M. K. Raina

A rural politician marries a widow with kids and gains a respectable position and trusts his stepson more than his own in political matters; thus upsetting his son beyond limits.

The story of one house in three different eras. Where 50 years ago it was divided between a school and an apartment, in which a young boy struggles with the pressures of pre-pubescent school life, coupled with being compelled to share a tiny room with his paralysed, disconsolate grandfather. Who in turn has devious plans for the child's 12th birthday which happens to fall on a leap year. The same building 20 years later becomes home to a brothel, where a young unexploited concubine is dealing with her self-proclaimed "first" client who has a strange inability to fulfil his physical desire unless obligated to the duress of a transaction to do so. Now, 30 years later these same walls surround a sublime home which belongs to a soul-stirring 75 year old couple who love, laugh and dance together. They whisper the secrets of time forgone and seemed to have overcome the undying need for love and escape which seems to have plagued the inhabitants of this house in the past.

Aisha, who loves playing matchmaker much to her friend Arjun's disapproval, finds a new target in the simple Shefali. But in the process, she ends up ruining her own relationship with close friends.

A lonely 40-ish man, likely to remain a bachelor, has a chance to find the love of his life when he falls for a vivacious young woman.

学校でも家庭でも問題児となっていた8歳のイシャーン（ダルシール・サファリー）。勉強が苦手な彼は代わりに空想が好きだった。近所の年上の男の子を取っ組み合いの喧嘩をしたイシャーンは、父親に次に問題を起こしたら寄宿学校に入れると言われてしまう。 すこぶる悪い点数のテストを両親に見せられずサインをもらえなかった彼は、授業をサボってしまう。欠席届を出さないといけなかったため、兄のヨハンに書いてもらう。しかしある日、その欠席届が父に見つかってしまう。約束を守れなかったイシャーンに対して激怒した父は、友人のコネを使いすぐにイシャーンを寄宿学校に転校させる。 学校にはいままでよりさらに厳しい先生たちがいたうえ、家族に会えない寂しさが募り、イシャーンにとって非常に辛い環境だった。とうとう完全にふさぎこんでしまうイシャーンだったが、ちょうどその時、臨時で新しい美術の先生ニクンブ（アーミル・カーン）が赴任してくる。 ニクンブはイシャーンの様子を見て、彼は失読症であることを見抜くが…。

An aimless, jobless, irresponsible grown man joins the army and matures into a battlefield hero.

Sardar is a 1993 Indian biopic on Sardar Vallabhbhai Patel, one of India's greatest freedom fighters, directed by Ketan Mehta and written by noted playwright Vijay Tendulkar.

This is a simple, straightforward tale about the rise and fall of human civilization that focuses solely on four characters: a farmer (Naseeruddin Shah), a weaver (Om Puri), a trader (M.K. Raina), and a woman (Shabana Azmi). At the beginning of the story, the workers in a decaying village are offered food and water if they work for the local lords. The farmer and the weaver refuse. The farmer grows food for them both, and the weaver creates textiles that uses to barter with an itinerant trader. One day a frightened, lonely woman arrives on the scene and she is taken in by the two men. She cooks and cleans, and before long becomes a source of contention. Meanwhile, the trader is observing these events from the sidelines.

Twelve male members of a jury gather together in an enclosed room to deliberate their decision on a charge of murder against a young man who has been accused of killing his elderly father. All of the jury, save for one, are convinced of this young man's guilt, and they would like to convince their colleague also to come to the same unanimous decision. But will they be able to convince him to change his verdict? Its a hindi remake of the movie 12 angry men.

This is a story about having an extramarital affair within the family itself.

When a politician is killed, a journalist discovers that a member of parliament had the man assassinated. As his editor digs deeper, the complicity of higher-placed politicians comes to the surface, which leads to riots in one town and an attempt to suppress his story.

Starring Om Puri, Smita Patil, and Nana Patekar

Rahul, the son-in-law of an old industrialist and one of the heirs to his fortune, clashes with Dinesh, the industrialist’s nephew who is openly unscrupulous. Rahul, on his part, conceals his personal ambition under a cloak of liberalism and encourages indigenous production.

Taking an experimental approach to the relationship between the written text and moving image, Mani Kaul has a series of texts read aloud in voice-overs (poetry, essays, and stories), while the characters within the texts walk through real or imaginary landscapes.

Sanjay wanted to study art, but his domineering father, an engine-driver in retirement after a crippling injury, insisted that a railway job, with its security, was the best thing for him. So Sanjay ended up as a train conductor, unhappy with the career forced upon him, and the mechanical, meaningless life that he lives. In the course of his duty on the train, he runs into a working girl, Shalini and feels attracted to her. His father hears about his interest in Shalini, strongly disapproves of it and intervenes in Sanjay's life once again. Unable to stand up to his father, Sanjay soon finds himself married to a village girl. Life becomes even more unbearable for Sanjay. He takes to wandering and seeks comfort in drink and brothels. One final chance comes his way to break loose from his shackles and plan a new life with Shalini.