Kenshin

Siddharth (Sidhu) has invented the key to happiness: a machine which generates dreams of joy. But someone is out to steal his invention. He runs for his life with Maya, his girlfriend. On the road he is met by The Fool, an old tramp who shows him that it is all just a dream and that he only needs to wake up.

On a hot summer day, a girl and her mother, who are united by not much more than a roof, are forced to sit by themselves and contemplate on what people could be and what people are.

Unemployed guests constantly pour into Jane's house, mistaking her for the previous tenant, a mystery man. Jane, though unemployed, lives her innocent life, with brief dreams and quiet hopes for her future. Her friend Suleiman, though bankrupt, lives his dynamic life around his fantasies and plans for the future. When the landlord's daughter, the Princess, demands rent from Jane, the unemployed, things are to change forever.

Sony is a kind man, a good Christian. He is always willing to lend his fellow villagers a helping hand, assist struggling children with their school lessons or organise volunteer activities. When an outcast family is struck by tragedy, he negotiates with the Church to rehabilitate them financially. Sony is not just the connective tissue, but the beating heart of this small Catholic village. Under his genial exterior, however, lurks something dark.

Anand Gautaman, a vlogger, gives dating and lifestyle advice. But the dark times of today force him to address Death.

At Chottanikkara temple, the ritual of Guruti is performed every Friday and Tuesday evening. Devotees believe that mental health issues can be healed during the ceremony.

The first still-image feature in India, inspired by Vyloppilli Sreedhara Menon's 1958 poem. It portrays marginalized lives held in an illegitimate detention centre, using dry leaves and storms as metaphors. An omniscient narrator from an undefined future recalls fragments lost to censorship, inviting others to complete the story. Through static images, memories, and voices, the film reflects on art, poverty, imagination, divinity, and power.

Kora and his brother Onan gather four men to go on a gaur hunt in order to make some quick money. Their journey progresses through their dreams, desires, fears, fantasies and struggles. Distanced from their families and loved ones, sharing stories help them remember and appreciate their inescapable pasts and make bonds. When the real and imagined nature turn out to be larger than their will and strength could handle, they learn the harsh realities of the endeavor they have taken up.

After facing failure in almost every venture, Mr. F and Mr. J, two friends from a small town in Kerala embark on an adventurous journey to a nearby city. Mr. F receive a call from a stranger who persuades them to take up and finish a task. The stranger promises upon the completion of the task they will make a fortune putting an end to their drag ordinary lives. Continuous failures in Mr. F's life has allowed him to arrive at his own philosophy and insists that we are living in peculiar times surrounded by samasya (riddles). Those who offer help/work/money, in short, people with power have choices and those who receive have none. Ironically, Mr. F in his personal relationship with Mr. J seems to have forgotten his own philosophy. Leaving no space for agency or autonomy Mr. F drags his innocent and obedient friend (Mr. J) into a huge mess from which three is no going back.

Maayunnu, Maarivarayunnu, Nisvaasangalil... or "Dust Art Redrawn in Respiration" is about s documentary crew arriving to document the life of two couples. In their conversations the couples tries to trivilize the man's 'concerns' and express their views on social life, individual freedom, borderlines in relations, power in relations etc. among other things. As the interaction progresses, a controlling voice, and then a commanding presence which determine how they should be presented and heard are revealed.