Director: Rajesh Touchriver.
Provocative, shocking and surprisingly tender amidst an explosion of unbridled emotions, “Prathyayam”(Trust) in telugu and “Ente…”(Mine…) in malyalam explores the consequences of sex trafficking, testing the vulnerability of trust in human relations. Srinivas(Siddiq) is a wonderful and devoted father to Durga(Anjali Patil), and he provides her the best. Working in the city and maintaining his family in a small town works well for him for years. One day everything is shattered when Durga comes unannounced to the city to appear for an interview concerning her college admission. Durga’s life is brutally torn apart as Srinivas wrestles with grief, remorse, self pity and guilt.

Director: Oliver Kyr.
Our forefathers warned us not to leave the burden of a guilt behind when we die. Because before your guilt-ridden soul is redeemed to heaven you would enter a queer, dark world. Welcome to the nightmare of purgatory. Welcome to the „Big Black“. 20-year-old Jack hunts the nightmare of his past and crosses paths with mysterious Eve. The beautiful girl who is either his Guardian Angel or his Final Doom. Time runs out as Jack tries to escape the demons of the waste lands in order to find redemption. Intense pictures and gripping music form a poetic base for a surreal plot and bizarre characters: An independent film with a renowned European cast.

Director: Razibul Hossain & the Students of Media Studies and Journalism.
Bangladesh has been branded as a disaster prone country around the world. Natural disaster like tornado, cyclone, and flood were the main topic to discuss for Bangladesh. Reminding this scenario, a group of university students along with their teacher starts exploring the coastal belt area of Bangladesh with the concept "Disaster" by their film. They went to experience the most disaster prone communities of Bangladesh - "Mirzagonj" where 90% community people were affected by the Cyclone Aila and "Pathorghata" 100% people affected by the Cyclone Sidr. While on their journey, they meet resilience people who are not only survived nature's fury but also surmounted it. This interaction between students and the community people creates a dialog that motivates them to tales of awe, vulnerability, loss, agony, strength, faith, inspiration and unity.

Director: Razibul Hossain.
Young photographer Khaleed Saikat once decided to go for a journey into the unknown. He took his laptop, camera, and some money with him. But no destination remains unknown at its end. Khaleed landed a small village market where he met the ‘Orao’ Youngman Arun Khalko and his constant companion Shukra. Shukra is an owner of a tea-stall up on the landing. Khaleed doesn’t get the acquaintance of Arun on the short meeting even. While talking with them they reached to the entrance of the village where the road was divided into two directions. Arun and Shukra left him there with there confusing identity. To find a place for the night to stay he walked to a village with bewildered expression. Suddenly there appears Arun and Shukra with laughter; unexpectedly they propose him to be a guest of The Missionary Church Guest House. Khaleed heals a breath of relieve. By the evening Arun gets intimate with Khaleed. Arun is a Christian Orao, by religion, at present he is in the charge of the Church on absence of Father. Time passes and after a while Khaleed comes to know by a drunken Youngman’s shouts that a girl named Arati is involved with Arun’s activities which the young fellow dislikes because he loves Arati. Khaleed, suspecting the Youngman senseless approaches to him but Arun stops him. In the middle of the night the drumming beats of ‘Madol’ (a traditional drum of Orao tribe) was heard by Khaleed along with the sounds of singing and dancing. Khaleed takes his camera and come out to join the festival of ‘Fagua’. The headman Budu Master warmly welcomed him but didn’t allow him to take photographs. There Khaleed met Arati and talked with Budu Master. Khaleed couldn’t find the dumb boy of the tribe to whom he kept his cell phone. Khaleed enjoyed the ‘Fagua’ festival. Arun also came there but didn’t join. Khaleed came to know that Arun has no right to join the festival, from the conversation between Arati and Budhla, while returning back. Next morning Khaleed found the real identity of Arun. He is a disowned son of Budu Master. The reason after disowning is Arun’s adoption of Christianity. He also came to know that Arun was a student of Christian missionary school, for the last three years he is staying in this village after receiving a higher education from abroad. Arun had lot of planning concerning to his community. Arati is mainly a teacher of Arun’s school. Last two years they have been working together on Arun’s plan to develop their community. But Arati is little confused from the last few days that whether she’s got any existence or existing personality in Arun’s mind or not. And she discovered –no there is nothing like that. Their relation is based on the dreams of Arun which is concerned to this Orao village. Arun starts to run a cold debate with Budhla in Arati’s home. Budhla want to marry Arati, her mother gives an approval to this proposal to maintain the society. Mean while at the school Arati and Arun’s debate comes to an extreme level. Arati abruptly says that working with Arun has become nearly impossible for her by denying the constitution of ‘Orao’ community. She says that she has found an obsession about Arun behind her working. It’s only because she respects the dreams of Arun and that’s why she will try this to the end. But Arun is not an apprehensive personality. In the afternoon, while Khaleed roaming on the walkways of the village with Arati, she portrays the dreams of Arun. In his plan the agricultural farm, hospital, educational institutions are nearly ready; it was just a matter of time then. But Arati speaks the other sense. When Khaleed was taking her photo she said that she has lost her face. Her face is just like Arun’s as it is same for every ‘Orao’. But these two faces never act the same. On that night Arati came to Arun’s room. She asks Arun “Do you mean yourself as an ‘Orao’ ? ” Arun couldn’t reply any satisfactory answer. At the dawn Arati came to Khaleed. She said that she has discovered her ‘Orao’ face. She asked him to take true image on his camera. Khaleed responded positively. But returning back to his room Khaleed found Arun was sitting there. Arun told him to turn an end of this journey into the unknown. Almost unwontedly Khaleed had to return. On the way back that dumb boy returned the cell phone to Khaleed. Returning back to Dhaka Khaleed miraculously discovered that there were some photographs of ‘Fagua’ festival and ‘Orao’ community in his cell phone which probably the dumb boy shoots. Khaleed made his first exhibition along with the dump boy’s photo. Now what will do Khaleed with those photos ? Will he go to that Village again ? What happen to Arun and Aroti ? Khaleed couldn’t find answer, so he decided to return the village and see the end line.

Director: Razibul Hossain.
An old man, Zoology Professor Kuhel Ahmed, faces death. The things happening in his life is quite normal for anyone. But, how is it to himself? What happens to his inner self, in his consciousness, in his thoughts at that moment in life when the living people are wistful about their long life and the dead are only memory to him? He is a loner in the middle of a bridge; helpless in his tension. All barriers of control break loose; things fall apart for him. Professor Ahmed is not a psychologically challenged person. He is absent-minded, reticent as a character. However, thoughts are not always limited to expression only. Thoughts are restless, always on the move. Professor Ahmed looks back into the satisfactions of his life’s achievements as well as the real pictures for all his shortcomings. He is nostalgic as the certainty of end of life awaits him. Professor Ahmed is single as he defies leaving behind a generation. He knows all the patterns of human diversity like his palms. Life, to him, is nothing but carrier of a mathematical progression. This belief popped into him through the practices of science. He knows beyond this belief human race is going through this progression as they try to mask the superstition of heredity and surroundings. Therefore, he argues at the close of his life. Life’s meaning as well as absurdity equally fights within him. Such inner conflict is apparently unseen, unreal. But in man’s own world it is evident and real. This feature film tries to explore that real image of the human race crossing the limits of individuals. Memory and present; everything becomes contemporary. Insights into life is framed in every millisecond.

Director: Sushmit Ghosh & Rintu Thomas.
DILLI is a moving collection of heartfelt interviews with Delhi slum dwellers. Its lens focuses on a group of dwellers, bringing to life the untold story of mass exodus of thousands who were bulldozed from their homes and transferred to a makeshift facade - Bawana without water, shelter or drainage, while the city was being beautified for Commonwealth Games 2010. DILLI - city of dreams - is a universal story of millions of underprivileged around the world. DILLI holds up a mirror not only to India, but to every nation around the world, whose poor live forgotten under bridges, children go hungry, and fathers work thousands of miles from their families to provide. DILLI brings awareness. And awareness is the first step towards action.

Director: Sanjay Arora.
Based on a true story of a handicapped woman ( Story of Hope,Inspiration and Courage) Neha Bhatia, free-spirited and fun-loving who takes life for granted ends up a victim of a fatal accident, leaving her with a severe brain stem injury resulting in quadri-paralysis and comatose. Thus begins the journey of Neha?s recovery, unexpected but not impossible. A journey that explores unconditional love and support from Ayesha, Neha's older sister. Ayesha?s immense belief in her sister and undying faith in their sisterly bond becomes the spine of the film. Neha eventually sheds her inhibitions of insecurities and becomes an inspiration to other people through her independence. Sometimes even the eyes that see may not have the vision to inspire or be inspired ? it unfortunately takes a tragic happening to realise that life is not to be taken for granted. That life is a blessing to be counted and appreciated everyday and to be celebrated with unconditional love.