Doordarshan

Young Krishna is abandoned at the Apollo Circus by his mother, who informs him that he can only return home when he can afford ₹500 for his brother's bicycle that he destroyed. The circus leaves Krishna behind and he travels to Bombay, where he delivers tee and befriends a heroin addict and a young prostitute. Krishna dreams of saving ₹500 to return home, but Bombay street life isn't easy.

Mammo is an account of a certain period in the life of Riyaz, a teenager who lives with his grandmother Fayyazi as they get a visit from his grandma’s sister Mehmooda Begum Anwar Ali, commonly known as ‘Mammo’.

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.

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.

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

The film set in the 1940s, in a fictitious village in the Shekhavati region in Rajasthan, where no girl child survives beyond the age of seven. It deals with larger issues of communalism and caste system through four inter-related stories.

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

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.

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 depicts a famous Malayalam writer's emotional relationship with an intellectual who leads the life of a simple farmer in a remote village. The story unfolds through the writer's bus journey to visit him.

Chokkalingam, an old man, moves out of town after his wife's death and goes to live with Vasu, his nephew in Chennai. However, Vasu struggles to bear the cost of an additional member in his family.

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

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.

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.

Set in the Bengali Renaissance of the 1930s and 1940s. A group of young intellectuals get embroiled in the struggle for Indian independence, sometimes at the expense of their personal lives.

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 detective Kakababu investigates a case where a very old bible of great value gets stolen by a criminal.

Feluda finds a fake medicine racket is operating from Nepal. He goes to Nepal with Jatayu and Tapesh to catch a murderer, and discovers the case to be far more complicating than it seems. While investigating, Jatayu gets drugged and Feluda meets his arch-enemy Maganlal Meghraj in Kathmandu.

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.