Lal Salaam

After their airplane crashes behind enemy lines, four soldiers must survive and try to find a way back to their battalion. However, when they come across a local peasant girl the horrors of war quickly become apparent.

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.

Agent Jack Ryan becomes acting Deputy Director of Intelligence for the CIA when Admiral Greer is diagnosed with cancer. When an American businessman, and friend of the president, is murdered on his yacht, Ryan starts discovering links between the man and drug dealers. As former CIA agent John Clark is sent to Colombia to kill drug cartel kingpins in retaliation, Ryan must fight through multiple cover-ups to figure out what happened and who's responsible.

Dance of sin and morality in the chaotic world of Kanwar pilgrimage that pushes a group of boys to a gray area between right and wrong.

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.

Set during the early part of his reign, Ivan faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people. Sergei Eisenstein's final film, this is the first part of a three-part biopic of Tsar Ivan IV of Russia, which was never completed due to the producer's dissatisfaction with Eisenstein's attempts to use forbidden experimental filming techniques and excessive cost overruns. The second part was completed but not released for a decade after Eisenstein's death and a change of heart in the USSR government toward his work; the third part was only in its earliest stage of filming when shooting was stopped altogether.

The young Shivudu is left as a foundling in a small village by his mother. By the time he’s grown up, it has become apparent that he possesses exceptional gifts. He meets the beautiful warrior princess Avanthika and learns that her queen has been held captive for the last 25 years. Shividu sets off to rescue her, discovering his own origins in the process.

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.

A group of diamond thieves on the run kidnap the wife of a recently discharged marine who goes on a chase through the South Carolinian wilderness to retrieve her.