Saratchandra Chatterjee

Rebel Devadas joins forces with Chandra in a dangerous world where passion and peril collide. Their turbulent alliance demands bloodshed and tests loyalties as survival becomes the ultimate stake in their fight.

In 1900s India, Calcuttan zamindar Devdas Mukherjee — unable to marry his lover — takes up alcohol and the company of a courtesan to alleviate the pain.

Landlord Narayan Rao's son Devdasu and Parvathi, their poor neighbour's daughter, fall in love. But Devadas's family does not approve of the relationship.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute. All Indian prints of this Bengali version were destroyed in a fire that ravaged New Theatre’s studios. Today, only one copy of the film survives which belongs to the Bangladesh Film Archives. Of that copy almost forty percent is destroyed.

Devdas is a Bengali-language film based on the Sharat Chandra Chattopadhyay novel Devdas. It is the first Bangladeshi version of the story and the first colour film version in Bangladesh. It was the first of two versions directed by Chashi Nazrul Islam.

Childhood sweethearts grow up in a small village with a love-hate relationship which changes to love when they mature.

Dev, after spurning his childhood love Paro due to a misunderstanding, turns to drugs and alcohol for solace. Paro moves on but Dev remains in remorse. He then meets Chanda, an escort navigating her own past trauma, but Dev’s chauvinistic attitude and penchant for self-destruction stands in the way of their developing bond.

Childhood sweethearts Lalita and Shekhar wish to get married someday. However, Shekhar's growing suspicions about Lalita coupled with his conniving father's antics threaten to tear them apart.

This film is partially inspired by the first volume of renowned Bengali author Sarat Chandra Chatterjee's seminal novel 'Srikanto'. On an idyllic retreat sponsored by an influential friend, Srikanto, the drifter-protagonist, comes across the beautiful Rajlokhi, his friend's mistress.

The story revolves around three characters: Annapurna, her son Amulya, and Bindubashini, a woman desperate to become a mother. Annapurna's husband Jadab goes through much hardship to pay for his younger brother Madhab's education; years later, Madhab becomes an eminent lawyer. Madhab's wife Bindubashini comes from an affluent family and is strikingly beautiful. Bindu is childless and when she gets to take care of Amulya, her yearning to experience motherhood finds some fulfillment. Sisters-in-law Bindu and Annapurna share a bittersweet relationship. Bindu respects Annapurna and the latter reciprocates by showering a lot of affection on her. But they have frequent rows over household chores. One day, they have a major disagreement over Amulya's upbringing. The disagreement proves to be irreconcilable. As a result, the two families split. The after-effects of this disagreement reverberate between the two estranged families for a long time.

Dena Paona is a dramatic exploration of societal pressures and personal redemption. The film follows Sorashi, a strong-willed temple priestess, as she confronts the challenges of a troubled marriage and a disapproving community. Her journey towards self-discovery and reconciliation with her husband forms the heart of this compelling story.

Satyendra, the scion of a wealthy Bengali zamindar family, is married by family duty to an eleven‑year‑old girl, Radharani. Emotionally detached, he grows closer to Bijli, a mature, self‑sacrificing courtesan.

Bipinchandra breaks family tradition by marrying a city girl, Hemangini, much to the chagrin of his sister-in-law, Kadambini, and her husband, Navinchandra. Things are delicate even after both women give birth to two children each. Then Hemangini testifies against Navinchandra in Court, leading to the division of the property. Things got worse by the arrival of Kadambini's orphaned school-going step-brother, Kishan, who is beaten and abused by not only by Kadambini and Navinchandra, but also by their overweight son. When Hemangini objects to Kishan's ill-treatment, Bipin takes the side of the rest of the family, and may probably force her to abandon Kishan to his fate or divorce her.

Lawyer Ganapathi and his wife Annapurna are the eldest members of a family. His brother Subbu and his wife Anusuya live in the village. The duo treats their cousin brother Gopu, who is an idealist, as their own sibling. Annapurna is a chronic patient so Gopu's wife Susheela takes care of the family. Jealous of the bonding between Annapurna and Susheela, Anusuya creates a rift between them. Gopu and Susheela move to the village. Gopu propounds cooperative farming and prospers.

A love-triangle story revolving around an upper-class Bengali hero. Satyendra, the son of a zamindar, experiences the conflict between family duty and the modern world in terms of his desire for an 11-year-old virgin bride, Radharani, and the nurturing and self-sacrificing courtesan Bijli. It depicts several stereotypical scenes like drunkenness and a courtesan's dance.

In Calcutta at the turn of the century, two families (one wealthier than the other but both belonging to the same caste) live in adjoining properties. Their respective patriarchs fall out over the repayment of a loan and the intervention of a member of a lower caste in the families' financial arrangements. The rift causes much heartache to the younger members of the families, two of whom have secretly plighted their troth to each other.

Shiromoni, a village priest sends his son on an errand to the house of Mr. Mukherjee. On his return Kashinath discovers his father is no more. With no kin to support him Mr. Mukherjee suggests that Kashinath should move over to live with Mr. Pitambar Chakraborty, the zamindar [Landlord]. Kashinath however, is in no mood to leave Mr. Mukherjee's home as he has started to grow attached to Mukherjee's daughter Bindu.

Sisir Kumar Bhaduri's Palli Samaj. A 1932 Bengali Talkie Film directed by Sisir Kumar Bhaduri.

Radha lives with her widowed dad and is of marriageable age. Accordingly her details her provided to a marriage-broker, Avtar, who also doubles as a Ved (Village Doctor). He brings the proposal before Shriram and his wife, Sita. They approve of Radha and show her photograph to Shriram's brother, Dr. Madhu, who agrees to marry her. The marriage is celebrated with great pomp and ceremony in the entire village. It is then that the Shriram, Sita, and Madhu find out that Radha has a serious illness - a fact that was known to Avtar - but not communicated to them. This illness prevents her from being intimate with Madhu, and the only cure is when she has a child of her own. Will this marriage be annulled?

Based on Sarat Chandra Chattopadhyay's classic 'Datta', Banamali proposes his daughter Bijoya's hand to his childhood friend's son, Narendra. But, Bijoya is attracted to Bilas and has always been skeptical about Narendra. However, when Bijoya meets Narendra, her feelings take a turn towards the unexpected.

Kusum and Brindavan are two small children living in a small village in India. Both love each other, and decide to marry when they grow up. Kusum has his name tattooed on her arm. But fate has other plans - both are separated. Kusum thinks that Brindavan has betrayed her, and she burns her arm to eradicate the tattoo. Years later, Kusum has grown up and is looking after a wealthy woman in her village. The wealthy woman falls sick, and her son brings in a doctor to treat her. Kusum's hopes for meeting her beloved surface, when she finds out that the doctor's (Jeetendra) name is Brindavan

In ‘Abhagir Swargo’ the mother Abhaghi is a lower caste woman, whose only dream was that after her death she should be cremated with full rituals like the high-caste Hindus. She dies in penury and his son went further into the debt trap to fulfill his mother’s last wish.

This film is based on five shot stories of Rabindranath Tagore's Jibito O Mrito, Sarat Chandra Chattopadhyay's Abhagir Swarga, Gour Kishore Ghosh's Aei Daha, Prafulla Roy's Satgharia and Dibyendu Palit's Kaanch.

Srikanto and Rajlokkhi's sensual yet sporadic love transcends space and time. At a time of heartbreaking separation between the two, Abhaya enters Srikanto's life even as his passionate fascination with Rajlokkhi strives for closure. Srikanto is the musical retelling of Sarat Chandra Chattopadhyay's eponymous novel and presents a modern take on the relationship of Srikanto-Rajlokkhi.