老警察局长即将退休，新警察翻看局长书柜，发现库鲁普案件：库鲁普是印度空军的老油条，在役期间投机倒把、倒买倒卖。退役后到伊朗跨国公司职业,事业,工作岗位,职责，为阿拉伯王子做帮手。为贪污阿拉伯王子的300万美元费用，回印度找伙伴,好友,挚友,密友设计自杀保险索赔。几个伙伴,好友,挚友,密友为了贪图80万卢比的保险赔款，杀了他人假冒库鲁普自杀现场，被警方追查后仍然逃脱制裁。

　　在20世纪初印度孟加拉的一个小村庄里。日常,生存,生计,日子的艰辛使得村里穷苦人家充满了苦闷、忧虑与不和。哈里哈尔写了一首首诗，一个个剧本，但到处碰壁，无法出版。六年过去了，哈里哈尔家的房子更加破败不堪，贫寒,贫困,穷困,贫乏一步不舍地伴随着他们。无穷无尽的烦恼，纠缠着他们。富人丢了东西，就赖杜尔加偷走了，尽管妻子萨尔博加娅不愿忍受这种侮辱，却也只能拿孩子撒气。哈里哈尔渴望,期望,盼望,企望通过一举成名来重振早已破落的“门第”，可是，他每月八个卢比的微薄收入，以及沉重的家庭负担，致使他始终无法实现其各种美满,美好,完美,美善的计划，就连维持家里人填饱肚子也做不到。他只好去异地他乡搜寻,寻觅,查找,探寻一条出路，进城去赚了一笔血汗钱，谁料回到家时，等待他的却是巨大的灾难：暴风雨把房子冲塌了，十二岁的孩子,女孩,少女,千金杜尔加也病死了，萨尔博加娅痛哭起来。见此凄惨情景，哈里哈尔只好带领着妻儿离去,分离,离别,离别,分别,分离,别离,分散,远离,分离故乡，去另谋生路，只有杜尔加长眠在这里。

　　雷艾（Chhabi Biswas 饰）出生于富贵之家中，世世代代都是坐拥着土地的地主阶级，雷艾自然继承了家族的财产，可是，他的心思却并不在好好经营这份财产之上。雷艾对音乐有着狂热的喜爱，常常斥巨资举办音乐会，请来大师名流进行演奏。就这样，上一代积攒下来的财富就在雷艾的一次又一次挥霍中越来越少。
　　马兴（Gangapada Basu 饰）是雷艾的死对头，他同样是一名音乐爱好者，两人互相攀比音乐会的排场，互相质疑彼此对于音乐的品味。为了战胜马兴，雷艾不顾拮据的经济状况大肆挥霍，甚至为了满足自己的虚荣而付出了亲人,亲属,眷属,家属的性命作为代价。最终，雷艾家破人亡，濒临疯狂的他在散尽了最后一笔钱后抉择,挑选,取舍,取择了死亡。

　　Les déboires d’une troupe de théâtre dans le Bengale des années 50.

　　马汉（沙鲁克·罕 Shahrukh Khan 饰）是一名职业,事业,工作岗位,职责和日常,生存,生计,日子在美国的印度人。常年过着和亲人,亲属,眷属,家属分离的日常,生存,生计,日子，马汉感到十分孤寂,寂寥,冷寂,寥寂，非常想念在故乡日常,生存,生计,日子的乳母。某日，他决心,打算,计划,准备踏上返乡的旅途，然而到达目的地后才发现物是人非，他的乳母早已经前往了一个名叫“脚印之地”的村庄。于是，马汉再度上路。
　　途中，马汉邂逅了名为吉特（Gayatri Joshi 饰）的美丽印度女孩，两人坠入了情网。马汉想将吉特带往美国，可是吉特的亲人,亲属,眷属,家属却持续,坚守,执着,恒心两人必须在当地完成婚礼的仪式。就这样，马汉在吉特的故乡住了下来，在和当地人朝夕相待,交往,来往,共处之后，马汉才发现这个看似恬静的村庄，其实暗藏着许多隐患和风波。

　　一位富裕的公子哥成天无所事事，好像已经舍弃,抛弃,割舍,摒弃了理想，迷失了自我；而他的女仆却踌躇满志、奋斗,拼搏,奋进,进取日常,生存,生计,日子着。当两人日常,生存,生计,日子搅在一起，他们的矛盾好像更深了。入围第71届戛纳电影节。

　　The story follows a recent divorcee who spends her daily commute fantasizing about a seemingly perfect couple who live in a house that her train passes daily, but something shocking happens there one day.

　　斯坦利是个活泼开朗，招人喜欢的小男孩。多才多艺，古灵精怪的他在学校有着不错的人缘。但斯坦利有个最大的特点，那就是他从来不带便当来学校。午休的时候他总是以各种借口避开同学们的午餐时间，去街上闲逛打发时间，饥肠辘辘的喝凉水来饱腹。他编织着各种理由来应对伙伴们对此的疑问，而乐于助人的同学们决心,打算,计划,准备和斯坦利分享自己的午餐便当来援助,协助,辅助,助力他渡过难关。然而学校的大魔头卡多教师,导师,师长,恩师也是个从不带盒饭的家伙，因为斯坦利的缘故他无法分享学子,门生,弟子,学员们带来的美味午饭，勃然大怒的他，破口大骂羞辱斯坦利一番后，更是勒令斯坦利不带便当就不可以来学校。令人吃惊的是，斯坦利果然很多天都没有再出现在学校，随着时间一天天的过去，大家都越来越担心他，对卡多教师,导师,师长,恩师的不满之情也越发高涨。其实，斯坦利不带便当是有着他不愿意与人诉说的苦衷…

　　影片由弗罗兹·阿巴斯·克汉执导，叙述,阐述,陈述,描写了甘地恪守自己制定的严格的原则，导致与任性孩子,男孩,少年,男童哈里拉尔之间的冲突不断。影片通过家庭矛盾，展示了甘地对孩子,男孩,少年,男童的冷淡,疏离,淡漠,疏远，有时甚至是个很霸道的爸爸,父亲大人,爹爹,老父亲。呈现,显现,体现,展现,呈现,显现,体现了他在不顾一切地寻求父爱的孩子,男孩,少年,男童和自己公众责任之间的无奈与伤感。影片背景为1906年到1948年(甘地遇刺身亡)间的南非和印度，影片还叙述,阐述,陈述,描写了哈里拉尔苦闷、酗酒上瘾，还一度皈依了伊斯兰教，反抗自己严厉的爸爸,父亲大人,爹爹,老父亲。
　　但影片已经得到了甘地家族成员的首肯，甘地的孙子图沙尔·甘地说：“影片非常感人，处理得非常合理。”by:yakubd.cc

　　吉米在社交网络上遇见了安努并迅速爱上了她，但仅靠网络联系让吉米疑窦丛生，于是他拜托远在洛杉矶的表哥，使用黑客手段调查安努的真实背景。与2018年的爆款电影《网络谜踪》一样，本片也全程以电子屏幕为主画面，通过信息拼凑揭开线下谜团。印度导演马赫什·纳拉亚南将传统悬疑片放置在网络世界里，以快节奏分屏制造紧迫,焦虑,急迫,忧虑感，带给观众强烈的沉浸式体验。影片在2020年5月至7月新冠疫情期间用iPhone拍摄，不仅预算极低，也为后疫情时代的电影拍摄提供了借鉴。

　　A District Collector in India deals with water shortage problems in a village when she comes to realize that people are suffering a lot.

　　Under the 'Evening Shadows', truth often plays hide and seek. Set in South India and Mumbai, 'Evening Shadows' is a tender heartwarming story about a mother-son bond that has to withstand the ravages of time, distance and truths.

　　Lakshya (Hindi: लक्ष्य; translation: Target,Objective) is a 2004 Bollywood  film directed by Farhan Akhtar, with stars Hrithik Roshan, Preity Zinta, Amitabh Bachchan, Om Puri and Boman Irani. Roshan plays the role of Lieutenant (later Acting Captain) Karan Shergill, who leads his team (initially 12, falling to 6 members) to victory over the Pakistani troops. It is a fictional story based on the historical events of the 1999 Kargil Conflict.
　　...

　　跟随阿玛拉，她看似圆满,完满,尽美,尽善的日常,生存,生计,日子在一段涉及她的丑闻视频疯传后出现,产生,形成,酿成天翻地覆的变化，成为社会贱民，但她靠自己的奋斗,拼搏,奋进,进取试图摆脱困境。

　　The story of Aisha Chaudhary and her family.

　　公元前的印度孔雀王朝，宾头沙罗国王之子阿育王子（沙鲁克·汗 Shah Rukh Khan 饰）勇猛善战，虽遭兄弟忌恨陷害，却接连立下汗马功劳，声望扶摇直上。面临,直面,应对,应付荆棘环绕的王位，阿育起先沉着应对，不以为意，最终还是应妈妈,母亲大人,娘亲,老妈妈（Shilpa Mehta 饰）的苦苦哀求隐姓埋名，离去,分离,离别,离别,分别,分离,别离,分散,远离,分离王宫。修行途中，阿育邂逅美丽动人的卡列加公主卡瓦奇（卡琳娜·卡普 Kareena Kapoor 饰）。失意时节相知相守，一对不普通,寻常,一般,平常的青年男女爱情花朵恣意绽放。不过正如僧侣所说，太阳即使躲在云层后面仍是太阳，阿育注定重返王宫，继承王位。为此他与卡瓦奇生离死别，在金碧辉煌的宫殿内与政敌和外敌攻防周旋。在血雨腥风的斗争中，阿育的那颗心逐渐冰冷，攻城略地，征战杀伐，血流遍野，为了最顶点的荣耀，黑色阿育王逐渐膨胀。
　　史上最伟大的护法转轮王阿育，亘古流传的王者传奇……

　　塔潘·达斯是印度曲棍球队的一名经理，曾带领英属印度队拿下过1936年柏林奥运会的金牌，但他始终梦想着能够为独立后的印度拿到属于自己的金牌。在印度接近独立之际，塔潘发现了1948年伦敦奥运会的消息，他各方游说为即将到来的奥运会组建了印度曲棍球队，但球队却因印巴分裂被拆散。面临,直面,应对,应付多方阻挠，塔潘最终能否成就,胜利,凯旋,成果组建球队代表国家完成荣耀之战呢？

　　转眼之间，阿普（Smaran Ghosal 饰）长大了，然而，日常,生存,生计,日子却并没有因此而变得更加宽容。和父母搬去博纳斯之后没多久，阿普的爸爸,父亲大人,爹爹,老父亲就永远的离去,分离,离别,离别,分别,分离,别离,分散,远离,分离了他的家庭，就这样，阿普和妈妈,母亲大人,娘亲,老妈妈过起了相依为命的日常,生存,生计,日子。
　　妈妈,母亲大人,娘亲,老妈妈渴望,期望,盼望,企望阿普能够成为一名神父，但阿普却并不这么认为，他渴望,期望,盼望,企望能够就读正规的学校。最终，妈妈,母亲大人,娘亲,老妈妈顺从了阿普的想法。阿普没有让妈妈,母亲大人,娘亲,老妈妈失望，他用出色的成绩和光明的前途向妈妈,母亲大人,娘亲,老妈妈证明了他的用功和奋斗,拼搏,奋进,进取。阿普得到了念大学的机会，但是，对于他贫困的家庭来说，这个消息既是喜讯，亦是噩耗，为此，阿普和妈妈,母亲大人,娘亲,老妈妈之间出现,产生,形成,酿成了激烈的争吵，这一次，在亲情和未来之间，阿普和妈妈,母亲大人,娘亲,老妈妈会做出怎样的抉择,挑选,取舍,取择呢？

　　Ruth is searching for her father – a man she hardly knew but cannot forget. Desperation drives her to work without a permit, at a massage parlour, where she gives ‘happy endings’ to unfulfilled men. Torn between several schisms, Mumbai becomes the backdrop for Ruth's quest as she struggles to find her independence and space even as she is sucked deeper into the labyrinthine politics of the city's underbelly.

　　世上看似没有联系的事情其实都有着千丝万缕的关系，《追梦》以小孩对披萨饼的渴望为主线，又叙述,阐述,陈述,描写了一个妈妈,母亲大人,娘亲,老妈妈对自己丈夫归家,返家,还家,归宅的期望,盼望,等待,渴望,期望,盼望,企望和一个不良青年不劳而获的白日梦。影片中的两个小孩对本地新开的披萨店特别好奇，特别想吃这家店的披萨，但是因为该店的消费水平太高，小孩的家庭负担不起，两个小孩又不甘心舍弃,抛弃,割舍,摒弃尝试，于是他们起始,开端,肇始,启始自己想尽办法挣钱、攒钱，就为能吃上那家店的披萨。

　　1857年印度民族起义期间，章西女王反抗英国在印度的统治。

　　出身中产阶级的拿尼（拿尼饰）与嫂子（布密卡饰）住在一起。他和女友（赛·帕拉维饰）过着欢愉,美满,欢乐,愉快,欣喜,喜悦,愉悦美满的日常,生存,生计,日子，但事情突然出现,产生,形成,酿成了变化，布蜜卡是一名政府公务员，她在瓦朗加尔经历,碰到,遇到,邂逅了一名可怕的罪犯（纳雷·什维杰饰）。故事的后半部分主要叙述,阐述,陈述,描写了一个像拿尼这样简易,简约,朴素,单纯的人如何直面可怕的歹徒，并拯救他的嫂子。

　　The struggle of a family of three as they search for a house to rent after being given an ultimatum to vacate their house by their land lady.

　　Siddartha (Dhritiman Chatterjee) is forced to discontinue his medical studies due to unexpected and brutal death of his father. He has to now find a job in stead. In one job interview, he is asked to name the most significant world event in the last ten years. His reply is 'the plain human courage shown by the people of Vietnam', instead of the expected - man landing on moon. The interviewer asks is he is a communist. Needles to say that he does not get the job.
　　He reaches a coffee shop where he is offered to work for the communist party. When he does not show any interest the party leader tells him about an opening for a medical representative. To escape from the heat and have a snooze, he goes in to a cinema. As a government propaganda newsreel is being shown before the feature, a bomb explodes in the cinema hall. In the stampede that follows, Siddartha, breaks his watch. He goes to a watchmaker but he cannot afford the repairs.
　　Waiting to cross the road, he notices a sexy girl. He drifts back to his days as a medical student in a flashback. The professor is explaining anatomy of female breast. Many flashbacks and dreams occur to Siddartha through the film.
　　On his way to hostel, he has an encounter with some hippies. Along with an ex-classmate, he goes out to see a porn film but to their disappointment, the film turns out to be not-so-pornographic.
　　In such constant wandering in a Calcutta, disintegrated relationships with his sister and a Naxalite (militant communist) brother, his friendship with Keya is only thing that keeps him sane.
　　Keya is a simple girl. They enjoy each other's company but they cannot make any commitment to each other due to the circumstances.
　　After yet another attempt at a job interview, Siddartha leaves the big city to take a modest job of a salesman in a far off small town. He writes to Keya that he still cherishes their relationship. And that he has heard that bird call again but this time it is for real, and not his mind. After completing the letter, he comes out to the balcony of his modest room. The bird calls again. He also hears the sombre chants of a funeral procession. As he turns to the camera, the picture is frozen.
　　This is the first film of the Calcutta Trilogy. The other two were and Seemabaddha (Company Limited, 1971) and Jana Aranya (The Middle Man, 1975). All the three films study the effect the big city of Calcutta has on the educated youth and the price it extracts from them.
　　The seventies were a difficult period for India and West Bengal. The Corruption was rampant; the Naxalite movement had created havoc in Calcutta. In fact, they had turned parts of Calcutta into 'liberated zones'. By the time the Naxalite movement died down, in 1975, Mrs. Indira Gandhi (then, Prime Minister of India) suppressed the fundamental rights and declared "Emergency" for her own political survival. Her son, Sanjay Gandhi became a dictator of sorts without any official designation. The opposition leaders were thrown into prisons.
　　About his social responsibilities as a filmmaker, in an interview with Cineaste magazine, Ray commented, "You can see my attitude in The Adversary where you have two brothers. The younger brother is a Naxalite. There is no doubt that the elder brother admires the younger brother for his bravery and convictions. The film is not ambiguous about that. As a filmmaker, however, I was more interested in the elder brother because he is the vacillating character. As a psychological entity, as a human being with doubts, he is a more interesting character to me. The younger brother has already identified himself with a cause. That makes him part of a total attitude and makes him unimportant. The Naxalite movement takes over. He, as a person, becomes insignificant."
　　In a letter to Seton in 1970, Ray wrote that Pratidwandi was the most provocative film he had made till then. The film is said to have evoked extreme reactions. "People either loved the film or hated it", Dhritiman Chatterjee told Andrew Robinson, Ray's biographer.