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Chumbak

Chumbak is a story of a 10 year old boy Dinu, who is unable to connect with the people around him. Dinu is fascinated by magnets. One day he goes out to give Tiffin to his father in his factory and a sequence of events follow. A group of boys take away Dinu's magnets on his way back. After this he meets a shepherd, who much to the amazement of Dinu transforms an iron piece into a magnet for him. Like the magnet connects Dinu with the shepherd, Dinu goes back and tries to connect himself with other people in the society through his magnetic innocence. Chumbak is the journey from the disconnected to the connected.

Chumbak

NR 2012
Marina Puratchi

Two aspiring reporters learn about the history and significance of jallikattu protest to secure a job in a private channel. The film begins with Sukanya (Shruti Reddy) and Parthasarathy (Naveen) attending an interview for the post of a reporter in a private channel. When the interviewer feels that they do not know much about the history of jallikattu and the protests which took place, he gives them two weeks' time to learn thoroughly about the bull-taming sport. The rest of the film is their presentation about jallikattu to the interview board.

Marina Puratchi

NR 2019
From Janata Colony to Janata Colony (imaginary to destroyed)

The work narrates the social, cultural and political history of the “housing question” in Mumbai, by bringing together cinema, state-sponsored documentary, newspapers, policy reports and archives from social movements, among other source materials. These materials are assembled, via a hand-built web editor, into a new kind of "annotated film" that links to online archival sources. Drawing in form from the video lecture-performance style honed on CAMP's rooftop cinema and studio that takes its audience on dense archival journeys, the work examines a "poor man's colony" that was set up in the 1950s and destroyed twenty-five years later to make room for an atomic research facility in Bombay.

From Janata Colony to Janata Colony (imaginary to destroyed)

NR 2019
Krantiveer - The Revolution

Afraid of traveling in trains due to bomb blasts, outspoken critic of corruption in modern secular India, Roshni, the daughter of activist, Pratap Narayan Tilak, gets hired with Live India as a news reporter and decides to expose corruption - especially at the hands of two politicians, P.P. Patankar and Chita Singh. The latter invites her and Vishal Singh Rathod to meet him and warns the duo that they will meet the same fate as their parents if they even dare to mention their names on TV. The politicians then conceive a novel scheme - not the age-old method of religious and sectarian violence - but of modern day terrorism - that will not only ensure their political future but also distract attention from themselves.

Krantiveer - The Revolution

NR 2010
Meghdhanusya - The Colour of Life

Tanmay is a gay man who during childhood adopts feminine behaviors, concerning his parents. They consult a doctor and apply parental and social pressure to modify their son. During his youth, he is pressured to marry, and derided by his fellow college students as "special". Eventually, he is forced to leave his home. Later in life, Tanmay and Aniket adopt a child together, naming him "Shlok". The boy grows to become a successful businessman, but his gay parents keep their distance from him to avoid burdening him with social stigma. Shlok meets a woman, Disha, whom he wishes to marry, but his parents' homosexuality becomes an impediment.

Meghdhanusya - The Colour of Life

NR 2013
Rasan Piya

'Rasan Piya' is a documentary on the life of renowned Khayal vocalist and poet, Ustad Abdul Rashid Khan. His story is that of an extraordinary musician, poet and teacher; of someone who has not only preserved but also added much to an ancient Indian art form; of a brave man who overcame his physical limitations to create beautiful music and inspire a whole generation of musicians and music lovers. The film explores the various influences that have shaped his life and music. His life also offers a commentary on the change that art in India has witnessed with the decline of the riyasats (kingdoms) and the patronage they offered. Lastly, the film attempts to draw one towards our ancient 'guru shishya parampara', as preserved and practised by one its most revered exponents.

Rasan Piya

7.0 2015
Jalachhayam

Mohan, an art teacher in a city college meets Sadanandan, an ordinary villager, and learning of his aptitude for drawing, teaches him the nuances of modern methods of painting. Mohan buys the paintings of Sadanandan, which, more proficient than that of an amateur, were nevertheless beyond the expectations of Mohan. But, Sadanandan was totally unaware of the philistine attitude of Mohan who uses him for his own benefit. Jalachhayam describes how Sadanandan survives the moment he knows, Mohan, a godfather-like figure to Sadanandan, was cheating him.

Jalachhayam

NR 2010