Rabi Ghosh

Fate separated Shipra and Krishna from their respective daughters during their birth. Will they all re-unite?

Hossain, a Bengali Muslim wants to establish a little Utopia on an island in the Padma delta. He doesn't care if the people who populate it are Hindu or Muslim. Hossain is a Bengali Muslim with an idealistic vision: he wants to establish a little utopia on an island in the Padma delta. He doesn't care if the people who populate it are Hindu or Muslim. It is 1947, just before the partition of India, and the Hindu fisherman Kuber briefly accepts an offer by Hossain to ferry some of the community's cargo from the island. He would be fishing, except that all the fish he usually catches have been driven away by a big storm. In the process of getting the cargo, he gets to see what the colony is like and, even though he is fully aware of the gripes of a former colony member and the limitations of it, comes to share some of the Utopia vision. When he returns to his home and a variety of unfortunate events make it in his best interest to leave, he knows just where to go. —Swarup Basak

A well-off family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long-lost uncle. The initial suspicion with which they greet the man slowly dissolves as he regales them with stories of his travels. A well-off family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long-lost uncle. The initial suspicion with which they greet the man slowly dissolves as he regales them with stories of his travels, tales that are at odds with their conventional middle-class perspective on the world. —Anonymous The film sees Anila receiving a letter from a man claiming to be her uncle, a man who disappeared thirty-five years prior. He turns up at her family home professing to be an anthropologist, a globally seasoned traveler en route from the United States to Australia. The family is suspicious of the stranger, believing him to be an impostor pushing a financial scam. After a grilling from the family's lawyer, he leaves as unexpectedly as he arrives, leaving behind a stunned family, and some very insightful observations. —Mr Bongo This tells the story of a woman and her husband who are visited by a man who claims to be the woman's long-lost uncle. The couple is initially skeptical of the man's identity but gradually come to accept him. The film explores themes of civilization, humanity, and the nature of truth, and is known for its philosophical depth and simplicity. "Agantuk" is notable for its introspective and thought-provoking narrative, a hallmark of Ray's filmmaking style. It reflects on the ideas of cultural identity and the clash between traditional Indian values and modernity, themes Ray frequently explored in his works.

A father encourages his daughter to marry a dying man in order to inherit his wealth. A father encourages his daughter to marry a dying man in order to inherit his wealth in this social drama set in 1830s India. She is expected to practice the ancient Hindu ritual known as sati in which the widow throws herself on the burning funeral pyre of her late husband. The British colonial government has outlawed the practice, and an untouchable tries to persuade the woman to abandon the idea that will lead to her death. The dying man often comes to life to display his jealousy as people prepare for his funeral on the banks of the Ganges River. —Swarup Basak

When Goopy and Bagha learn about Hirak Raja`s tyranny, they try to set him right with the help of Udayan, a schoolteacher, and their magical powers.

The magically musical duo of Goopy Gyne and Bagha Byne make a comeback in this sequel, where they are invited to the court of the Hirak Raja (The Diamond King), for their musical skills. They are to perform at the kingdom's Jubilee Celebrations. Goopy and Bagha are bored with their lives as crown princes of Shundi and Halla. They are looking for a change, which comes in the form of a chance to visit Hirak Rajya (Land of Diamonds), known for its huge diamond mines. They jocundly set out for Hirak Rajya. But little do they know of the machinations of Hirok Raja (Utpal Dutt). The king is a tyrant. Diamonds and riches get pent up in his treasuries, while his subjects starve and suffer. Those who protest are taken care of in the 'Jantarmantar', a chamber for brainwashing devised by the scientist (Santosh Dutta), who the king mocks calling as "Gobeshok Gobochondro Gyanotirtho Gyanorotno Gyanambudhi Gyanochuramoni." His ministers are mere puppets. The only enemy the king has in his land is Udayan Pandit (Soumitra Chatterjee). He is a school teacher and, more than that, he is a believer of values. The king forcefully closes his school down. Udayan flees to hide in the mountains. Meanwhile, Goopy and Bagha are on their way to Hirok Rajya. By coincidence, they meet Udayan, who intimates them of the king's true nature. The two impress Udayan with their magical powers, who plans to use them against the tyrant. Goopy and Bagha agree. The duo then head into Hirok Rajya, where they are welcomed with grandeur. They entertain the rogue king,fooling him into believing that they think he is great. They rob the treasury (which was guarded by a tiger) using their magical music, for bribing the guards. The king has his tricks, too. He captures Udayan and all his students, and takes them to the Jantarmantar for brainwashing. But Goopy Bagha have already reached there using their magical powers. They have also bribed the Gobeshok onto their side, with the guards. On reaching the laboratory, the king and his ministers are stunned magically by Goopy's singing and then pushed into the Brainwashing machine. After the king is brainwashed he turns to the good side,he then along with the villagers pull down his own statue situated at the center of the village,and everything goes back to normal in the land of hirak raja.

Shyam`s life takes a turn when tensions arise amongst his friends. Although his friends find solace in their lovers, Shyam remains unsettled as he is unable to express his feelings to Anu.

Unhappy with his dependence on others, a man in his 80s wishes to go back to his youth. Once while traveling, he falls into a pond and is overjoyed when his dream comes true.

Ill-behaved and disrespected like a burden by his own sons, an 80 year old person wishes of going back to his youth.

Soumitra Chatterjee plays Narsingh, a taxi driver. Narsingh is a proud and hot-tempered Rajput with a passion for his car, a vintage 1930 Chrysler and his Rajput heritage. Being a descendent of a royal Rajput family, his self-esteem is reflected through his inability to accept insult and defeat, as a result of which he even takes part in a small race with his car. He does not want to be the one who falls behind and develops a strong hatred for women and mankind in general. As a result of reckless driving, while overtaking the car which carried the district inspector, his licence is taken from him. He is utterly destroyed by it, since the cab was his life after his wife had left him for good. Deeply affected by the insult and a feeling of rootlessness, he decides to go back to the land of rajput where his true rajput lineage will be respected. While on an aimless journey, Narasingh is picked up by Sukharam who is a local Marwari businessman with a record of smuggling and human trafficking. Sukharam (Charuprakash Ghosh) offers him a handsome fee to transport some goods which actually is opium. The realisation of the immoral trade puts Narshing in a compromising position, but he decides to join hands with Sukharam anyways. After all no one he saw was truly following the path of law and morality, not even his ideal and beloved Neeli (Ruma Guha Thakurta). Neeli runs away with the crippled lover of hers and Narasingh's deep distrust of women deepens. As a result, even after knowing that Gulabi is a victim of Sukharams trafficking he forces her to sleep with him without any emotional involvement. At this point he is almost on the verge of becoming the one he used to hate, the lawless ones who also fail to face the world. Gulabi (Waheeda Rehman), on the other hand is a melancholy, demonstrative and beautiful village widow. Gulabi is instinctively drawn to Narsingh. In spite of losing her dignity, she still looks at the bright side of life and has trust that Narshing is not immoral. She is attracted to him from the beginning and ready for a physical relationship, though not as a prostitute which Sukharam intended her to be at that time, but as a village girl. After he decides to join the gang of smugglers consisting of a legal deal and selling his car, he finds that all his friends that had been with him for so long, including Rama, and Neeli's brother, have abandoned him. He gets the money and social status he wanted but reduces himself to Mama Bhagne, a symbol of someone carrying the baggage of his own sin on his head, until he topples and is reduced to mere pebbles with no dignity. He changes, and rescues Gulabi just in time, before she was to be sold to the same lawyer who was a member of the smuggling racket he had thought of joining. The tension of the good and evil collapses and the old car makes another journey into nothingness but with a halo of light ahead of it, the light of love.