After this victory, Gandhi is invited back to India, where he is now considered something of a national hero. He is urged to take up the fight for India's independence (Swaraj, Quit India) from the British Empire. Gandhi agrees, and mounts a non-violent non-cooperation campaign of unprecedented scale, coordinating millions of Indians nationwide. There are some setbacks, such as violence against the protesters and Gandhi's occasional imprisonment. The Jallianwala Bagh massacre is also depicted in the film.
A small village on the sandy fringe of Saurashtra, where illiteracy is pervasive, employment is scarce, women are routinely oppressed, and landlords are all-powerful. The British still rule India. An officer of the alien government, a Subedar, assigned to collect taxes, arrives in the village. He is a combination of a braggart and a clown with a sadistic streak to him. He is accompanied by his soldiers and a horse, a proud symbol of his authority. The moment the Subedar sets his eyes on the dusky Sonbai, a spirited beauty known for her defiant ways, he forgets all about taxes and lusts for her openly. Knowing that it is normal for a Subedar to expect gifts from a village, he shamelessly demands Sonbai and the spineless villagers, knowing that Sonbai's husband is away, agree to oblige. What happens next?
JAANE BHI DO YAARON
A photographer-duo start a studio, only to find wrong things happening right from its launch. However, their photographic assignments lead them to expose shady facts about the city's builders, municipal officers, and others. The film exposes many evils through its hilarious style, which weaves into its narrative slapstick comedy, as well as epic (a la Mahabharata) episodes to incisive effect.
While working on their story, Sudhir and Vinod decide to enter a photography contest that carries a prize money of Rs.5000/-, and take a number of photographs all over the city. On developing their pictures, in one of the photographs they see a man shooting someone. Upon enlarging it, they realize that the killer is none other than Tarneja. They immediately return to the park where they had shot that picture and realize that the body is lying behind the bushes. Before the duo get to the body, it disappears, but they manage to retrieve one of a pair of gold cuff links. Sometime later, they attend the inauguration of a bridge dedicated to the memory of late Municipal Commissioner D'Mello who is supposed to have died of a terminal disease. It is there that they discover the other cuff link. They return at night and dig up that area and unearth a coffin containing the dead body of D'Mello.
EK DOCTOR KI MAUT
After years of painstaking research at the cost of his personal life, Dr. Dipankar Roy (Pankaj Kapoor) discovers a vaccine for leprosy. The news is flashed over television and overnight, an insignificant junior doctor receives international recognition. Professional jealousy and abuse of power threaten Dr. Roy, even as the Secretary of Health reprimands him for breaking the news to the press. He is asked to report to the Director of Health. Professional colleagues Dr. Arijit Sen and Dr. Ramananda invite him to a lecture but it is merely a pretence to humiliate him. Dr. Roy suffers a mild heart attack but he refuses to go to the hospital. His wife (Shabana Azmi) and a few others like Dr. Kundu and Amulya (Irfan Khan) stand by Dr. Roy, but the harassment continues; a letter from a British foundation, John Anderson Foundation, is suppressed and Dr. Roy transferred to a remote village. The last straw is two American doctors receiving credit for discovering the same vaccine. Dr. Roy is shattered.However, at the end Dr. Roy gets an invitation from John Anderson Foundation inviting him to be a part of an eminent group of scientists working on other diseases . Dipankar Roy realizes that his research was fruitful. He also decides to accept the invitation as he just wants to work for the betterment of mankind.
ANEY GHORE DE DAAN
On a foggy winter morning, a Dalit family in a village in Punjab wakes up to the news of the demolition of a house of one of their community members on the outskirts of the village. Father, a silent sympathiser, joins his community in demand for justice for the affected family. The same day, his son Melu, a cycle-rickshaw puller in the city, is participating in a strike by his union. Injured and alienated, Melu spends the day quietly resting and later joins his friends as they tease him over his state of affairs. Hesitantly, he drinks with them in the night as they debate the meaning of their existence. Cycling through the city streets, Melu feels lost and wonders where to go and what to do. Back in the village, his mother feels humiliated at the treatment meted out by the landlords in whose fields she works. Gunshots are heard in the night and the village is tense. It's the night of the lunar eclipse. A man wanders asking for the traditional alms while Father decides to visit the city with a friend, even as his daughter Dayalo walks through the village streets in the night.
Sanjay wanted to study art but his domineering father, an engine-driver in retirement after a crippling injury, insisted that a railway job with its security was the best thing for him. So Sanjay ended up as a train conductor unhappy with the career forced upon him, and the mechanical, meaningless life that he lives. In the course of his duty on the train he runs into a working girl Shalini and feels attracted to her. His father hears about his interest in Shalini, strongly disapproves of it and intervenes in Sanjay's life once again. Unable to stand up to his father, Sanjay soon finds himself married to a village girl. Life becomes even more unbearable for Sanjay. He takes to wandering and seeks comfort in drink and brothels. One final chance comes his way to break loose from his shackles and plan a new life with Shalini...
EK HOTA VIDUSHAK
An illegitimate son of a tamasha dancer, Aburao has a traumatic childhood. His mother leaves her dance troupe to become a landlord's mistress and after his death returns to the stage. Starting as an odd-job man, Aburao's talent in mimicry and singing combined with his satirical humor soon make him a much sought after songadya (clown).
Aburao then marries a well-known actress, Maneka but soon the marriage begins to disintegrate as Aburao realizes that she has married him on a whim and is still seeing an old flame.
His life changes when his mother's guru comes to him with a sullen little girl, the illegitimate child of Subhadra who was Aburao's lover while in the troupe. Shaken, he makes it his mission to make the unsmiling little girl smile but fails repeatedly.
It is at an election rally where he has been medicated and tricked to perform in spite of an heart attack, that in his trance-like state, he only notices his little girl and begins to tell her a simple fairy tale, not being crafty or cynical, not mimicking anyone, but being himself, telling her a simple tale of pure joy.
But this is not what the audience expected. It expresses its disappointment with shoes and other missiles hurled at the stage. The politician beats a hasty retreat but Aburao's daughter is enraptured, hugging him, laughing, full of joy!
Parinamam tackles the age old issue of loneliness and redundancy among the aged. Balakrishna Marar faces callous treatment from his family after his retirement. Parallel to his story is that of the mentally disturbed and lonely former judge Damodaran Nambeeshan, who goes to Kashi in search of peace. There are five other senior citizens whose problems form the basis of the film. The story is about all these good people whose lives fall apart when they grow old. They lose everything they hold dear and start feeling rejected, as if they are burdens on their family and society.
Acharya Udupa is a vedic scholar running a residential school - a gurukul. An austere man demanding rigorous discipline from the novices under training, he accepts the latest disciple, Nanni, with the utmost reluctance. Nanni's training begins at two levels, the formal one with the Acharya, informal one with a couple of fellow novices. Also living with Udupa is Yamuna, his young daughter, a widow, whose life has a secret side to it. She is in love with the local schoolmaster a forbidden, abhorrent idea for the Brahmin society. One night, during the Acharya's absence from the village, Yamuna has an intimate meeting with the schoolmaster. She becomes pregnant and a target for the orthodox society.
Ambi returns home and is shocked to see his father unable to recognize his own son. His father, Vembu Iyer, a strong and uncompromising character known for his Vedic scholarship and sever orthodoxy is now reduced to the state of total silence, living in his own private universe of memories. Ambi learns that Vembu Iyer has retreated into silence ever since he heard about his son's unhappy marriage. Ambi is unable to understand why his father who was against his marriage to a Christian girl, has reacted in this way to his seperation from her. Gradually Vembu Iyer's self-guilt begins to surface and Ambi starts to unravel the story of Vembu Iyer's stepmother.
MAN BEYOND THE BRIDGE
A recently widowed forest ranger in India strikes up an unlikely relationship with a woman he finds lost and alone in the woods.
A simple story of an illiterate woman totally faithful to a man whom she intensely loves' is how the director describes the film belying it's emotional complexity that shows the internal conflict between a man and a woman. On the face of it, Rangi and Paddalu are a devoted, happily married couple living for each other. But when Paddalu scarpers with a boatman's cargo, Rangi, left behind, confesses that she's not his wife at all. She was acting as a decoy so he could get away with the booty intended for Paddalu's other woman, a younger, more beautiful girl. Yet she says Paddalu is her man. 'Without me he cannot live.' Why is she prepared to put her own life and liberty at risk for a man who treats her callously?
A poignant comment on the adverse effects of nationalism and a nuanced interpretation of Tagore's novella, Char Adhay is the story of Ela, loved by armed revolutionaries of the Indian freedom movement as a mascot for the country, who questions this blind indoctrination after falling in love Atin.
SALIM LANGDE PE MAT RO
Salim, a young man with a limp, inhabits a twilight zone. At one level, he belongs to a respectable, proud, though desperately poor family. Salim's roots go deep into this congested, impoverished Muslim neighbourhood. But Salim has also discovered another world, a world of deceptive charm and fatal allurement - organized crime, where a little intimidation, flashing of a knife, unspoken threats of concrete 'mob' action, bring in quick, easy bucks. Tears, and the price to be paid, come later.
In a small, tribal district town of Central India in 1929, Francis Massey is the 'English Type Babu' at the Deputy Commissioner's office. Massey believes that because he is Christian and can speak English, he is a cut above other Indians and not very different from the white sahibs he serves.
For a man of lowly birth, Massey has risen to a dizzying height. On the other hand, he acknowledges no realistic limits to his own free spirit. Whenever the real world fails him, he improvises - boldly, imaginatively. Alas, the unsmiling, implacable machinery of the Raj has no room for Massey Sahib the entertainer, travelling salesman, road foreman and entertainer. Right up to the bitter end, Massey believes that Deputy Commissioner Adam Sahib will step in and save him...
A rich middle-aged widow Damayanti, a high society patron of the arts, hosts a party in honour of Diwakar Barve, a celebrated playwright and novelist, who has received a prestigious literary award. The party attracts the literary and cultural elite of the town, as also the fawning cognoscenti which trail in their wake. One name keep cropping up in the course of the conversation: Amrit, a writer of immense talent and potential, once very much patronized by this set. Amrit, the powerful poet, left a promising literary career to join the tribal people in their struggle against exploitation. His attempt to bridge the chasm between words and deed haunts all others present at the party. He is the invisible thread binding the tapestry of the film together, his enigmatic presence finally becoming more meaningful and poignant than all the rest.
A desolate bus-stop on a highway... figure of a village woman - Balo, waiting to deliver a meal to Sucha Singh, the husband, a bus driver. He expects the traditional duties of an average Indian rural wife. Balo in turn accepts her husband's independent lifestyle.
Balo hurries to the bus-stop. She is late delivering the meal, trying to save her younger sister, Jinda, from being seduced by the village rake.
Mammo is a nickname given to Mehmooda Begum by her sisters. She marries a man from Lahore. After Partition, she and her husband automatically become Pakistan citizens. Although childless, her marriage is a happy one until her husband's death. Over property matters, Mammo is thrown out of the house by her relatives. She comes to India to stay with her only kin, her two sisters. Unable to extend her visa, she has to go back - political priorities defeat humanitarian ones!
Dharavi brings to life the squalid corruption and crime-ridden expanse of the largest slum in Asia. The fast paced plot brings us a buoyant and susceptible Rajkaran who hires rides as a cabbie and lives in a cubbyhole with his wife Kunda (Shabana Azmi) and son. Rajkaran is possessed with the desire to own a cloth factory, and making better his life's situations, he pledges all his resources to this sole dream of making it big.
His only respite from hostile realities and underhanded friends that threaten to destruct his dream is the gorgeous Bollywood starlet Madhuri Dixit; his make believe fantasy and only solace.
TRAIN TO PAKISTAN
Based on the novel by Khushwant Singh, the film has a message that transcends the border of the little village where the action takes place.Mano Majra is a sleepy town on the Punjab border between India and Pakistan, where Sikhs and Muslims have lived peacefully for years.As the freedom struggle reaches its climax, the frontier becomes a scene of rioting and bloodshed. But the village carries on its tryst with peace and bonhomie until a train rattles in at an unusual time with an unusual cargo. This train from Pakistan is bursting forth with corpses of Hindus and Sikhs. A few days later, the gory incident is repeated and the village is unwittingly thrown into the cauldron of violence and hatred.