Brothers Chandrasekaran, Gnanasekaran and Gunasekaran are Indian immigrants living in Burma. Things take a turn when their brother-in-law dies in an accident and their father dies of shock.

A group of teachers plan to stage a play in a village. When a cast-member does not show up, a local stagehand is asked to replace him. An improvised, free-flowing ‘rehearsal’ is arranged and a mock trial is staged to make the novice understand court procedures. A (mock) charge of infanticide is leveled against Miss Benare, another cast-member. All of a sudden, the pretend-play turns into an accusatory game when it emerges from the trial that Miss Benare is carrying an out-of-wedlock child from her failed illicit relationship with Professor Damle, the missing cast-member.

Naranappa is an anti-Brahminical Brahmin who spent all his life in defying Brahmin beliefs and lifestyles. He brought a lower-caste prostitute to the Agarahara and lived with her in his house. He even invited Muslim friends to the Agrahara and openly consumed alcohol and non-vegetarian food so as to insult the other Brahmins. When Naranappa died, his cremation became a complicated issue.

A young forest ranger arrives at Rangamati forest reserve and encounters the forest mafia dealing with illegal timber and also finds them involved in killing rhinos for their horns. The forest ranger makes it his duty to fight the forest mafia who tries to eliminate him in order to continue his illegal dealings.

Set in post-independence Northern India amidst political upheaval, Taran, daughter of a wealthy landlord, grapples with societal expectations. Labor union protests underscore the changing times. Taran’s bond with a railroad engineer hints at romance. Encouraged by her renegade brother, she confronts her father about her future, challenging entrenched patriarchal norms in a shifting social landscape.

Narayanswami, a modern man living in Madras, brings an orphaned donkey to his village, much to the annoyance of his family and the other villagers. Finally, they kill the donkey. However, as several favourable events begin occurring in the village thereafter, the villagers plan to establish a temple in honour of the donkey.

The arrival of a mysterious old man in their village interrupts the idyllic life of Chindan and his friends. Upon trailing him, they discover his magical abilities, and are soon captivated by the spellbinding scenes as he conjures up fruits and even turns the children into animals. Before bidding farewell to the villagers, he turns Chindan into a dog.

The film narrates a tale intertwined with issues of untouchability and the water crisis in India. It adopts a storytelling approach reminiscent of folk traditions, drawing inspiration from the well-known Gujarati folk art form called ‘Bhavai’.

When a politician is killed, a journalist discovers that a member of parliament had the man assassinated. As his editor digs deeper, the complicity of higher-placed politicians comes to the surface, which leads to riots in one town and an attempt to suppress his story.

Ishanou is a poignant tale of love and loss steeped in Manipuri culture that tells the story of Tampha, a gentle, young wife, who abandons her husband and daughter to join the Maibi sect of priestesses, responding to the inexorable call of the deity. She then goes in search of the Meibi Guru, whom she thinks has chosen her to be initiated into the sect. But behind her absorption in the mystical world of the Maibis, lurks the anguish of a mother alienated from her child. The film beautifully juxtaposes the spiritual world of the Maibis with the rhythm of ordinary life.

Twelve years after joining the esoteric Mahima monastic order, Bikas goes with his guru on a journey in the outside world. Guru advises him to visit his mother and asks her for alms like a beggar. It is a ritual necessary for the monastic order, a symbolic cutting off all links with the past. However, his journey goes horribly wrong.