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Written and performed as a tribute to Ritwik Ghatak's preoccupation with the trauma of partition and separation from a homeland, The Name of a River can be placed in continuum with Ghatak's cinema- a nostalgic return to a lost homeland as well as the bygone era of Ghatak's form and stylized treatment of memory and the loss of home. It is the story of Anusua, a Bangladesi refugee who travels by the river Padma to reach Kolkata to start in order to start a new life in a new land- and yet at the same time it is a reminder of many of Ghatak's central female characters who were burdened with the fragility of memory and the permanency of their refugee status.

This film is an attempt to portray the vast opportunities that have emerged for fruitful, multifarious ties between India and the Central Asian states, for which both regions are now working together with greater confidence. The film showcases the imperatives for deeper cooperation and positive engagement in the economic realm, which is very important for both regions to prosper peacefully.

Music has the capacity to breathe life into a cinematic image. The evolution of Hindi film music has been shaped by technological changes in the recording industry as well as other cultural forces like the local Ramlila tradition, the narrative structures of Hindi films and the rising prominence of women characters within those narratives. But despite these wide range of influences, what remains central to Hindi film music is the way the sounds, lyrics and notes touch a chord with the common man. From the streets of Bombay, to the local barber shops and the booming remixes floating in urban clubs that has generations of youth gyrating to the beats very few spaces have been left untouched by Hindi music. Arun Khopkar's musical journey is accompanied by equally joyous camera movements and thus, manages to provide a nuanced understanding of the elements of Hindi film music and how the orchestra, percussion and western influences created a harmonious confluence of unique musical patterns.

Subbalaxmi had no formal education- but a chance incident- her grandfather's failing eyesight led her to read the newspaper for him and paved a way for her to read and write in both Tamil and English. This early exposure to politics led to a lifelong engagement with the freedom struggle and the coming together of individual aspirations and collective struggles at a particular moment in India's history.

'Bonding with Africa' highlights India and Africa's friendship, cultural ties, shared history as well as shared economic interests. Having stood together shoulder to shoulder with Africa in its struggle against colonisation and apartheid, India is emerging as a dynamic partner in Africa's ambitious agenda for socio-economic development. The partnership is sustained by growing trade and investments, technology driven projects, skills development programs and innovative methods of providing concessional finance. 'Bonding with Africa' captures the dynamism embedded in the rapidly evolving relationship between India and Africa.

'Enriching the Rainbow' tells the story of the 150 year old history of Indians in South Africa. Starting from the beginning, the tale of indentured Indian labour, the films goes on to present the story of Gandhi who began his political life in South Africa. Then the film presents the role of Indians, and India, in South Africa's struggle to end apartheid. The end of the apartheid regime and restoration of ties with South Africa after 1994 has opened up new opportunities for Indian companies. The role of Indians in the economic growth and development of modern, post apartheid South Africa has been significant. The shared history between the two countries is giving greater meaning and shape to the traditional ties between two nations and impacting the global architecture.

India has a unique character. The experience of India is constant as well as evolving, black and white as well as colour. This film is an attempt to explore the unity and diversity of India through the eyes of a photographer Raghu Rai. It is not only incorporates his best work during the past decades but also tries to capture him as he stands amidst a human deluge, trying to untangle the merging and emerging of various colours, the myriad hues of every emotion, set in motion by each charge and recharge.

The name Bharatnatyam, a classical dance tradition from Tamilnadu emerges from bhaava (expression), raga (music), tala (rhythm) and natya (theater). Deeply rooted in the Bhakti tradition, it was earlier performed in temples by Devadasis. The film Sanchari synthesizes the philosophical aesthetics of the dance form with the techniques required to perform it as well as the process involved in the transfer of knowledge from the teacher to the student.

The Indian culinary experience has been diversified and modified to a large extent owing to the waves of migration, climate and the tastes of the local population. As a result, Indian food in general, and street food in particular, draws inspiration from multiple sources but always reflects local tastes. Hugely popular, very affordable, and wonderfully delicious, Indian street food has come to represent a remarkable innovation and adaptation to the changing times. From Mumbai to Delhi to Lucknow and Kolkata- the film travels through the sheer size, variety and nuances within the Indian food palette seen through the eyes of four celebrities, who take the viewer on an intimate culinary exploration of the street food they love in their cities.

'IBSA- A People's Project' discusses the relationship between three countries: India, Brazil and South Africa (IBSA). Along with sharing similarities - ranging from economic and political, to cultural and social - the three countries also have similar aspirations. The film presents some of the linkages already being forged between the three nations: how soap operas based on Indian themes have become very popular in Brazil; and how the IPL cricket brought South Africa closer to India. The film interviews dignitaries from the three countries, all of whom are very optimistic about the growing ties among the three nations, and their combined ability to provide leadership to the world.

In common perception Indian cinema is synonymous with the Hindi film industry, known all over the world as Bollywood. There is, however, a vibrant film culture in several regional languages of India that accounts for 70 per cent of all films in India. They not only provide entertainment but also cover a wide spectrum of local and global issues. Conversing with eminent practitioners of regional cinema, such as Amol Palekar, Buddhadev Dasgupta, Adoor Gopalakrishnan, Sumitra Bhave, Goutam Ghose - among many others - as well as film academics and critics, the film presents how regional cinema has relentlessly highlighted social complexities, presented thought provoking stories, and given voice to the voiceless. In the process, it has also developed a distinctive style and a huge fan following.