Wimal Kumara de Costa

The film deals with the inter-ethnic, communal violence between Sinhalese and Tamils. It demonstrates the ambivalence of the Sinhala socio-political establishment towards the Tamil people.

In a fishing village, Anton Aiya is an exploiter who outwardly resembles and acts like a regular fisherman, but he exploits and feeds off the other fishermen. In this setting, members of the urban entrepreneurial youth. They have adapted to Western culture, dressing like Westerners and preferring Western music. Conflict arises between Anton Aiya and Baby Mahattaya (Victor), a representative of the urban youth. A middle-class leftist, Weerasena, is also part of this group. The arrival of these youths has clearly caused a social crisis requiring a solution, and all Weerasena can do is stand on a platform and deliver a speech that no one listens to. He finally leaves for the city.

​A naive village girl’s romantic dreams are shattered when she is forced into an abusive marriage with a cruel aristocrat. Stripped of her innocence, she must find the strength to defy the patriarchal society that bounds her, transforming into a hardened, fiercely independent woman.

Susila lives in a small village with her mother and two brothers. Growing up facing the bitterest realities of life, her coming of age is delayed. But once it happens, she instantaneously attracts the attention of the young men in the village leading to conflict.

The cost of living sky rocketed. The government introduced an income ceiling. Private practice for doctors was abolished. It was the fate of Dr. Moladanda to live with a struggle he did not create.

Three young men have to face the realities of adult life as they move on from youthful frolicking to battle issues of unemployment, restlessness and the allure of the city. Two of them, Jaye and Gune, unlike their other friend who finds both a job and a wife, have only each other for company, In search of quick and easy money, they fall into hands of a scheming network of underworld figures.They become hustlers and decide to outwit their contact.

Cheriyo Captain is a 1995 Sri Lankan Sinhala comedy film directed by Roy de Silva and produced by Thilak Atapattu for TK Films. It is the second film of Cheriyo film series, which is sequel to Cheriyo Doctor.

Dharmesena Pathiraja's only Tamil language film, Ponmani (Younger Sister) is about a starkly different socio-economic culture and political climate. Set in the northern city of Jaffna, it traces the fortunes and concerns of an economically depleted upper caste, lower middle class family. An evocative film about land, women, romance and tragedy, narrated in an idiom of understatement.