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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.

Film starring Simi Garewal, Vikram and Baby Geeta

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.

Pooja has been brought up by her grandparents, and has no recollection of her mom and dad. She is told by her grandpa, Kantaprasad, that her dad had passed away. Years later, Pooja has now grown up. She starts getting mysterious phone calls from a male who merely says "I love you", and hangs-up. When her grandpa has these phone calls traced, the caller is Anand, Pooja's dad. Kantaprasad has him beaten up, and warns him against contacting Pooja again. When Pooja is being molested by a male in her apartment building, Anand comes to her rescue, and it is then Pooja comes to know that this shabby, alcoholic man is her dad. Will Pooja accept him, or will she follow her grandpa's advise and continue on with her life.

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.

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.

A day in the life of a six-year-old child in Calcutta, who lives shut up in the family home, insulated from the city by a park. The father is away at work. The grandfather is alone in his room, ill and confined to his bed. The mother receives her lover.

In this rather routine, made-for-television movie by famed Indian director Mrinal Sen, an employee (K.K. Raina) in a large office is suddenly facing unemployment because his bosses have found him guilty of negligence. He is devastated, but he cannot lose his job since he is the only support of his family. Interspersed with the employee's efforts to convince his boss, in several different ways, that he cannot be fired are direct dialogues with the author (Shyamanand Jalan) who created the character of the employee. In these latter conversations, the employee berates his creator for giving him an impossible, no-win situation — he has no control over his fate.