Shamsher "Party" Pathania wil zijn levenslange droom waarmaken en voegt zich bij de luchtmacht. Daar staat hij voor enkele persoonlijke uitdagingen. Patty zal zijn grenzen moeten verleggen wil hij een ware held zijn voor zijn vaderland.
Beginnend juriste Saamiya Siddiqui brengt een bezoek aan de Indiase reddingswerker Veer Pratap Singh, die al 22 jaar in een Pakistaanse gevangenis zit. Al die jaren heeft Veer geen woord gesproken, maar nu verbreekt hij zijn stilzwijgen en doet aan Saamiya zijn verhaal.
Kiezen tussen goed en kwaad is gemakkelijk, maar je keuzes tussen de beste van twee goede dingen, of de minst slechte van twee kwaden bepalen je levensloop. Deze goede raad krijgt het blinde Kashmir meisje Zooni Ali Beg van haar vader mee wanneer ze op het punt staat de wijde wereld in te trekken.
A young man returns to Kashmir after his father's disappearance to confront his uncle - the man he suspects to have a role in his father's fate.
Rafiq and his family are struggling to come to terms with the loss of his older brother Tauqir, a tourist photographer, who is one of the thousands of young men who have disappeared, since the onset of the militant insurgency in Kashmir. After an unsuccessful attempt to cross the border into Pakistan,to become a militant, Rafiq returns home to an aimless existence. Until one day when he accidentally finds his brother's old camera.
A BSF jawan is held captive in an illegal camp run by Pakistani soldiers. Will he be able to rescue his girlfriend and return to his homeland?
The film takes us into the life of a nine- year old girl, who takes respite in drawing despite the fact that to fulfil her little aspirations like going to school, she has to navigate difficult geographical terrains and occasionally a curfew or a crossfire. By zooming into the microcosm of the girl's life, this short film endeavors to portray the larger story of Kashmir and the negotiations the people in any contested territory have to make in order to deal with the fissures in their geographical and personal identities. As a conscious act of resistance against the infidelity of language, there are no dialogues in the film.
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.
The film interweaves the personal narratives of four Kashmiri artists, three of whom - Syed Mujtaba Rizvi, Hina Arif and Zeeshan Jaipuri - are children of the conflict, their impressionable adolescent years years landing right in the middle of the region's most violent period in the 90s. The fourth character, renowned painter and art teacher Masood Hussain, grew up in a time of relative peace before becoming witness to Kashmir's tragic transformation. While their individual traumas are unique, they are connected by their pursuit to process this splintered world through unfiltered artistic expression.