Pyaasa

A struggling street photographer, pressured to marry by his grandmother, convinces a shy stranger to pose as his fiancée. Against their own expectations, the contrary pair develops a deep connection that transforms each of them in ways they never expected.

A mistaken delivery in Mumbai's famously efficient lunchbox delivery system connects a young housewife to an older man in the dusk of his life as they build a fantasy world together through notes in the lunchbox.

In the bustling metropolis of Mumbai, Ratna is arranging the rooms of a modern penthouse apartment while she prepares the kitchen for dinner. This young woman from rural India works as a domestic aid for the wealthy entrepreneur's son Ashwin. However her actual dream is that of one day becoming a fashion designer. When Ashwin falls into a deep depression after the collapse of his upcoming wedding, Ratna stands by his side. Living under one roof and only exchanging few words, trust between the two gradually grows. During the colourful Ganesha Festival, Ratna and Ashwin finally get closer – contrary to all social conventions – and are faced with an unsolvable dilemma. Director Rohena Gera brilliantly combines a touching story about the universality of love with criticism of the Indian class system.

In a cluttered news landscape dominated by men, emerges India's only newspaper run by Dalit women. Armed with smartphones, Chief Reporter Meera and her journalists break traditions, be it on the frontlines of India's biggest issues or within the confines of their homes, redefining what it means to be powerful.

One city, four people, many stories: Shai is new in Bombay. The young amateur photographer wants to explore her parents' home country with her camera. She meets the unapproachable artist Arun and spends a night with him. Her paths separate. And while Arun gets lost in the fateful video diaries of the unknown housewife Yasemin, Shai makes friends with the washer Munna contrary to all conventions. He leads her through the remotest corners of the pulsating and modern metropolis, falls in love and begins to dream of the impossible.

When, in 1947, a portion of Punjab province was assigned to the newly created Pakistani State, Albert Mayer began planning a new capital for the portion which remained in the possession of India. Le Corbusier had been responsible since the 1950s for general planning and, more particularly, for large-scale buildings typical of the governmental sector. A year after the death of Le Corbusier, Alain Tanner began shooting his film in a city still partially under construction, or even, in certain places, at the planning stage. The inhabitants of the metropolis, however, already numbered some 120,000. Among the most modern of cities architecturally, Chandigarh was archaically constructed by hand. Impressions of this green horizontal city-brick not permitting vertical development-are captured in long static shots and numerous traveling shots. John Berger's commentary inscribes the visual beauty of that reality within a larger reflection: climate did strongly influence the decisions of the planners, whereas the new city did not succeed in breaking the old social rules with a single blow. These rules continue to determine the level of education and income, and it is not even possible for these workers who are in the process of constructing Chandigarh to live in it themselves. However, the film partakes of Le Corbusier's optimism in its appreciation of architecture as an instrument aiding men to clarify their visions, to exercise their powers of discernment and to establish new relations, even if the results will only make themselves felt in the long term.

A small village in India is invigorated when one of their own travels to America (aka, UMRIKA) and details his adventures through letters home, sparking community debate and inspiring hope. But when the letters mysteriously stop coming, his younger brother Rama (Suraj Sharma) sets out on a journey to find him. With the help of his best friend Lalu (Tony Revolori), Rama retraces his brother's path to find himself charting one of his own. Set in the mid-1980s, UMRIKA is a funny and meaningful story of the lengths taken to realize one's dreams

This portrayal of the rhythm of life and work in a gigantic textile factory in Gujarat, India, moves through the corridors and bowels of the enormously disorienting structure—taking the viewer on a journey of dehumanizing physical labor and intense hardship.

The second part of Satyajit Ray's famous Apu trilogy, this Indian drama focuses on young Apu, who lives with his mother, Sarbajaya (Kanu Bandyopadhyay), and father, Harihar (Pinaki Sengupta), near the Ganges River. When Harihar dies suddenly, Apu and Sarbajaya move to a small village to be near relatives. Eventually, she reluctantly allows her son (now played by Smaran Ghosal) to attend school in Calcutta. As Apu acclimates to life in the city, Sarbajaya struggles with his absence.

The Music Room shows the end times of a decadent landlord in Bengal and his efforts to maintain his family's reputation even in economically difficult times. The landlord, Biswambhar Roy (Chhabi Biswas), is a just but unworldly man who likes to spend time listening to music and setting up spectacles instead of managing his lands devastated by floods and the Indian government's abolition of the Zamindari system. He is challenged by a simple man who has gained wealth through business, spectacle and musical festivals.

In the valley of Kashmir, a lakeside city convulses with riots and curfews. A young man tries to escape, when he meets a beautiful environmentalist in an abandoned houseboat. Trapped together in his floating village, their blossoming romance threatens to derail his dreams.

Shiraz is based on the true story of the 17th-century Mughal ruler Shah Jahan, his queen and the building of the world’s most beautiful monument to love, the Taj Mahal. Shot entirely in India, it features lavish costumes and gorgeous settings, including the extraordinary fort at Agra. Himansu Rai (also the film’s producer) stars as the humble potter Shiraz, who follows his childhood sweetheart Selima (Enakshi Rama Rau) when she is sold by slave traders to the future emperor. Newly restored by the BFI National Archive, and looking better than it ever has, the film also features a new score from world-renowned sitar player and composer Anoushka Shankar.

Kaliyappan is the executioner of the Maharajah of Travancore. He lives on the edge of a small village in the magnificent countryside of Kerala. For generations his family has lived on the benefits granted to the Maharajah after every execution. But these are becoming increasingly rare, and Kaliyappan's family lives in misery. Paradoxically, the old executioner, tired of fulfilling a mission that had become a curse, has also become a healer. Adoor Gopalakrishnan is one of the central figures in Indian cinema and one of the outstanding filmmakers from Kerala, whose film culture he and Shaji Karun have a major influence on. His film "Le serviteur de Kali" is a fable based on real facts. The first shot shows an old executioner looking at his hands. He feels guilty about the last execution and is afraid of the next one. When he again receives the order to execute the sentence, Kaliyappan feels miserable, staggers around and drinks to forget his remorse and misery. As if the alcohol could lift the responsibility and replace the executioner. The son will execute the sentence, the curse threatening the family cannot be averted. In the end, the shadows of the procession are the dark shadows of an endless succession of mourning, unless they are the shadows of the cave. A hidden pearl of cinema.

An ageing father waits, in vain, at the bus stop for his son Raghu, a student at the University of Trivandrum, who is supposed to be coming home for the holidays. The elderly Chakyar’s eager happiness slowly turns to disappointment and then anxiety. After several days with no news of Raghu, his family learn that the police have arrested him for singing revolutionary songs at the university’s annual fête. Chakyar goes to the capital, hoping to find support from the Minister of Internal Affairs, and is soon joined by his daughter, who does not, however, share his optimism. When it becomes clear that Raghu cannot escape a jail sentence, the old man gradually loses his reason … In Piravi, Shaji N. Karun denounces not only the corruption that exists within the establishment, but also focuses on the impotence of the individual in the face of an oppressive system. By keeping Raghu off-screen, the director conveys a sense of absence and uncertainty with a rare intensity.

Year after year, for an endless eight months, thousands of families move to a desert in India to extract salt from the burning earth. Every monsoon their salt fields are washed away, as the desert turns into sea. And still they return, striving to make the whitest salt in the world. The desert extends endlessly - flat, grey, relentless. There is not a tree or blade of grass or rock. But there is one thing in abundance: salt. Salt is everywhere, lying just beneath the cracked, baked surface of the earth. This is the Little Rann of Kutch, 5000 sq kms of saline desert. And for eight months of the year, the salt people live here - laboriously extracting salt from this desolate landscape. They have been doing this for generations. Year after year, they migrate from their villages, 40,000 of them, to live on this bleak land without water, electricity or provisions. Arriving just after the monsoon, Sanabhai and his family will live here from September until April. Their nearest neighbour is a kilometre away. They communicate by flashing mirrors in the sunlight. Sanabhai’s wife Devuben walks across the bare, trackless desert to chop firewood. They buy the family’s water supply from a private tanker that comes once a week. Sanabhai has taken a large loan from the salt merchant in town as an advance on his salt harvest. He needs money to dig a well to reach the saline water 70 feet below ground, and to buy the diesel for the pump which draws the brine into the salt pans. Over the next few months, the only sound to break the silence of the desert is the mechanical drone of the pump’s engine. It takes eight months for the brine to crystallise into salt. Knee-deep in the brine pond, under the blinding glare of the sun, Sanabhai and his family trample the ground to prevent the salt from congealing. Once the brine has evaporated enough to allow the salt to be handled, they gather it with heavy wooden rakes until large crystals have formed. Their labor is rhythmic, a dance that mirrors the dance of the mirages on the burning horizon. The white crystals are as sharp as glass. Only two of them have rubber boots. Several times in a day Sanabhai inspects the quality of the salt crystals and keeps a close watch on the level of water in the salt pans. Two of Sanabhai’s children - a boy and a girl aged eleven and eight- go to a school recently opened by an NGO. Everyday at 11, after their morning’s work at the salt pans, they cycle off to school - just another hut in the vast emptiness of the desert, but with one difference: the children have planted paper flowers around it. In April, the salt merchant sends his man to inspect the salt. No good, he says: the crystals are small, not white enough. He cuts the price agreed with Sanabhai at the beginning of the season. Sanabhai is downcast, but he shrugs his shoulders: what can you do? The next salt season will certainly be better. Meanwhile, somewhere at the edge of the desert, mountains of salt lie next to the railway tracks waiting for transport to the city. The season is over and the monsoon is on its way: the heavy rains will soon wash the family’s salt fields away. The desert itself will not remain a desert anymore, but will turn into a sea. And the only way one can cross it is by boat.

Set in post-colonial India, QISSA tells the story of Umber Singh, a Sikh, who is forced to flee his village due to ethnic cleansing at the time of partition in 1947. Umber decides to fight fate and builds a new home for his family. When Umber marries his youngest child Kanwar to Neeli, a girl of lower caste, the family is faced with the truth of their identities; where individual ambition and destinies collide in a struggle with eternity.

Char is an island in the river that forms the border between India and Bangladesh. It is there that a boy named Rubel and his family live, along with others who lost their homes. The island emerged like a gift that the river gave to the people as a refuge after it tore away their native village when the water levels rose. But this gift is built on sand, a fleeting environmental reaction after the dam upstream was put into operation. Out of necessity, the people - much like the birds - have made use of this new terrain and built up a contraband business. Livestock, alcohol, rice, and other wares are smuggled past the border patrols with admirable finesse: a heroic battle for survival that provides Rubel with just enough to let him dream of a better future, although (or because) Char will be merely one stage in his life. Sourav Sarangi observed this soggy microcosm over a number of years, using various different cameras to capture heterogeneous, at times almost apocalyptic images on film. His story of a boy growing up is left with an open ending, mixed with an oddly wonderful feeling of amazement.

A fisherman, Kishore, marries a young girl accidentally when he visits a nearby village. After their wedding night, Kishore's young bride is kidnapped on the river. On losing his wife, Kishore becomes mad. Meanwhile, his young bride fights with the bandits, jumps into the river and is saved by some villagers. Unfortunately, the young bride knows nothing about her husband, she doesn't even know her husband's name. The only thing she remembers is the name of the village Kishore belongs to. Ten years later, she attempts to find Kishore with their son. Some residents of Kishore's village refuse to share food with her and her son because of the threat of starvation. A young widow Basanthi helps the mother and child. Later it turned out that Kishore and Basanthi were childhood lovers. Director Ghatak appears in the film as a boatman, and Basanti's story is the first of several melodramatic tales.

Our media are always running after new sensations and seem to love every crisis. In the Indian comedy Peepli (live), a former journalist shows us how much the media likes to influence events, when they end up smelling their headlines or the supposed scandal. This story takes place in a peaceful Indian farming village where the families have too little to live and too much to die. The farmer Natha fights for the survival of his wife, mother, brother and children as a way out of the misery looms: The government has set up a program to compensate the bereaved if a farmer kills himself. One could also use this offensively, one of Natha's family could kill himself so that the others could earn something. The media, who are currently accompanying the local election campaign, are getting wind of the idea, and suddenly the planned peasant suicide becomes the number one topic. You don't want to save the farmer, you want to be the one who is there live when he does. Bollywood star Aamir Khan (Lagaan) has produced Peepli (live), Anusha Rizvi has sovereignly designed the amusing and thought-provoking debut film and you can feel that she knows exactly what she is talking about. She does it with pleasure.