কোমল গান্ধার

The true story of legendary Hindu warrior king "Prithviraj Chauhan" including his early military successes, love story with Sanyogita & clashes with Muhammad of Ghor, a ruler of the Ghurid dynasty who led the foundation of Muslim rule in the Indian subcontinent.

Tara and Maya are two inseparable friends in India. Their tastes, habits, and hobbies are the same. Years later, the two have matured, but have maintained their friendship. Tara gets married to the local prince, Raj Singh, who soon succeeds the throne as the sole heir. After the marriage, Raj gets bored of Tara and starts seeking another female to satisfy his sexual needs. He notices Maya and is instantly attracted to her. He has her included as one of his courtesans, and is intimate with her. Watch what happens when Tara finds out and the extent she will go to keep her marriage intact.

A donkey strays into a village dominated by the upper caste Brahmins.

Taking an experimental approach to the relationship between the written text and moving image, Mani Kaul has a series of texts read aloud in voice-overs (poetry, essays, and stories), while the characters within the texts walk through real or imaginary landscapes.

Aparajito picks up where the first film leaves off, with Apu and his family having moved away from the country to live in the bustling holy city of Varanasi (then known as Benares). As Apu progresses from wide-eyed child to intellectually curious teenager, eventually studying in Kolkata, we witness his academic and moral education, as well as the growing complexity of his relationship with his mother. This tenderly expressive, often heart-wrenching film, which won three top prizes at the Venice Film Festival, including the Golden Lion, not only extends but also spiritually deepens the tale of Apu. Preserved by the Academy Film Archive in 1996.

Mumbai, India, November 26, 2008. While several terrorists spread hatred and death through the city, others attack the Taj Mahal Palace Hotel. Both hotel staff and guests risk their lives, making unthinkable sacrifices to protect themselves and keep everyone safe while help arrives.

Chanel, Dorinda, and Aqua are off to India to star in a Bollywood movie. But when they discover that they will have to compete against each other to get the role in the movie, will the Cheetahs break up again?

Rocket Singh: Salesman of the Year is the sometimes thoughtless, sometimes thoughtful story of a fresh graduate trying to find a balance between the maddening demands of the 'professional' way, and the way of his heart - and stumbling upon a crazy way which turned his world upside down, and his career right side up. Welcome to the world of sales boss!

Chronicles from Kashmir seeks to create a sense of “balance”: between differently positioned voices that emerge when speaking about Kashmir; between differently placed narratives on the “victim”/“perpetrator” spectrum. While there is an inevitable streak of political commentary that runs throughout the work – a political current that cannot be escaped when talking about Kashmir – Chronicles from Kashmir does not espouse any one political ideology. We see ourselves as being artists and educators, using aesthetics and pedagogy to engage audiences with diverse perspectives from/about the Valley.

Lakshmi is a thirteen-year-old girl who lives with her family in a small hut on a mountain in Nepal. When the Himalayan monsoons wash away all that remains of the family's crops, Lakshmi's father says she must leave home and take a job to support her family. He introduces her to a glamorous stranger who tells her she will find her a job as a maid in the city. Glad to be able to help, Lakshmi journeys to India and arrives at "Happiness House" full of hope. But she soon learns the unthinkable truth: she has been sold into prostitution...

In his debut feature film, Kumar Shahani employs highly innovative forms for depicting the conflict between oppressive feudal norms and a changing industrial landscape while making female sexuality and its complex mindscape the focus. The protagonist, Taran, the younger daughter of a Rajasthani zamindar revolts against the social code set by the class system by a sexual encounter with an engineer. This film was one of the earlier and successful examples experimentation in colour during the advent of New Indian cinema.