The contemporary relevance and future of oldest classical music.

Vipin Vijay's Palace of the Winds is a poetic essay about that "Holy Little Box," the radio, conceived of as a ghostly transmitter of Indian cultural artifacts.

A film about home and belonging, tracing the filmmaker's personal journey to understand what it means to be a Muslim in India today.

About Elsewhere seeks to foreground the impossibility of fixing notions of sexuality through ideas of 'identity' and 'language'. As the film moves through the various worlds the filmmaker inhabits, it suggests a self in constant formation; one that constructs itself from parts and places that are in themselves, fragments of memory and experience.

An impressionistic sketch of ‘the public’ as created by our cinema and its relationship with cinema itself.

A documentary on the struggle of Tamil writer Sundara Ramaswamy to evolve modern literature in a society stuck with caste identities, traditional hypocrisy and language chauvinism.

The gendered looks of metropolitan Delhi become a camera eye, sketching the everyday life of a female driver exposed to the male gaze. The experience of women who live in this city is embodied in a mirage like images constructed by the director.

Schizophrenia. It may be one word, but it immediately conjures up multiple connotations. Mad. Incurable. Violent. Suicidal. Chemical imbalances. Crazy. A lifelong condition. Inevitable dependency on Medicines. Dark. Terrible. 'A Drop of Sunshine' challenges these notions. It questions the mainstream view of the condition and seeks alternate ways of recovering from it. Through the powerful story of its young and gutsy protagonist, Reshma Valiappan, it seeks to give viewers a new vocabulary to address the stigmatized mental illness. The film proposes that the only treatment method that can work in Schizophrenia is one where the so-called 'patient' is encouraged and empowered to become an equal partner in the process of healing.

The story of a camera that perished in a Tsunami. The Film shares special moments that the Filmmaker experienced with his camera, a special bonding over a period of four years, creating cinematic imagery, relating, exploring, seeking and interpreting notions of his reality. It is a memory of a camera which perished in the tsunami, along with its last filmed footage – elusive images, evoking multiple possibilities, seeking parallels and new perspectives.

As a call from the periphery of sanity, the film is a series of dream narratives, and accounts of spiritual possession as experienced by women 'petitioners' at the shrine of a Sufi Saint in North India.

The film celebrates the beauty of plural India through the genre of the road movie.

Liberia, a nation scarred by 14 years of brutal civil war, stands at a critical moment in its history as it heads for its second democratic election in October 2011. This election will decide the country's future course - towards peace and stability or violence and chaos. Assisting the UN peacekeeping operation is a special unit from India - an all-female police contingent. Deployed yearly since 2007, it is the first such unit to ever take part in a peacekeeping mission.

The ten anthologies and eight long poems of the Sangam age are the oldest and most distinguished body of secular poetry extant in India, of which women poets were a very strong presence.

The Quantum Indians is the compelling and inspirational story of three Indian scientists -Satyendra Nath Bose, C.V. Raman and Meghnad Saha - who revolutionised the world of Physics and Indian Science in the early part of the 20th century.

Bajrangi Bhaijaan explores how ideas of masculinity in India are tied to Salman Khan fandom. It tries to understand what eco-blockbuster-manufactured machismo has on the Indian male already struggling with his identity in a globalized world. The story of a Salman Khan look-alike Shan Ghosh, and his two fans Balram and Bhaskar

Centred around a film festival of Indian films in China, the Film reflects on the dominant as well as alternative impressions of cultures – people, histories and landscapes – brought to us by cinema, playfully examining the idea of the cinematic image as an integral part of cultural propagation.

Adoor Gopalakrishnan’s films map the history of the region from the inside. This Documentary looks at how the filmmaker dealt with human conditions at the most elemental level with a sensibility that makes his films universal in appeal.

Stories of some people in Odisha, accused, ostracized and tortured for being ‘witches’, pointing to a deeper crisis.

The Film is inspired by the work of Urvashi Butalia and Ritu Menon, who co-founded the first feminist publishing house in India: Kali for Women. It looks back on thirty years in publishing and focusses on the feminist politics and friendships that make this survival possible.

In Nagaland stones are deemed to be reminders of what they have seen. This documentary traces modern manifestations of recorded memory and how the past lingers on.