Doordarshan

An impressionistic sketch of ‘the public’ as created by our cinema and its relationship with cinema itself.

Nallamuthu and Vadivu face several hardships due to the rising poverty and are forced to send their three children to work as child laborers.

Located in a seaside village in Maharashtra during the 60s, the film unfolds over two decades. It is a tragic tale of how the best of friendships can rupture over a trivial quarrel. Once a rupture takes place, there are always people who know how to turn a quarrel to their own advantage, even if the main adversaries are completely destroyed in the process.

"Andha Yug"—literally 'Age of Blindness'—is an allegorical play written in the aftermath of the Partition of India by Shri Dharamvir Bharti. Rooted in the epic Mahabharata, this landmark 1989 Delhi performance was staged for the Nehru Shatabdi Samaroh Festival and has since been preserved by the Natya Shodh Sansthan, Kolkata (NSS). Set on the final day of the Kurukshetra war, the narrative chronicles the end of the Dvapara Yuga and the immediate descent into the dark Kali Yuga, triggered by Lord Krishna's demise. This five-act masterpiece explores the moral collapse, cycles of revenge, and psychological trauma of war. It depicts the pyrrhic reality of the Kali Yuga—the worst, shortest, and darkest of the four cosmic ages—in which recursive violence degrades the fabric of civilization, blinding individuals to reason as they are forced to reckon with the devastation's fallout.

"Golokdham Rahasya" is a mystery drama film about a Bengali biochemist named Nihar Ranjan Dutta and his involvement in a series of events, including a burglary and a murder.

The memoir of a woman married to an orthodox Brahmin philosopher who converts to Christianity, her story explores issues of religious barriers, disillusionment,and romantic devotion.

When a poor and out-caste village tanner goes to village priest to get the date of his daughter's marriage fixed, the priest in turn asks for labor without pay in exchange.

The Film investigates the state of news in India. Journalism is up for sale and selling of editorial space has become both blatant and institutionalised.

When a revengeful Krishna destroys his brother's motorbike, his mother asks him to return home only when he earns INR 500 to repair it. In a turn of events, he finds himself in a Bombay slum.

Kondiba, an old man in a village in Maharashtra, learns to read and write with the help of his grandson in this light-hearted story of hope and triumph. Released as part of India's National Literacy Mission

Panicker's one-act play deals with the relation of identification between an actor and his or her role. The action takes place on the eve of the last act of the Kathakali piece Keechakavadham (The Killing of Keechaka). The events surrounding the performance uncannily echo events in the play. One character even claims to have killed the lead actor of the play because he detested the character the man portrayed. However, the three different accounts that are presented of the same plot are never resolved or reconciled with each other. Each version is accompanied by a different style of folk music: the tune and rhythm of southern Kerala’s thampuran pattu, the pulluvan pattu and the ayappan pattu. The performers were drawn from the theatre and from Kathakali. In southern India, with its plethora of politicians using their film images to acquire inordinate wealth and power, Aravindan’s TV film bears on an eminently sensitive political as well as aesthetic issue.

A poor lady get ditched by a rich woman, who literally snatches away her son from her by giving the false hopes and promises to her. The destiny turns back, and two brothers separated by misfortune get united.

The debate on death penalty is loud and impassioned. Instead of echoing that cacophony, The Death of Us, quietly reflects on a range of cases in which the death penalty was pronounced. Sometimes, ending in the execution of the convicted; sometimes in commutation to a life sentence; and sometimes to acquittal and release. Speaking to some who have been on death row, and others closely involved with the cases, we engage in complex conversations on crime and punishment, revenge and justice, popular rhetoric and personal experiences. Only to find ourselves confronted by larger ethical and moral questions across time and space.

Mumbai, 1992. Naseem, a 15 year-old schoolgirl, lives with her grandfather and grows up with stories of pre-independence communal harmony. Later, she helplessly watches the communal situation regression with the demolition of Babri Masjid.

As a call from the periphery of sanity, the film is a series of dream narratives, and accounts of spiritual possession as experienced by women 'petitioners' at the shrine of a Sufi Saint in North India.

Beena, a villager married to a man in the city, is shocked to find that her husband has left the house. She begins to provide for the family, but faces issues when she falls in love with a co-worker.

The film follows a scrappy taxi driver's fortunes as he tries to break out from the clutches of poverty, devising plans and investing all his money in a dubious schemes which eventually blow out on him, coming under the eye of unscrupulous politician and local goons, yet he still perseveres for his dreams.

A tragic event in the life of a film director searching on two continents for the traces of Jawaharlal Nehru.

A portrait of a retired and two working professional photographers in India.

A film about home and belonging, tracing the filmmaker's personal journey to understand what it means to be a Muslim in India today.