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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.

'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.