Matsya attempts to tell a story of love, loss, the inevitable regret and eventually coming to terms with and accepting the reality of life –it’s better to have loved and lost, than not having loved in the first place. The story is symbolized by adopting inspirations from the Indian mythological tales, especially of the titular fish god, Matsya, and weaving into it, an amalgamation of Indian astrological signs and tribal culture of rural central India that speaks Nimadi – the film’s spoken language.
In a sparse but scenic land, with its geography and period unfounded and untouched, Meena, (inspired by Pisces), characterized by his surreal abode that mirrors his volatile, emotional and magical inner life, Bhumi (inspired by Taurus), a more pragmatic presence that will bring stability and peace of mind in his life.
Meena is left alone and devastated. In a furious bid to change the past to fix his present, against the advice of a mysterious man, Meena sets out on a dreamscape, as a result, the entire story of Meena and Bhumi unfolds in reverse, where cause follows consequence, and conflicts follow resolutions.

Yamini, a mother of 10 year old, who has been facing extreme domestic violence in her marriage, receives a letter from her mother. Frightened from this whole situation, Sanvi her daughter has now started understanding her mother's mental trauma. The letter brings an old memory of Yamini in which she finds a few minutes of happiness.

An exploration of memory, utilizing a hybrid of digital video and 35mm black-and-white film photographs, through the contrast in the old and new spaces and faces of Pune city. While relating to, and visualizing the people’s memories of the space, time, art, sound and objects around them in relation to the changing city.

A mother navigates her daughter through the abandoned crevices of her childhood home. Memories from her past eventually direct her to an incident from a riot-stricken Delhi of 1984; a critical time in the history of the Sikhs and her family, as sentiments ablaze and perspectives that were left unheard of are brought to light.

Anekantvad, as the word so means, is a film that tries to ascertain that truth is multifold and can be seen from multiple facets.

Set against the suppressed grief of our times, ‘No Place Like Home’ is a film about memory and belonging, composed of snapshots of my inner landscape as I reacquainted myself with the city and reconstructed my ideas of love and family in a time of crisis. The film is an audio-visual diary of my time during the Pandemic as I came to terms with my mother’s illness. When the lockdown was announced, I moved back home to Mumbai. As life slowly resumed and people attempted to return to their former selves, the city seemed estranged from its residents. I saw my struggle reflected in the world around me- to pick up the pieces in the wake of devastation brought on by an inexplicable illness. This film is an attempt to heal from this experience through remembrance rather than dissociation.

A Migrant worker comes to a mega city with hope but soon gets disappointed. He starts to feel like he has been caught in a vertex specially when surrounded by the unattainable. His wife, a first time visitor to the city tries something to keep his hope alive.

Our fifteen minute fiction is about Nimisha a 27 year old who works in Kuwait as a nurse. Her family includes father, mother and a younger sister, a middle class family. Nimisha comes home for a 45 days of vacation where she plans to marry her boy friend secretly and take him to Kuwait using husband visa which her company provides. Nimisha father came to know about the relationship and says he doesn’t like him also asks her to rethink about it. Unexpectedly next day Nimisha’s father dies and that puts Nimisha in a very crucial point where she is stuck between choosing her partner or father. Then she starts searching for the truth and she couldn’t find the exact reason why her father has rejected his proposal. During her journey she starts doubting her partner for things.Nimisha ends up at register office and still gets confused and we end our movie there with her living with what her father told which is untold. The movie talks about how people live with the things which someone’s death left by. It’s a family drama where we speaks about the depth of relationships and the grief we live with after a persons death

One night in a police station in Maharashtra, an old woman has come to complain about the tiger that has eaten her son. We spend one night with her as she travels through the many layers of police bureaucracy trying to get justice for her son.

A single man, now widowed, consumed by the daily affairs of his life, is trying to find some peace. The CAA-NRC riots have taken a toll on his entire life. From being a family of three, he is now the sole member left. The result has jilted him far beyond the fence from where coming back seems impossible. Belonging to a minority community, the trauma that he festers alongside tends to take him back to memories which now only haunts him. He is listless and trying to sell his house because it is situated in the riot-hit area and dominated by a different community. He works at a factory and tries to manage the sale of his house but as per the government diktat, the struggles don't seem to end for him. It’s a story about the world around him which looks fine and solid but underneath it’s empty, screeching and wailing.

The film explores the aftermath of communal riots and the struggle of an individual to
somehow survive when the world around him moves unaffected.

Jananam is the story of a caterpillar who colours the life of seven year old Aadish and his grandmother visiting to nurse his pregnant mother. After a while, the caterpillar's life cycle reflects the lives of the characters.

After seven years, ABHISHEK, a reclusive young man raised in the city, decides to do his father's bone immersion. In his father's heart had remained a last, strange wish to find salvation in the river of his village. From Bhubaneswar, he travels to the village where there is an old inn called AMMA LODGE. While staying there, he meets three locals named Asraf, Raju and Balaram. He also meets a close friend of his father who tells him some of his father's untold stories.

A 10-minute long take film, made under SRFTI coursework. The film revolves around a Dalit servant at the demise of his employer, who prophecies that the world on the other side of life is casteless and egalitarian. Performing the folk ritual, he feels the sense of atonement for the absence during his own mother's death.

One night when they find themselves falsely accused of robbery, band members of Sadabahar, a wedding brass quartet from UP working in Goa, have to decide between pursuing a livelihood as ‘outsiders’ in Goa and returning to the lives they left behind in their villages.

An illegal Bangladeshi immigrant, a young hawker who sells earrings in local trains, and an elderly Marathi woman get trapped in the debris created when a foot overbridge collapses on a railway track.
The Marathi woman remains unconscious whilst the Bangladeshi woman and the boy wake up to see their predicament. Rescue operations begin overhead, and the two reveal to each other their fear and dread of being rescued and resurfacing to the city. Whilst they are being rescued, the three characters spend both, just a few hours and many years in the enclosure. The stagnant enclosure which forms their home and the conversations they have reflect upon the kind of life they otherwise live in the city above, which continues thriving without them.

How do you understand female intimacies? How often do you imagine the something or someone intimate to you by separating it from your personal baggages of memory? Sana Salim’s ‘Shaer’ asks us to rethink the way in which we form our perceptions about these intimacies and guides us to the complex entanglements behind the formation of such intimacies. This three minute short compels us to erase the flawed binaries of private/public and personal/political and calls for the politicisation of what we consider as private, intimate and therefore non-political.

After his daughter, Urmi, is diagnosed with a heart complication in her school's annual health camp, Horipodo struggles to mend his ways with his wife who has already given up on him.

A relatively peaceful small town, Kaavimukku, is in a state of panic when mysterious crimes start to happen. Nobody knows who is behind it. One strange night, Nandagopal’s dead grandmother appears as a detective to solve the crimes.

A young factory worker works in an extremely noisy environment. The place where he lives is no different as it is by the railway tracks. Every day after a tiresome work his sleep gets hampered. Soon he realizes machines have started overpowering him. One day, he decides to run away, breaking out of the trap of machines, mundanity & noise.