Public Service Broadcasting Trust

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 contemporary relevance and future of oldest classical music.

A celebration of the work of singer/composer Shankar Mahadevan with interviews from various Indian celebrities.

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

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

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.

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.

As the region of Barak Valley, Assam, India, is swiftly giving way to newer formations, structures, and beliefs, two siblings converse over the phone about their deserted childhood home situated in the same region while residing far from it.

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

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.

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.

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.

Shot in the monsoon of 2018 in the Mirya creek in Maharashtra, the film records the unfolding of fishermen and fishing processes in the village of Mirya. It seeks to highlight some of the troubled and lived realities of the fishing community in the current times in an Indian village. The film is also a deliberation on the process of production of the film itself.

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.

Until recent years, the Santhali tribe of India did not have its own written language. Their stories and myths were preserved and passed on verbally through the generations. Each narration has a different form, much like the rocks of a nearby hill that come in various hues. While a woman from the community narrates a tale about the origin of creation and how their first house was built, the village prepares for an annual ritual.

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

Story of the filmmaker's journey with Uma, a certified scuba diver, exploring the underwater world and the threat to coral reefs of Gulf of Mannar, India. Born in a traditional family in Tamil Nadu, 53 year old Uma, a homemaker, has been trying to bring attention to this alarming environmental issue through her paintings. It is, in fact, these corals that inspired Uma to learn how to swim, dive and paint in her 50s.

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.

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

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.