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Based on true events, the story revolves around a psychologically disturbed mother who coerces her daughters into a life of crime. Their case becomes a national sensation in India, overnight, these women are monsters personified.

Nail Polish, written and directed by Bugs Bhargava Krishna, stars Arjun Rampal, Manav Kaul, Anand Tiwari and Rajit Kapur. It's a legal thriller that explores the uncertainty of the human mind.

An impoverished farmer's threat to end his life invites attention from politicians and media.

A disgraced professor recounts his career and involvement with gambling.

After experiencing the first major trauma of her young life, Nia retreats to her family summer home in the Himalayas where time, nature and unlikely friendships help her heal.

A story-writer attempts to convince a producer to accept four erotic stories from the Panchtantra.

A man and his private-detective friend attempt to deal with a bitter ex-girlfriend and a missing bag full of cash.

Set in the foothills of Bodoland in India-Bhutan border, the story explores the lives of women in a patriarchal society recovering from decades of armed conflict between the State and separatist groups.

Rahul, a mischievous adolescent roams the rain soaked slums of Mumbai with Arbaaz, a balloon selling boy. They escape harsh reality of life by roasting stolen potatoes; stealing an auto rickshaw for a joyride; chasing girls, etc.

A documentary film on the shocking truths about the lesser known business of child sex trade in India. Threaded together by spine-chilling personal accounts of survivors of the trade, the film explores the inner workings of this business that has come to engulf every village and city of our nation. The film is narrated by Rajkummar Rao (Hindi), Vidya Balan (English), Kamal Haasan (Tamil), Jisshu Sengupta (Bengali), Nani (Telugu), Puneeth Rajkumar (Kannada) and Sachin Khedekar (Marathi).

A woman takes a job at a mysterious mansion, tasked with securing a lounge by 5 PM. She succeeds, but the family denies knowing her, and another maid has taken her place. She realizes she's trapped in a cycle of deception and trickery.

Nazarband is a 'love story' in its essence. Vasanti comes out from the prison after five years in the megalopolis of Kolkata to realize that her husband has not come to receive her. She waits in trepidation when Chandu approaches, who also got his release today. Chandu, a seasoned fraudster, offers to help and also has a vile purpose. Although not very comfortable with this weird man, Vasanti takes his support to find the way to her slums. But when they reach the place, she finds that a dazzling mall and few multi-storied buildings have replaced the slums. Without any clue about the whereabouts of his husband or her seven-years-old son, Vasanti is in complete despair. Chandu sticks with this stubborn woman in a journey that goes through the labyrinth of the city in search of her family. Political goons, flesh traders, police, real estate mafia get entangled in the narrative. It reveals the past of these two, who were unknown to each other until today morning. And they delve into the deeper crevices of their emotions and insecurities as they move erratically. It is a strange journey entwined in plethora of emotions: anxiety, distrust, dependence, hatred, care, greed, frustration and necessity. They run amok through the city of Kolkata, disappears into religious carnival and finally reaches the coalfields of Bihar. After fanatical, sometimes fatalistic, turns of events they reach the climactic moment that opens up multiple possibilities in Chandu and Vasanti's lives.

Film deal with how the Haryanvi Society is getting inspiration and going through a transmission from the success of women achievers in the CommonWealth Games.

An experimental documentary on the charcoal drawings of Indian artist Paramjit Singh.

Seldom do a man's deeds loom so large that they dwarf the very mountains from where they emanate. One such person is Chandi Prasad Bhatt, who has strong claims to being the first modern Indian environmentalist, and arguably also its greatest. Bhatt was one of the pioneers of the Chipko movement, not just a fight for protecting forests and environment, but a struggle for protecting and renewing livelihoods. The Film seeks to decipher the life, the motivation and work of a man who silently changed the paradigm of environment activism in India and has been described by Ramchandra Guha as one of the finest Indians alive today.

The documentary film finds its beginning, born out of the need to explore existing geographical & political boundaries of India, juxtaposed with, human, emotional & spiritual bridges. Geographically speaking, India is a peninsula. Three sides are flanked by water. Specifically the east, west & south. Incidentally, the north too, is serrated by mighty rivers. This makes boundaries of India fluid, inclusive & accessible to our neighbors. The same adjectives interpreted in the political jargon means, menace of porosity, infiltration & threat to security. The magnitude and the irony of this dichotomy is the need to address this subject, as a film. In a sometimes dark and hopeless world, we need stories reminding us of the constructive options that are always present. The film is to engage, enthuse and envision a new-found look at liquid borders.

A personal journey into the life of the Tibetan refugee community of Bylakuppe (India); exploring the intermingling of the local and the transposed cultures and the lives of those which are in the midst of this cultural cauldron. The Tibetans who migrated to this settlement, due to a violent history of exile and invasion, feel a strong need to preserve everything native through recreation of a mirror image of their homeland. The space is like a ghost town that is built based on their personal memory, in order to preserve that very memory itself, in the hope of return. With the coming of His Holiness the Dalai Lama in India after the Chinese takeover of Tibet in 1959, various groups of Tibetan refugees have settled in different parts of the country on land allotted to them by the Government of India. The most well known is His Holiness' seat in exile, Dharamsala, in Himachal Pradesh, which has become a popular tourist destination. However, in Karnataka are the two largest settlements of the Tibetan refugees, namely Bylakuppe and Mundgod. Both these settlements are essentially educational centers for the monastic scholars of the Yellow Hat order of Buddhism and the lives of the settled Tibetans here is centered on the functions of these institutions. Since the arrival of the Tibetans, the "local" has changed considerably in and around Bylakuppe. From the food to the clothing to the lifestyle, much of the "local" has morphed, and similarly, so has the "Tibetan". The landscape of this settlement is striking, as we notice the large Tibetan architecture and farming techniques in a region, which historically does not have a thriving Buddhist culture and contrasts considerably from the architecture and landscapes in other close by areas, creating a ghost town dedicated to the memory of a lost home. The sound of gongs, prayer chanting, the spoken Tibetan fused with what is essentially Kannada renders the soundscape a unique quality. Through these varied and contrasting narratives in and about Bylakuppe, the effort is to generate a sense of this surreal space, housing it's personal and collective stories as the building blocks of the narrative, a telling and retelling of the tales of exile.

Germ is a story of a filmmaker in search of a visual story, exploring what we have built on the land we live on and what previously existed. Some found passport size photographs inspire the filmmaker for this story of the visual journey.

Maturity and toughness comes with age, but few get it way before that age. They have desires but no means to fulfill them. Surviving in a tough neighborhood. No support. Trying to make ends meet. These kids have a tough life. Amid all this what gets them to smile? Can they come together to save their childhood? Whylean is that story of innocence, smiles and children being children.