Soumya Mukhopadhyay

While trying to get out of a failing marriage, Raja gets into a steamy affair with Rupsha, a woman with a criminal past. However, he becomes the prime suspect when Rupsha is found dead. What happens next?

Having invaded Lanka to rescue his abducted wife, Lord Ram must face the mighty Meghnad, Lanka’s invincible crown prince. What should have been a righteous battle between equals is manipulated by the gods, who conspire to favour Ram and deceive Meghnad.

An intimate portrayal of Suvana Sudeb, a transgender person, who undergoes Gender Affirmative Surgery in order to negotiate the conflict of body and mind. This decision creates turmoil in her family, who fear societal backlash. As love remains elusive as always, Suvana realises that the surgery could not change her destiny, forcing her to reconcile with reality anew.

This 108-minute feature, set in Kolkata, delves into the revival of Tapan Theatre by capturing the essence of four actors working on a play amidst the historical venue’s resurrection post-COVID.

Based on the testimonies of former migrant workers, A Chronicle of the Lost retraces the journey of one of them, embodied by a fictional character wandering through the now-abandoned jute mills of Calcutta. The imaginary letters he sends to his wife, who remained in their village, weave a poignant elegy to a community destroyed by the rise of capitalism.

Every visitor to this interactive web installation will take home their own queer pamphlet, based on the word they have spelled with a queer alphabet—from the A in Appearance, through Fluid, Intersectionality and other key concepts, to the Z in Theorize. Because each letter is linked to a short film showing the non-binary Indian performance artist Kaur Chimuk, the word automatically creates its own edit. With subversive queerness, these cinematically extremely varied performances, that are as vulnerable as they are powerful, enter historically and socially significant terrain, such as the 16th-century Jamali Kamali tomb of the gay poet and his lover, a dilapidated Portuguese church in Goa, or the famous steps on the banks of the Ganges in Varanasi. But equally, the artist places themself naked in an empty factory or dyeing their feet on a busy street corner. Together these images create a view of a non-binary future from a postcolonial, South Asian perspective.

It is summer in Kolkata, India. A man waits at a bus stop in the morning while a girl with a violin waits in the afternoon. One day their paths cross. A strange relationship unfolds as they begin exploring the quiet of the city. Unable to settle down, they decide to leave the crumbling city. Season changes. It is raining at the bus stop.