Capital I

A small Indian village: an old man is addicted to watching pornography with his friends. One fine day, he accidentally brings home a DVD with a Godard film inside it. Though his friends were disgusted, Ananda gets attracted to Godard’s film and gradually develops an obsession. He initiates the idea of hosting a film festival in their village where Godard’s films will be screened. The festival gets organized after a lot of drama, but what happens next is to be seen.

The film is a fantasy driven tale of two men, a poet and a painter, claiming possession over the same Idea, in a rural village portrayed as a wonderland. Idea is personified as a beautiful young lady, free of all bondage. The two men try to justify their claim over their Idea through their forms of art. Unable to settle the conflict, the two men approach ‘Fate’, personified as a big fat man of authority, to judge their claims. They soon realize that Idea is no one’s possession and it isn’t wise to rely on ‘Fate’ for a judgement. They decide to bury their ‘Fate’, and settle the matter in peace. Idea, portrayed as a free spirit, gets impressed by a kid who resides in an alternate world of fantasy, and decides to venture into the new creative world. The real world, with all its materialistic obsessions, rigid notions and prejudices, loses the Idea forever.

Runanubandha, spiritually, refers to body’s memory – both genetic and memory of intimate physical connect. It is this memory which is said to bind a parent and a child, a husband and a wife or any other intimate relationships. The film explores Shatarupa’s search for her father in Kolkata. She finds the voice of her father in a young man. The paternal traits draw her towards him, but she finds herself trapped elsewhere between emotional complexities and simplicity. The film also draws a parallel with Hindu mythological tale of Lord Brahma, who was attracted to his own daughter Shatarupa

A slice-of-life film, 'Lahari' meanders through the lives of two friends: boatman Bhuta and fisherman Dinu, and takes us on their journey of trying to establish indigenous methods of livelihood for survival and to elevate their present situation. In the process, the film depicts the invasion of urban capitalism, superficial and auto-centred, personified by tourists, confronted to a certain authenticity and way of life.

The film is set in the cyclone devastated coastal villages of Odisha, often known as the land of cyclones. It is about four different characters, apparently independent of each other, who find relevance & relation in a fragmented narrative of their losses.