• The Lost Testimony of a Company Painter — Gifted Company School artist Lutchman Singh repeatedly fled his employment at the Calcutta Botanic Garden. A work of speculative history, the film imagines his reasons in his own voice.

• Between The Hand and The Eye — Artist and designer Dashrath Patel made abstract collages from pieces of paper. The film animates these works, using fragments from an interview with him as scattered diary entries.

• Asht-Patal / The Eighth-Fold Veil — Asht-Patal explores the art of Pichwai through successive layers, each revealing another surface. The film uses this unfolding structure to examine the relation between seeing and concealment.

• Tor Surta Ma / In Your memory — Drawing on the art of Jangarh Singh Shyam, the film enters a world in which stories and songs take patterned visual form. Creation myths bring the sacred into everyday life, presenting image-making as a continuation of oral memory.

• Eberhard, as seen by Amit — A reflective portrait of Swiss art historian and ethnographer Eberhard Fischer, shaped by fifteen years of conversation and friendship. Archival footage traces six decades of engagement with artists and scholars, from African mask carvers to Indian art historians.

• The Ceremony of Signs — Beginning with Raja Deen Dayal’s photographs from late 19th and early 20th century India, the film looks beyond their recorded subjects to explore the unseen relations surrounding them.

• If I Go, Where do I Go? — A personal portrait of the Hindi avant-garde writer Krishna Baldev Vaid, filmed late in his life. His voice and daily surroundings shape a tribute to a writer confronting memory and departure.

• Kuhal-Katha / Stream-Story —The film documents the ancient kuhl irrigation system of Himachal Pradesh through fieldwork and local oral traditions. Water emerges as a shared physical resource whose flow also carries ecological knowledge and cultural memory.

• A Tale of Two Merchants — Set against colonial trade, the film follows the journeys of two merchants through the textile labels their commerce left behind. These small commercial images reveal how exchange gave visual form to desire within an imperial world.

• What the Eye of the Needle Saw — Through the memories of an eighty-five-year-old aunt, the film connects the trauma of Partition with the tradition of Phulkari embroidery. Cloth and thread become carriers of personal memory within a larger history of displacement.

• Wanderings With the Warlis — Animated Warli paintings are brought together with field recordings made by the filmmaker in 2001. Through their interaction, the film enters an indigenous visual world in which human life remains inseparable from nature and the cosmos.

• Phul Ka Chhand / Rhythm of a Flower — A hand-drawn reconstruction of Kumar Gandharva’s years of illness and enforced silence between 1955 and 1960. Recovery becomes an inward journey through which listening and reflection reshape the singer’s creative life.

• In the Beautiful Mind Forest of Sita Devi — The film enters the ritual and mythic world of Sita Devi’s Madhubani paintings. Through animation, her forms and figures reveal image-making as both an inherited practice and a deeply personal visual language.

• A Tale Being Told Since Infinity — A multiscreen installation animating the Golden Ramayana, produced between 1796 and 1814. Its recurring images and layered sequences allow the epic to unfold as a story without a fixed beginning or end.

• Moments Before Mutiny — Through nineteenth-century mica paintings, the film searches for lives made peripheral or invisible within colonial images before 1857. Everyday gestures become evidence of a social world in which erasure and resistance exist side by side.

• Many Interrupted Dreams of Mr.Hemmady — Matchbox labels are arranged into visual essays about desire and ideology. As accidental collection becomes a form of self-portraiture, recurring images disclose the private imagination of the collector and the public culture that produced them.

• Touch Air — An austere homage to Nasreen, inspired by her journals and the disciplined lines of her drawings. The film approaches abstraction as a spiritual practice through which restraint becomes a way of thinking.

• Haren Das : 21 Studies of Life; in Sound and Silence — Movement and Stillness — Twenty-one woodcuts by Haren Das form a study of rural Bengal through movement and stillness. The film follows the rhythm of his carved lines, allowing work and landscape to emerge through close observation

• Thousand Colours of Jamini Roy — The film examines the colours of Jamini Roy’s paintings and their roots in nature and folk practice. Close attention to pigment reveals a visual language shaped through his dialogue with inherited forms.

• Blueprint of a Pleasure Machine — Archival lobby cards and studio imagery are assembled into a speculative thriller. Fragments of a vanished film culture become clues in an inquiry into cinematic memory and the desires preserved within it.

• Bat-Like Devil Chaser with a Top Hat — The film approaches Jyoti Bhatt’s photography through memory and description. His images become a form of poetic ethnography, recording a changing country through the gestures and material life of its people.

• Maa Ko Binai?/ Mother, Who Will Weave Now? — Guided by classical prosody and the verses of Kabir, the film considers Indian textiles as a form of philosophical craft. Patterns and rhythms carry the memory of lived traditions interrupted by colonial rule.

• Gentleman’s Magazine and the Historical Chronicle — Beginning with a 1794 issue of The Gentleman’s Magazine, the film studies the early woodcuts through which distant places were presented to British readers. Founded in London in 1731, the magazine shaped how its readers imagined worlds beyond Britain. The printed image becomes evidence of imperial curiosity and the habits of looking it produced.

• Butterfly in the White Notebook — A short portrait of sculptor Rajendar Tiku, assembled through remembered spaces and fragments of material. The film approaches artistic process through the private visual language by which experience becomes form.

• 63 Tapes Project — Sixty-three MiniDV films document the rise of Jangarh Singh Shyam and the circle of artists around him. Field recordings and diary footage form an extended archive of an indigenous art movement entering the institutions of contemporary art.

• Mitti Ittr / Scent of Earth — An exploration of scent and memory.

• I do it for the Sparrow and the Mouse — A sustained observation of the kuhls, the traditional water channels of the western Himalayas. The film follows this living infrastructure as an ecological system and a philosophy embodied in communal practice.

• The Game of Shifting Mirrors — The film places a 1920s Indo-Saracenic museum beside monuments encountered in their original settings. Their contrast reveals how colonial systems of display separated sacred art from the places and practices that gave it meaning.

• Wittgenstein Plays Chess With Marcel Duchamp Or How Not To Do Philosophy  — Inspired by an essay by Steven Gerrard, the film brings Wittgenstein and Duchamp together through animation. A problem in chess opens into a reflection on logic, images and the limits of philosophical explanation.

• Tape 39 — A rediscovered MiniDV tape from 2008 returns to the village of Jangarh Singh Shyam. The recovered footage prompts a reflection on his suicide and the difficult passage of an indigenous artist into another cultural world.

• A Many-Splendoured World – Padshahnamah — In this illustrated lecture, Prof. B. N. Goswamy examines seventeenth-century Mughal court painting through the Padshahnama. Close readings reveal how precision and patronage shaped a visual language joining Indian and Persian traditions.

• A Many-Splendoured World – Hamzanama — Prof. B. N. Goswamy guides the viewer through the fantastical adventures of the Hamzanama. The monumental paintings disclose an epic tradition in which scale and visual invention carry the force of oral storytelling.

• A Many-Splendoured World – Bhagwat Puran — Guided by Prof. B. N. Goswamy, the film examines early images of Krishna produced in Mathura during the 1520s. The painted episodes reveal the development of Vaishnava devotional art through the close interaction of image and sacred narrative

• Drawn from Dreams — Based on an eighteenth-century dream journal, the film explores how private visions were recorded through images. Miniature painting and visionary notation meet in a brief study of the uncertain passage from dream to visible form.

• The Day a Tree Fell — A brief observation of trees, insects and movements that ordinarily escape attention. The fall of a tree becomes a measure of the quieter lives and rhythms continuing around it.

• Notes on Guler — An exploration of the former state of Guler, remembered through oral histories and a landscape partly submerged by water. The film returns to the home of Seu and his sons Nainsukh and Manaku, tracing how a place survives through art and memory.

• Two Expeditions — Two journeys through the western Himalayas follow the methods of art-historical fieldwork. Guided by M. S. Randhawa’s writing and prof. B. N. Goswamy’s research, the searches move through genealogy and landscape in pursuit of incomplete traces.

• The Lesson — The film observes scholar Bettina Bäumer teaching Kashmir Shaivism in an atmosphere of deep concentration. Philosophical reflection unfolds through changing light, making illumination both the subject of the lesson and the film’s visual form.

• An Invitation — A day from a winter journal moves from philosophical conversation to a Buddhist wedding. The invitation draws abstract thought into a social ceremony, where ideas give way to shared ritual and ordinary presence.

• A Visit — Ancient inscriptions are placed in conversation with the scholarship of V. C. Ohri. The film considers how the past becomes legible through acts of interpretation, and how knowledge is carried through a single human presence.

• Ishu’s Balloon and the Painting that Comes to Life — A child’s mischievous encounter with a balloon finds a parallel in the humorous paintings of Nainsukh. Live action and painted image meet through a shared delight in the unexpected life of ordinary things.

• Ten Questions — A video letter responding to ten questions from the critic Max Nelson. Images and recollections sustain a conversation across continents about cinema and the workings of memory.

• Blue Elephant — A scholar studies an ancient play by Bhāsa, an early Sanskrit dramatist commonly placed around the second century CE, within a colonial-era academic setting. Text and rehearsal bring the classical work into contact with the institutional traces of empire.

• Ka/Who? — Myth is reworked through ordinary objects in this symbolic animated short. Visual metaphor replaces explanation, allowing intuition to guide a world in which familiar things acquire unfamiliar meanings.

• Agyata Shilpi / The Unknown Craftsman — A medieval architect crosses the lower Himalayas in search of the perfect site for a temple. Guided by mysterious apprentices, he creates an unfinished monument that preserves his mind at work.

• Scenes from a Sketchbook — The film translates Nainsukh’s preparatory drawings into cinematic fragments. Corrections and unfinished marks remain visible, allowing the emerging image to be seen before it acquires its final form.

• Purna/Apurna / Finished/Unfinished — A four-hour study of the rock-cut temple at Masrur, observed through duration and changing light. The unfinished monument holds construction and ruin within the same form, making time visible across its stone surfaces.

• Even Red Can Be Sad — A portrait of the painter and writer Ram Kumar, moving between his visual and literary work. Abstraction and fiction disclose different aspects of a creative life shaped by solitude.

• Chitrashala / House of Paintings — The film animates miniature paintings of Nala and Damayanti made within the artistic lineage of Nainsukh. Movement carries the epic across the painted sequence while revealing the late development of the Pahari style.

• Oviga — Scholars working in an 18th Century Villa, their daily rhythm. 

• Gita Govinda — Jayadeva’s twelfth-century Gita Govinda is interpreted through eighteenth-century pahari miniature paintings. The film brings devotion and human longing together while attending to the artistic process that gives the poem visible form.

• Saatvin Sair / The Seventh Walk — An abstract portrait of the painter Paramjit Singh, filmed in textured Super 16mm and accompanied by the veena. Landscape and music create a space of quiet reflection around the artist and his work.

• Venice 70: Future Reloaded — Made at the invitation of the Venice Film Festival for its seventieth anniversary, this short film reflects on cinema’s relationship with older arts.

• Field-trip — The film follows prof. B. N. Goswamy’s fieldwork into the life and lineage of the painter Nainsukh. Research becomes a journey through records and places, revealing art history as an encounter shaped by attention and attachment.

• Museum of Imagination — A visual portrait of prof. B. N. Goswamy formed through architectural spaces and artistic motifs.

• The Wondering Eye — An eighteen-part filmed dialogue with B. N. Goswamy, extending over approximately twenty hours. Moving through his scholarship and personal recollections, the work forms an oral archive of a life devoted to art history.

• Sonchidi / The Golden Bird — A philosophical science-fiction film about the desire to escape the known world. Childhood memory and acoustic space shape a journey towards another dimension of existence.

• Nainsukh — An imagined biography of the eighteenth-century painter Nainsukh, composed through the visual language of his miniatures.

• Admi Ki Aurat Aur Anya Kahaniyan / Man’s Woman and Other Stories — Based on stories by Vinod Kumar Shukla and Saadat Hasan Manto, this trilogy explores relationships between men and women. Each story attends to the mysterious inner and outer spaces through which its characters move.

• Jangarh: Film One — The film traces the life and death of the pioneering Gond artist Jangarh Singh Shyam. His journey from an indigenous artistic tradition into the modern art world becomes an inquiry into cultural translation and the pressures it carries.

• Kramasha — In a half-dreaming state, a young man imagines the layered history of his village. Memory and myth merge with an approaching threat, turning the search for origins into a shifting sequence of images.

• Kshya Tra Ghya — A young boy’s walk to school becomes a passage through memory and myth. In-camera effects transform the ordinary journey into an encounter with the confusion and wonder of an Indian childhood.

• They Remained in Shadows — The parallel lives of a popular musician and a classical musician follow contrasting paths through recognition and struggle. Their stories consider how artistic lives are remembered and how easily one may remain outside the light.

• Ramkhind: A Warli Village — A portrait of a Warli village near Mumbai, where work and ritual remain embedded in the surrounding landscape. Wall paintings arise from the rhythms of season and belief, revealing art as part of daily life.