but joyless domestic existence in Guwahati, Assam. Her husband, a senior Doctor, spends most of his time doing relief work in surrounding areas, leaving her alone at home to take care of their son. One day, she meets Sumon, a young PhD student researching food habits in northeastern India, who warms up to her in a manner she seems unaccustomed to. Sumon believes that no food is taboo and Nirmali is drawn to the idea. The two quickly discover a shared taste in food as they explore their taste, their relationship takes a dark turn.