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- Art, ritual and labour constitute a continuous choreography of daily life in a village in eastern India.
- The chars of the Brahmaputra are a curious geographical feature of the river - they are small, temporary land masses, almost like islands, that appear and disappear seasonally due to erosion. They are also places that many immigrant communities of Assam call home. They farm on the transient land masses and raise their families there as well. Waiting for a Storm explores this ephemeral relationship between the chars and their residents through the prism of two different subjects - Amjad Ali, a farmer who lives on such a char and Sahjahan Hussain, a young activist from the mainland who is working for land rights of the char dwellers. Through their voices the film navigates questions of identity and reform. And as their paths converge, Amjad and Sahjahan's future remains as uncertain as the receding landscape surrounding them.
- An attempt to challenge the conventional male-centric way of looking at histories, HerStories revolves around the lives of Vaishali Girkar, Sulekha Rana and Laxmi Dhamanse - all of them, former mill workers. The film explores their life in the mills, their struggle after the strike of 1982 and the way in which they continue to negotiate the personal with the political. The owner of a foodstall in Worli, an artist and a broker, today Vaishali, Sulekha and Laxmi are successful independent women in their own right but the mills and the Great Textile Strike of 1982 continues to be an important part of their lives that they cannot and do not wish to forget. In fact, theirs is also a struggle to keep the legacy of the mills alive.
- This PSA is about saving lives by saving water and preventing it from getting polluted.
- 'Padmini My Love' emerges from a recently issued government order in Mumbai, which reduced the age limit of the iconic black-and-yellow Padmini taxis to a maximum of 20 years. What this means is that, in a few years from now, the charming-yet-robust Padmini taxi will have vanished from the streets of Mumbai, taking away with it the livelihoods of many who depend on it for their day-to-day survival. The film explores the various ways in which the government-imposed age limit affects the livelihoods of the taxi drivers on the one hand, and shatters a peripheral economy around the taxi, on the other. The four protagonists of the film - Ravindranath, Tareef, Ansari and AL Quadros - talk about issues of migrant labor, the status of taxi drivers and the importance of taxis in the city of Mumbai, through their own personal narratives, thereby offering a ringside view of the changing city and its invisibilized workers.
- Farooq versus the state' deals with the controversial case of Farooq Mhapkar, one of the key persons who was wrongly accused in the Hari Masjid case, one of the most serious episodes of the Mumbai riots of 1992-93. Hari Masjid, Wadala, Mumbai, was the scene of a brutal police attack on January 10, 1993. Though Farooq Mhapkar was one of the casualties of indiscriminate police firing, he was charged as a rioter. Farooq versus The State is the story of Farooq's protracted legal battle against an unyielding State in pursuit of justice. Through this case, the film seeks to explore how justice was delayed and denied to the victims and survivors of the 1992-93 communal violence.
- This movie traces different aspects - technical, social and economic- of a successfully completed watershed programme in Vadgaon Village in Osmanabad district, Maharashtra. This programme was implemented by the Rural campus of TISS with assistance from NABARD. The video documents the possibility of community involvement (including the participation of marginalized groups such as women) and demonstrates the transformation that take place through this programme.
- "Nothing in the world will last - it is but a two day fair" sings Mura Lala Fafal, drawing inspiration from the Sufi traditions of Sant Kabir and Abdul Lateef Bhita'i. He is accompanied on the Jodiya Pava (double flute) by his nephew Kanji Rana Sanjot. Kanji taught himself to play and make his own flutes after hearing the music on the radio. Mura and Kanji are Meghwals, a pastoral Dalit community that lives on the edge of the Great Rann of Kutch, in the Western Indian state of Gujarat. They are both daily wage labourers and subsistence farmers in an a rid zone. The film is a a two day journey into the music and every day life of this uncle-nephew duo, set against the backdrop of the Rann. The Great Rann of Kutch is a vast salt marsh/desert that separates India and Pakistan. Before the Partition the Meghwals moved freely across the Rann, between Sindh (now in Pakistan) and Kutch. The music and culture of the region is a rich tapestry of many traditions and faiths, an affirmation of the syncretic wisdom of the marginalised comunities that live in this spectacular and yet fragile area.
- Nestled in the Himalayan range of Uttarakhand in India, Kalap may soon have a motor-able road. Till then the village continues to be 10 kilometers uphill on foot from the nearest road. The film delves into the lives of the people of Kalap, who for generations have been negotiating their own path for sustainable living. With increasingly easy access to the world beyond, will there be a gradual shift in social and cultural values across generations? Kahan Ka Raasta is an immersive journey, in time and space, into the everyday reality of Kalap. It transpires at the pace of the village life, to unveil it's many facets.