Ramkhind

This film explores various aspects of litterateur and painter Ram Kumar's personality by structuring the film around his stories and paintings, traveling between fragments of his past, present, fiction and imagery. It strives of etch out the synthesis of word and image in Ram Kumar's creations, presenting it as a portrait of the artist himself. The text used in the film is from various short stories by Ram Kumar.

A series of three episodes which explore the relationship between men, women and the physical and mental spaces they inhabit.

Suggestions of ancient and modern myths and folklore coalesce in dreams to bring alive a colourful animated world.

Led by mysterious sounds and footprints, a painter wanders within a surreal space of the forest, his own paintings and oneiric spaces.

The 18th-century Indian painter Nainsukh of Guler receives a poetic, visually stunning tribute from a young Indian filmmaker employing an arresting pictorial language. Shot in the region where Nainsukh produced his most celebrated work, this is a meditative and meticulous recreation of the world of an artistic genius.

The village artist Jangarh Singh Shyam left home and became a well-known contemporary painter. He committed suicide in 2001. Through his art, places and stories, the filmmaker explores the traces he left on his path.

An ascetic walks through the narrow streets of a village every morning while his family is still asleep. In his semi-somnolent state he dreams about the history of the village mixing up myths, folklore and facts.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

Jangarh Singh Shyam, a famous Indian artist born in an isolated tribal village, committed suicide in a Japanese museum in 2001. I found on an old MiniDV tape the images of a trip I had undertaken in 2008, when I had gone looking for him in his native region.

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.

When a gallery of paintings becomes emptied of its spectators, the curtains raise within the paintings.

A boy plays with his balloon. Something unexpected happens.

In Himachal Pradesh’s Kangra Valley, an ancient network of kuhls – hand-built water channels – carries water. The kohlis, “water masters,” struggle to protect this heritage, custodians of a way of life where water flows alongside folk tales, myths, and local arts.

Professor B.N. Goswamy travels back along the path of some forty years’ research on the 18th century Indian master-painter Nainsukh. Field-Trip follows the scholar in the lower western Himalayas as he tracks down contemporary vestiges of Nainsukh’s lineage.

The Ashokan rock-edict in a remote Himalayan village has the last fragment of a script only decipherable by few experts. Some miles away in Shimla, the art-historian V.C.Ohri, who uncovered the origins and techniques of Pahari paintings, warmly welcomes visitors. He is meeting them for the very first and last time.

This short-film was made by Amit Dutta to encapsulate some essential teachings of Kashmir Shaivism as taught by Bettina Sharada Baeumer. The film was shot at Indian Institute of Advanced Study (Shimla) in 2016.