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查兰达斯（Charandas）和他的哥哥巴坚达斯（Bhajandas）以及嫂子一起在印度的一个小镇上过着贫穷的生活。他处于失业状态，并决心跟随乌斯塔德·马斯德拉姆（Ustad Mastram）成为一名摔跤手。

一位孤独的祖母在社交媒体上发布了一条关于即将到来的“婚礼”的消息，结果给孙女的婚礼带来了混乱，促使托尼·卡尔拉去弥合家庭中的深层裂痕。

India based Shomu and his wife Meenu are a happily married couple with two children. Shomu decides to travel to Britain for business purposes, as well as to meet his childhood friend, Ravi Kapoor. Once in Britain, Shomu finds himself getting close to single women, and realises that he is now ready for an extra-marital affair. His friend, Ravi Kapoor, on the contrary believes that Shomu is the luckiest man on earth, as he is in love with his wife, and their marriage is rock steady. Not trusting her husband, Meenu asks a U.K. based friend to check up on him. The friend reports back that Shomu is involved with a woman named Tara. Meenu decides to go to Britain as well and catch Shomu red-handed. In the meantime, Ravi meets with a waitress named Menaka Choudhary and decides to propose marriage to her, apprehensive that she too will turn him down. The stage is all set for sparks to fly, and emotions to rise.

Comedy movie is about a Punjabi and Gujarati family. and their cultural clash. Gujarati is played by Paresh Rawal and Punjabi Played by Rishi Kapoor.

A group of students are taken as hostages in their own 'Basanti College' by a gang of terrorists.

Basanti is a brave working class teenage girl whose father Shankar is respected in the village for his honesty. Bhavani Shankar wants to force him to support his puppet candidate in the next election, but his brother, Basanti's father, supports another good man, Aftab Ahmad Khan. Bhavani Shankar's henchmen kill Basanti's father and Aftab Khan in front of the girl's eyes.

Laali and Ladoo get trapped in a royal wedding that takes place in Vadodara.

This early work from Pierre Perrault, made in collaboration with René Bonnière, chronicles summer activities in the Innu communities of Unamenshipu (La Romaine) and Pakuashipi. Shot by noted cinematographer Michel Thomas-d’Hoste, it documents the construction of a traditional canoe, fishing along the Coucouchou River, a procession marking the Christian feast of the Assumption, and the departure of children for residential schools—an event presented here in an uncritical light. Perrault’s narration, delivered by an anonymous male voice, underscores the film’s outsider gaze on its Indigenous subjects. The film is from Au Pays de Neufve-France (1960), a series produced by Crawley Films, an important early Canadian producer of documentary films.

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