⁠In this short film, there is a boy named Anoop whose life slowly everyone starts moving away from him, friends, family, brother and everyone else, in the end he gets into the bad habit of drug addiction And he dies because of that. Anoop never loved the one who loved him. He loved the one who did not value him and because of that he got separated from his family, friends, From his best friend who had feelings for him And when he realized all this it was too late.

 The Land of Unbroken Spirit explores the history of the Bhantu community in Andaman and highlights their contribution to the Indian independence movement.

Until recently, Huni Kuin women in Brazil could not consecrate and prepare Nixi Pae (ayahuasca - vine of the soul). Only men knew the power of this medicine. This is a film about learning, transformations and the strength of ayahuasca through Huni Kuin women's perspective.

What is that you can see at night? What is allowed, what is not? What do you become a witness to? Camera in hand, some women and men from Uttar Pradesh, Rajasthan and Jharkhand venture out to record the experience of nights in small town India. Who is watching and who is being watched? Are nights crafted in silence?

Paandhrya belongs to a nomadic tribe and his family earn their living by performing acrobatic feats. He attends school in spite of the wrath of his reluctant mother who is already fed up with her drunk husband and worries daily about the survival of her little kids. In his school, Paandhrya, an introvert, is moved by a film that shows a mother’s love and culture.

An adaptation of the Hindi short story by Dharamvir Bharti, ‘Village of the Dead’, is told from the perspective of a dog, a dog that roams the streets at night to find half-dead bodies, the bodies of migrants, of slaves, of COVID patients that are so hungry and thirsty that they begin eating themselves. It is a story of thresholds, of the threshold between the living and the dead, between humans and non-humans, between humans and slaves, between humans and hungry humans. 

Gita fights for justice after surviving a brutal assault, only to have the court dismiss her case for lack of evidence. That night, in a haunting dream, she watches as a jury of a politician, policeman, member of State Women Commission, lawyer, journalist, neighbour and village headman debate her fate, clouded by cynicism and prejudice. Only an activist dares to challenge their biases, exposing police negligence and the fear of standing up to power. As tensions rise, hidden biases, police negligence, and fear of the powerful unravel, forcing the jury to confront their own complicity. Just as the jury finally breaks free from misogyny and delivers justice, Gita wakes up—to a reality where her attackers still roam free. Trapped in a system that fails to protect her, the film forces us to ask when will justice stop being a dream?

In response to the COVID-19 pandemic, a collective of indigenous artists belonging to India’s ‘ex-criminal’ De-notified Tribes and associated with Budhan Theatre, decided to produce video podcasts of the impact of the pandemic on the margins. This process was an effort to generate memory against processes of collective amnesia; and to usher indigenous communities to the digital space in a post-pandemic context, where the digital has become an essential component of our cultural and economic life. This film tells the story of the makers, who did not stop recording despite losing members of their own family along the way.

A sanitation worker dreams of becoming a lawyer to fight for her and her fellow workers’ rights; a mother dreams of sharing her secrets and struggles with her child; a woman rehearses to prepare for a difficult conversation with her boyfriend…

Kathi, Kathi, Kaarana is an anthology of ‘true fiction’, narrated and produced by the workers and their families from the city of Bangalore.

A girl dreams of a good education system in her country, she wants to become a teacher and fulfil her duties towards her students. Another joy enters her life when her mother starts to fulfil her duty to marry off the girl. But the girl’s dreams are shattered when a police officer disregards his duty towards the country and its people.

An artist from one of India’s “ex-criminal tribes” marches through the streets and subway trains of Boston in winter. The camera tracks his boots, entering his point of view — a stream of interwoven memories, historical images, and present sights. Memories of poetry, of street theatre performances back home, a mirror-figure of a young boy, now a long-dead ancestor, caught behind barbed wire, images from the personal and community past, as well as from the artist’s immediate surroundings all rush together, populating the present moment of living abroad.  

A writer regrets his decision to live in mountains, his hometown, as soon as he realises everything from culture to climate has changed.

Haq is a reflective film examining the century-old customary law, Wajib ul Urj, originally designed to protect tribal land and culture. However, this law prevents wives and daughters from inheriting ancestral property. The film calls on the community to find a solution that ensures women’s rights while safeguarding tribal land and cultural heritage.

 Ashok goes back from the city to his village with an agenda. At home he discovers that his parents have found him a bride. Caught between the dual realities of orthodox village life and his progressive city life he struggles to speak his mind.

Chanda is the undisputed pithoo champion of her basti. She has managed to continue her reign with the ownership of the ball and her sharp aim. One day her mother has some news - she and her best friend Shameem, have been enrolled in a big school - one that brings with it new books, uniforms and shoes!!

Bloodstone sheds light on lives of workers in Jodhpur's stone quarries and their struggle with silicosis, a debilitating lung disease caused by years of exposure to hazardous dust. The film uncovers the human toll of this preventable illness and the systemic neglect that perpetuates their suffering.

The film is a journey that perhaps began decades ago and has been many years in the making. The Hakki Pikkis are a free spirited nomadic tribe who began their wandering many generations ago in the North Western part of the Indian subcontinent.

Over time they traveled through and settled in different states of the country. As they moved, they survived through trapping birds and hunting small game in the forests and selling them in cities and towns along with lucky charms and trinkets. If the trap failed, begging was the next best bet!

This short film explores the lives of the Bahurupi community—traditional performers who make a living by entertaining people and bringing laughter. Once esteemed as informers and entertainers under royal patronage, in the present day, they are often dismissed as impostors. The COVID-19 pandemic made this nomadic community’s life more precarious, further marginalizing them in a rapidly changing world.

Shubham, a special child born into the Chhara Denotified Tribe, harbours a dream of becoming an actor. He finds hope and training in Budhan Theatre, a community-led initiative empowering marginalized voices. Despite enduring extreme poverty, his passion for acting remains undeterred. However, the deep-rooted stigma surrounding his community shuts him out of the education system, leaving him with no choice but to follow in his father’s footsteps as a thief. As he struggles against a destiny shaped by societal prejudice and colonial-era stigma, his story unfolds as a powerful reflection of how dreams are stolen from the oppressed.