Anindya Pulak Banerjee

Four Welsh students go camping one summer in the hope that have one amazing reunion but what most of them don't realize is that one of the students wants to take them on their final trip for their past hides a murky secret. Four students plan to go on the best weekend trip ever without realizing that this will be their last trip that they take as they don't know the dangers that await them in the Welsh sleepy village of Parkmill. For the last ten years they have kept a secret to themselves and now they will have to pay dearly for what they watched happen to the poor boy called Daniel they bullied to his death. The family of Danny lie in wait for these students and want to teach them that they messed with the wrong family. Four Welsh students go off camping one summer to have one last reunion but little do the rest know that one of them wants to take them to the right place where they plan to make them suffer for what they did to one of their family members when he was just a kid. So the students have to group together to survive one bloody night of hell unleashed with no mercy.

Subhasri and Jishu are in love with each other but there is a crisis. Subhasri`s two elder brothers are very protective of her. Jishu makes a plan to win them over by joining them as their assistant. Jishu gets into the good books of both but not enough to ask Subhshri`s hand in marriage. So, Jishu and Subhashri decide to elope. The plan is that Subhasri will wait in the market in a burqa for Jishu, who will make excuses to her brothers to come pick her up. On the d-day, Jishu hastily bundles a burqa clad woman into a taxi, who, to his dismay, turns out to be another girl, Nusrat, who is the sister of the two most infamous dons of the city. Jishu realizes he is in trouble as he has eloped with the wrong girl. What follows next is a comedy of errors set to a chase sequence. Will Jishu be able to get the love of his life? Will the two brothers agree to wed their only sister to Jishu? Will the Dons spare Jishu for kidnapping their sister?

Nirbaak comprises of four love stories connected through the theme of silence. The stories are intertwined and connected through Sushmita Sen`s character.

Maharaja Arunangshu, the ruler of a princely state named Balabantpur, had made a wish list on his death bed in the presence of Dewan Chandrashekhar, the family physician Kaligati and the High Priest. It laid down certain conditions for his heir, his son Himangshu. The first of which forbade Himangshu from marrying a non Hindu girl, and the second demanded a legitimate heir within three years of his marriage. Bound by the conditions of succession, Himangshu is compelled to marry Alaka, an aspiring actress. A year and half into the marriage, Harinath, the young palace librarian disappears without any trace. This mystery occasions the arrival of the sleuth Byomkesh and his author friend Ajit to Balwantpur. The visit though is under the pretext of an invitation for a hunting expedition. The ensuing story revolves around his unveiling of the culprit behind the mystery of Balwantpur.

A social satire that questions prevalent gender relations. However, the script does not stop at questioning patriarchy only it also raises sharp questions about matriarchy as an alternative. This double angle allows the script to challenge the imbalance in power distribution in personal, familial and social relationships the very basis of gender injustice per se. The film operates with a comic approach even to depict the most unpalatable forms of injustice meted out on the basis of gender imbalances. Cutting across situations in the world with deep concern in the Heavens about the prevalent conditions on earth, the script refers everything from Bengali intellectualism to wrong notions of the panacea for all ills lying in power changing hands in the form of patriarchy being replaced by matriarchy. It is only towards the end that the script subtly veers into a more serious mode that stresses the need for mutual understanding among couples and highlights the need for individual women to take charge of their own lives as a step towards a greater social change. The narrative is never linear. Represented in a script written by, an ambitious but failed filmmaker, Aniruddha, who is also depicted to be a rather uncaring husband and father. He is too wrapped up in himself to care for what his wife Swagata is going through, or his childs justified expectations from him. In his script an oscillation between the World and the Heavens takes place. Human beings and gods and goddesses from the Hindu pantheon appear together to depict an imagined reality that would get people to double with laughter only to be soberly reminded in the end that much of the fantasy is rather real in our surroundings. The script within the film zigzags between gender injustice in this World and the concern in the Heavens about that. Real life issues of dowry demands, son preference, chaste and devoted wives with drinking, torturing husbands are captured through Aniruddhas script. The Dutta family with one failed lawyer as the master of the house, his wife, a married son with two daughters and the younger son in a relationship with a woman his father does not approve of provides the locale for these. The concern at the Heavens on the increasing rate of violence against women, very much a reality in the world we live in, allows the satire to reach incredible heights of absurd comicality by upturning the entire scenario where the drunkard, torturing husbands take on the roles of their enduring wives; men get sexually harassed and women rivals engage in all-to-known action sequences over a man they both fancy. The heavens are modeled on a corporate media house, subtly reflecting the role media can play in challenging issues that matter. Aniruddha is made to question his own position and perspective through his own script and more importantly by his wife Swagata as she takes her first decisive steps for herself underlining the need for individual change to precede social change. At the end, the film goes back to Aniruddhas script and through a discourse in the Heaven, takes the argument another step forward, beyond the `gender-equality` platform and tries to explain the notion of social equilibrium in general.

Based on the country`s current socio-political conditions, the film talks about the hardships the common man faces everyday in his struggle for existence and how Netaji Subhash Chandra Bose would have reacted to the situation had he been amidst us today. This movie is a venture to try and re-instill the affinity and reverence that Bengalis should have about their origin, heritage and culture.

Joe convinces P to put her hair up and she is comfortable enough with Joe to let her right ear be exposed. At this time

The story depicts a rich North Kolkata culture and the root of Para cricket embedded into it with a high level zeal. Penned by Padmanabha Dasgpta the film is about a passionate cricket team of North Kolkata...A typically south Kolkata Dude who shifts to Dorjipara in North Kolkata..the stark difference in culture that creates hell in his life and how he falls in love with the landlords niece. The simple story of youth, laughter & romance takes a dramatic turn where a game of cricket alone can decide the winner, between the politics of real estate takeovers and the passion for Para that is still alive in the middleclass Bengali.