Rajinder Singh Bedi

A 1968 short documentary film by Pier Paolo Pasolini where he visits India in the search of a king who could give up his body to feed a starving tiger.

A grieving widower has a complex relationship with his daughter, blaming her for his wife's death. As she grows up, a kind poet helps her heal and find happiness despite her father's conflicted behavior.

Balraj Sahani plays a professional Artist with wife Achala Sachdev and son Manoj Kumar caught in the trap of Rehman and Shashikala who for the payment of a large Life insurance policy frame him in the murder of Rehman - who escapes to a world of crime after becoming a dead man for the world.

Memdidi tells a simple and endearing story of Mrs. Roy (Memdidi), who moves in as a new neighbor to the two local tough guys, Bahadur Singh (David) and Sher Khan (Jayant), with a heart of gold. Hrishikesh Mukherjee's direction and screenplay makes this movie a gem and worth watching again and again.

Two men take shelter in a derelict mansion situated in the countryside during a storm. One of the men suddenly becomes aware that he once visited this mansion in a past life; he recounts a story about when he was Anand, a painter, who fell in love with a tribal girl named Madhumati.

A young boy travels to Delhi, wanting to meet Prime Minister to seek justice for his father who has been wrongly sentenced to death.

Shanta Dhamle lives a wealthy lifestyle in Bombay along with her dad, Shamrao, and mom, Ansuya. She incurs their displeasure when she falls in love and gets married to a poor and overly sensitive writer, Gopal, who moves in with them, and continues to suffer verbal abuse at Shamrao's hands. On the occasion of Holi, while his book 'Agla Kadam' is being published and marketed, he puts some color on a pregnant Shanta's expensive Saree, which upsets her, she humiliates him, and he walks out. He starts writing under the pen name of Santosh, and when Shanta finds out, he changes his name to Vivek, and again to Chitrangh, and does not communicate with her. Four years later, a day before Holi, he has accumulated enough wealth, hundreds of expensive and colorful Sarees, a doll for his daughter,

Raja and Ashok are old friends, almost like brothers. One day Raja meets and falls helplessly in love with Madhu. A bit later, Madhu and Ashok meet by accident, and Ashok also falls in love with her. It gets further complicated by the fact that Ashok's father was in love with Madhu's mother and continues to carry a grudge against the family.

Neena and her mother stop by at a motel where she falls in love with Kumar, another occupant. When the two decide to get married, Neena learns of Kumar's dark past.

In a small industrial town near Bombay lives Bholanath, who works at the local mill, and is the proud husband of Gauri, a daughter, Champa, and above all his son, Ramaiya, who is a graduate in the arts faculty, - the only one in this town who has attained this degree. But times are hard, and jobs are difficult to come by. When Bholanath loses his job, Ramaiya decides to find employment, and does so as a menial worker in the same mill his dad used to work. Ramaiya is very popular with his co-workers and they soon elect him as their new union leader. This puts Ramaiya in conflict with the Management of the Mill, headed by the owner, Kapoor, who has ordered that Ramaiya be eliminated post haste. But Ramaiya is determined to address the workers' grievances, and he gets himself framed for theft; has the police on the lookout for him, and so Ramaiya goes into hiding.

Childhood sweethearts grow up in a small village with a love-hate relationship which changes to love when they mature.

Rani gets into trouble after the death of her husband, Trilok. Her mother in law all the time curses her. Her family's crises worsens with the arrest of her brother in law, Mangal. Now she has to feed her family from nothing. Moreover she also has a social insecurity due to her husband's death. How will her family recover?

Jwala (transl. Flame) is a 1971 Indian Hindi-language action film directed and produced by M. V. Raman and written by Chandliyan. It stars Madhubala (in her final, posthumous film appearance) and Sunil Dutt, with Sohrab Modi and Pran in pivotal roles. The film's music was composed by Shankar–Jaikishan.

After meeting the love of his life at his sister's wedding, Deepak decides to take Rajini to meet his own mother, she fully approves of Rajni and all seems well. However, when Rajni returns after meeting with her mother about the wedding, she claims she never loved Deepak.

Shanta, a widow who wants to question the orthodox society, falls in love with Shekhar, a poet. In her quest to fight the system, Shanta's father-in-law, a retired judge, supports her.

A well-known singer gives up her profession to marry a young doctor, but begins to feel neglected by her husband. The return of her former boyfriend adds fuel to the fire.

Committed to taking care of her widowed mother and younger brother, Usha tells her sweetheart, an army officer, that she cannot marry him until her brother has grown up and can take care of himself.

Girdharilal lives a poor lifestyle in Delhi along with his wife, Geeta, and two daughters, and a son. He works as a Money Order Clerk in the Post Office, earns Rs.110/- per Mensem, and wears a torn coat that his wife is tired of stitching. One day at work, he makes an error in a money order but does manage to fix it, collects his pay, and returns home, refusing to drink...

A fictionalized account of the life of poet and nobleman Mirza Ghalib during the reign of the last Mughal Emperor, told through the lens of his ill-fated love for a beautiful courtesan he called Chaudhvin.

Tells the story of newly weds Hamid and Salma. They move into a rental flat next door to the local red light district. The flat had been the former home of a well known mujra and qawali singer, Shamshad. Men still come to the door in the hope of seeing Shamshad and do not seem too put out by seeing Salma despite her protestations. The couple struggle to live within the bounds of their own moral code while the earnings of prostitution seem to be flaunted around them. Hamid gets more and more angry and seemingly unable to reconcile his morality with the immorality of the world and at one point beats his wife and then rapes her making her into a 'whore' of his fantasy. The story here bears resemblance to the later 'Ek Chadar Maili Si' by the same director and seems to explore the complex world of women and sexuality as viewed by Indian men: mother, goddess, whore. This film also explores the ethos of prostitution in its reality and as a metaphor for the outside world.