Dhairyam

Sasi and Sailaja are good friends during their post-graduation time. Sailaja loves him, but Sasi’s ideology about love irritates Sailaja and both of them separate their ways. Sasi settles as a professor in Harvard University. He comes to Hyderabad to look out for a suitable girl. He then realizes that Sailaja works as a principal in a women’s college and she is unmarried too. The rest of the story is all about how Sasi makes Sailaja fall in love with him again.

Jan, a young boy, grows up without a mother and is often insulted by his father. He struggles with his life as he longs to be with several women, even Madame Boonleung, his father's lover.

A terrorist group invades a laboratory containing a deadly bacteria and destroys the lab with an explosion. They later announce via the internet they have gained possession of the bacteria and declare themselves to be the Red Siamese Cats, a terrorist group that was eradicated a decade ago.

Six vignettes pit an assortment of characters against each other in everyday situations.

The story revolves around a man trying to uncover the mysterious death of his girlfriend and save an innocent man from the death chamber in the process, by using his unique power to time travel. However in attempting to do this, he also frees a spiteful serial-killer.

A new member from the Black Organization that shrunk Shinichi's body manages to find out about Shinichi's transformation into Conan. This discovery starts to put those around him in danger as Gin and the other Black Organization members start to take action.

The explosion of a new Tokyo Subway line leads Conan and his friends in a snow-clad village. Here, after eight years, the little detective sheds light on the dynamics behind the shocking event that caused the death of a woman and the coma of a 15-year-old boy. Under the beautiful snow, Conan gets involved in something bigger than him.

The Red Mountain Tribe hangs out in my backyard. "Lipton's lovely home movie PEOPLE, in its affection for valuable inconsequential gestures, indicates in the course of its three minutes why there has to be a continuing alternative to the commercial cinema." – Roger Greenspun, The New York Times