Motu Patlu: Deep Sea Adventure

Tara, Dev Prakash Tandon, Aditya Verma, Ritu Malhotra, and Raghu, run their own band, and practice at Aditya's dad's studio. When an actress, Piya Anand, hears their number, she wants to join them, but Ritu rejects her, as she feels that Aditya may be falling for her. The group subsequently relent, let her join, and the inevitable happens when Aditya starts going out with Piya, with Raghu showing an interest in Ritu. They enter their band into a contest, compete, and qualify for the finals. Then they get devastating news when Ranjit Bose takes over the studio and threatens to demolish it. Things gets even worse when Piya finds out that Ranjit is her estranged dad, and will never permit her to take part either on the tinsel screen nor in a band.

A young Prince Asoka works to perfect his skills in battle and also deals with family conflict. During a struggle with one of his step-brothers, his mother urges Asoka to escape to stay alive. While away, Asoka meets Kaurwaki and falls in love, but must use his skills as a warrior to protect her. A dangerous and heartbreaking web of conspiracy follows, which leads Asoka to embrace a Buddhist path.

After the passing away of his son and Caucasian daughter-in-law, London-based widower Purshotam Agarwal brings up his granddaughter, Namrata, on his own. When she matures, he pressurizes her to get married to Tikamgarh-based Ranveer's son. She travels to India, and much to his chagrin refuses to get married to the boy of his choice, and instead brings back a wealthy male named Romi, who she claims is her fiancé. Little does Purshotam know that Romi is not who he claims to be, and that Namrata has no intention of marrying him either.

This story is about a small village boy Madho, simple yet a big dreamer. He and his father are pig farmers, which holds the least respect in their village. In this era of fast-growing technological advancements in India, he also wants to look great and achieve a high level of success. But "how" is the question he tries his best to answer.

Chintu Tyagi is an ordinary, middle-class man who finds himself torn between his wife and another woman.

A newly-wed man discovers that his wife is in love with another man and decides to unite them. Ignoring the ridicule he might have to face for this, he takes his wife to Italy in search of her love.

This silent film opens with shots of a hand distributing charity from a silver plate to a waiting crowd and tells of the good king of Magadh's fight with his evil ministers. The king is poisoned by his brother, the evil Kalsen and the infant prince Chandrapratab, smuggled out by the loyal sardar Satyapal, grows up in a forest to become the acrobat Hamir (Hamir) in love with his partner, the beautiful Saranga (Pawar, credited as 'Ambu'). Saranga is kidnapped by Kalsen's son Ramanaraj , described as 'the perfect libertine', but Kalsen takes her away from his son and attempts to seduce Saranga with promises of wealth. The fearless Hamir fights dozens of soldiers, in amateurishly staged fights, trying to liberate her. In the end Saranga, rejected by her lover for having been tempted by Kalsen's promises of wealth, dons a mask and turns into a Zorr-type avenger. Hamir is eventually recognized by the royal tattoo on his shoulder and restored to the throne as well as reunited with Saranga.

Three womanisers find a baby left at their doorstep. Chaos ensues as they try to contact their former girlfriends to determine who is the father amongst them.

A middle-class corporate couple doesn't worry about money and living expenses until the recession drains their finances.

A man pursues a woman who is already engaged and eventually gets married to her. Differences between the two lead to a bitter separation that threatens to destroy their relationship forever.

The encounters of two people who run into each other on several occasions under circumstances ranging from friendly to hostile to loving. Along many years and countless run-ins, the two despise each other, befriend each other, and fall in love with each other—in no particular order.