Akhrot

"Fag End" is an astute representation of the metaphorical death of a mother. The movie revolves around a girl named 'Tania', a victim of smoking and alcohol abuse, going through the process of In vitro fertilization. When it comes to alcohol and smoking, an abuser is overlapped with the tendencies of both alcoholism and chain smoking wherein one is subjected to intense cravings, followed by untoward mental as well as physical detention. Things go downhill one morning, as she relapsed the night before and she suffers a miscarriage. Does it not leave us with the raucous screams of the unborn?

An experimental narrative, “Legxpression” uses leg movements to portray the raw emotions of its characters, contrasting the fleeting nature of commodified intimacy with the enduring depth of genuine love.

Time - a fluxional notion floating all around us, yet which we can’t catch sight of. The flick ‘Time can never mend’ is all about the conception of ‘time’, yoked together one and the same but not as they seem on the extent of existence of the ‘dramatis personae’. The existence of the characters circulate in the loop of different timelines as if their future may randomly strike their past or change their fate with esoteric cause-effect link. The film revolves around one central character, the exploration of his odds and probabilities affected by time with apparent variations of the laws of chance. Commencing an asymptote, the film focuses on a connection to a thread beyond time.

A modest tradition of making clay images existed in Bengal in pre-British times. These craftsmen originally “Potters” by caste became the core settlers of Kumartuli, which means “Potters Quarter”. “Documentation of Clay Image Makers of Kumartuli”s an attempt to understand their plight and Kumartuli’s contribution to one of the biggest festivals in the world.