印度式好莱坞电影。他的男主是好莱坞式的英雄，武功高强，侠肝义胆，拯救村民于水火，是全村的希望。 电影情节很简单，呈现三角形型结构：以shiva为首的村民，以警察为主的部队，以及地主帮派。编剧用障眼法将冲突聚焦在村民和警察之间，之后莫名其妙地让地主杀了祭祀，从而引发村民和地主的直接矛盾，此时村民警察之间的矛盾瞬间瓦解，比一家人都亲。其中shiva受神启，成为了祭祀。这样的情节，其故事结构之简单，塑造英雄速度之高，真的很好莱坞。

20世纪初，印度有一条名叫Tumbbad的小村庄，Vinayak就住在村庄的郊外，他是村长不承认的私生子，痴迷于神话中一个祖传宝藏。他的曾祖母是一个被诅咒沉睡千年的女巫，Vinayak认为宝藏的秘密就藏在她身上。经过与曾祖母的对质，Vinayak最终直面宝藏的守护者邪恶的堕落之神。最初的几枚金币迅速升级变成一种不计后果，跨越几个世纪，永恒不灭的渴望，倘若Vinayak如愿以偿，这种渴望将变成一种会延续至下一代的魔咒。

影片讲述阿布舍克·巴强扮演的心狠手辣的亡命之徒拉万(Raavan)，他的妹妹被一个警察杀死，为报己仇，拉万绑架了警察的妻子（艾西瓦娅·雷），但后来却发现自己深深地爱上了她……

An eight year old boy contemplates his relationship with Lord Shiva (the incarnation of Lord Vishnu) in the sacred city of Banaras.

高级警官吧克啦丝被分配的任务就是捉拿威來亜，他也把妻子啦今伲搬到另一个地方。沒多久，在调查另一事件，他妻子被威來亜绑架。他和几警员跟一位森林向导者不息的追击。而啦今伲也不知道何估被绑架

Shankar is a wounded, reluctant and reclusive aghora on a quest to find the cure for his very rare human condition – the one that will be cured, only when he can confront and conquers the haunting ironical questions of his life.

Following Bhagwan Shri Ram's 14 year exile, whereby he demolishes the evil empire of Lord Ravan, rescues his wife, Sita, and returns triumphantly home to Ayodhya to be crowned the King. Bhagwan Ram arranges for Sita to be placed on top a funeral pyre, and when she comes out unscathed with the Lord of Fire himself appearing and asking Bhagwan Ram to take Sita back as she is pure, and her presence has not only purified Ayodhya, but also Sri Lanka, as well as himself.

The story revolves around the portrayal of the ten different avatars of Lord Vishnu namely Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Balarama and Kalki.

The film is a retelling of the story of Lord Rama, from his birth until his battle with Ravan at Sri Lanka.

Nikhil Siddharth and Swathi Reddy are back once again onscreen with Karthikeya. The mystery of the Subramanian Swamy temple which has remained closed for years is the crux of the movie. Local people in the village are curious why the temple has been locked up for years? The lead protagonists take the initiative to solve the mystery.

The film interprets a story from the Uttara Kanda of the epic poem Ramayana, where Rama sends his wife, Sita, to the jungle to satisfy his subjects. Sita is never actually seen in the film, but her virtual presence is compellingly evoked in the moods of the forest and the elements. The film retells the epic from a womens' liberationist perspective, and is about the tragedy of power and the sacrifices that adherence to dharma demands, including abandoning a chaste wife.

First part of the epic Ramayana trilogy.

Ravana (Niranjan Sharma) orders Maricha to turn into a deer to entice Sita (Sona Chatterjee) with the notion of kidnapping her. Rama (Trilok Kapoor), Lakshman (Prabhash Joshi) and Sita are in the Panchavati forest for their fourteen year exile. Espying the golden deer sent by Ravana to lure Rama away, Sita asks Rama to get it. On hearing a cry of pain she sends Lakshman after his brother thinking he’s hurt. Ravan comes in the guise of a hermit begging alms and makes Sita step over the Lakshman Rekha (line), Lakshman had drawn around their cottage for her safety, asking her not to step beyond it. In their search for Sita, Ram and Lakshman meet Hanuman (S. N. Tripathi) whom they help in the fight between Sugriva and Bali. Hanuman then helps in finding Sita. (Wikipedia)

This special-effects laden film is based upon an episode from the Ramayana. Indrajit, son of Ravan, initiates an attack on Rama (Mane) and Lakshmana (Kulkarni) in which they are captured by Mahi (Kelkar). They escape with the assistance of Rama's disciple, the monkey-god Hanuman (Manajirao). The narrative foregrounds Chandrasena (Tarkhad), wife of Mahi, who reveres Rama but disapproves of the bacchanalian orgies and the celebration of liquor that is the norm in his kingdom. She helps resolve the stalemate of the battle when Mahi (who can duplicate himself and his dead soldiers) proves invincible, by revealing the secret formula that will kill her husband. In addition to the usual flying figures and magic arrows mandatory for a Ramayana mythological, there is an effective scene of a gigantic Hanuman picking up a miniaturized human figure.

Two storytellers put forth their versions of the story of Shravan Kumar. The art for the film uses painted images from a wooden portable shrine called a Kaavad. The film is a collaborative work between traditional Kaavad storytellers and Kaavad artists from Rajasthan, together with the filmmaker. Combining lush animation with live-action, the film is an interpretation of two stories which are forever fused in the act of telling and retelling.

Mahabali was a beloved king and very kind to his subjects in the state of Kerala. The time under his rule was considered one of great prosperity and happiness. It is in fact this success as a king that led the gods to be wary of him and bring his demise at the hands of Vamana.

An epic musical drama depicting the preface to Seetha and Rama's wedding.

The story of Sita, a Hindu goddess and the female protagonist of the Hindu epic “Ramayana”.

This film creatively documents the art of Majuli masks, focusing on the only two families that keep the practice alive in Natun Chamaguri Satra, including multi-awared mask maker Dr. Hem Chandra Goswami.