Sonchidi (The Golden Bird) is about two travelers who are in search of a flying-craft, which one of them thinks is made by a mad engineer whom he recollects from his childhood. They believe that if they can find the craft it could possibly take them to the ultimate escape from the cycle of births. On their way to find this machine, they record their memories, dreams and fears in a sound-recorder and a notebook.

The film opens with a scene of a tableaux patterned on the painting by Raja Ravi Varma, of Raja Harishchandra and his wife with their son. The film revolves around the noble and righteous king, Harishchandra, who first sacrifices his kingdom, followed by his wife and eventually his children to honour his promise to the sage Vishwamitra. Though, in the end, pleased by his high morals, the Gods are pleased and restore his former glory, and further bestow him with divine blessings.

A poor, but bighearted, man takes orphans into his home. After discovering his scientist father's invisibility device; he rises to the occasion and fights to save his children and all of India from the clutches of a megalomaniac.

Simple stories from everyday life, popular culture and folklore that explore the continuum of life and death, of love and paranoia, of trade and value, of need and invention, of hunger and enlightenment. A poor kid living on the street wants to eat cake - his father uses imagination. A girl wants to buy a doll with alternative currency. A young boy gives a security guard some lessons in frisking. A young chef tries hard to get his hands on a recipe for a chocolate pudding. A paanwala baba is about to break his twenty year long vow of silence. The five moments of its childlike innocence branch out into a more intricate gamut of an urbanscape, culminating into a climax where the stories no longer exist as singular threads in their own vacuum but come across and play with each other to form the cosmic fabric itself.

After being released from prison for Forgery and Theft, Raju (Dev Anand) reflects on his life as a Guide; his meeting with the daughter of a prostitute, Rosie (Waheeda Rehman), who was unhappily married to Marco (Kishore Sahu), and wants to take up acting and dancing as a career. Rosie separates and moves in with Raju and his mom (Leela Chitnis). Then both re-locate, and with Raju's encouragement, she succeeds in an acting and dancing career, resulting in both becoming very wealthy. He then succumbs to gambling, and alcohol, and forges Rosie's signature. He is arrested, tried in court, found guilty and imprisoned. Now discharged from prison, he changes his mind about returning home to his mother, and decides to go elsewhere and start afresh - a decision that will alter his life and way of thinking forever.

A River Called Titas is an adaptation of an autobiographical Bengali novel by Advaita Malla Barman that spans the course of over 30 years. Made shortly after the independence of Bangladesh in 1973, director Ritwik Ghatak's black and white film tells an epic story of a small fishing village surviving along the banks of the Titas River. The members of the community battle with heartache, bandits, mental illness, death, and ultimately the River itself that is gradually drying up and taking their livelihood along with it. The River becomes more like a character than a setting as it flows along at once peaceful, dreamy, and abundant to eventually dismal and scanty. The stunning score, which is all local folk music, encompasses the emotional and nostalgic feel of the film and Barman's lyrical storytelling. Ghatak mourns a past that is disappearing with the Titas, but somehow the river finds a way to keep flowing.

A fresh new blend of observational documentary and tropical science-fiction, JOHN & JANE follows the stories of six call agents that answer American 1-800 numbers in a Mumbai call center. After a heady mix of American culture training and 14 hour night shifts, the job soon starts to take its toll. Counter pointing the fluorescent interiors of late night offices and hyper-malls with the uneasy currents swirling around the characters, JOHN & JANE discovers a young generation of urban Indians that are beginning to live between the real and the virtual. However, this futuristic world of American aliases and simulated reality is not science fiction, these are the times in which we live. JOHN & JANE raises disturbing questions about the nature of personal identity in a 21st century globalised world.

Before My Eyes is a mesmerizing filmscape on the Kashmir valley. There are no flower sellers on shikaras, no artisans selling embroidered shawls and walnut bowls, no tinkling of the oft-heard santoor. Instead Mani Kaul puts together a symphony of incidental sounds, the gurgling of mountain streams and the plop of oars as a boat glides over the placid water of a lake. A single note, low and long drawn, like the cry of a mountain beast, gradually evolves into the trains of Raag Shree as the camera skims over the waters of Dal Lake to enter a boat house where a young woman squats on a bed playing the plaintive raag on a cello.