Padmavati Rao

Rajputana, India, 13th century. The tyrannical usurper Alauddin Khilji, sultan of Delhi, becomes obsessed with Queen Padmavati, wife of King Ratan Singh of Mewar, and goes to great lengths to satisfy his greed for her.

Kishorilal wants an Indian bride for his westernised son. He gets him engaged to Ganga, his friend's daughter, and brings her to USA. But she shares a deeper bond with Arjun, Kishorilal's foster son.

When a newly married landlord is murdered, a misfit cop’s investigation is complicated by the victim’s secretive family and his own conflicted heart.

After Gandugali, a mercenary, rescues a band of soldiers, their chieftain asks him to train them in order to fight the chieftain's rival brother.

When Aurangzeb recruits his trusted soldier Udaybhan to control the Kondhana fort, Shivaji's military leader Tanhaji Malusare and his army of Maratha warriors set out to recapture the fortress.

Geetha is a 1981 Indian Kannada romance drama film directed by and starring Shankar Nag in the lead role, alongside Padmavathi Rao. The supporting cast features K. S. Ashwath, Ramesh Bhat and Gayathri. Ilayaraaja composed the soundtrack and the background score for the film that and was declared a blockbuster musical hit. The track "Santhoshakke" from the film became widely popular in Karnataka and is still performed for in concerts and other events

Barroz has been protecting D' Gama's treasure for 400 years and has been entrusted to hand over the treasure to a true descendant of D' Gama. One day, a boy comes in search of Barroz, claiming that he is a descendant of Vasco da Gama. Barroz sets on a journey to find out the boy's true ancestors and history.

A grandfather, police officer and a priest join hands to investigate and find a missing child.

Siddharth is an existentialist who leaves his home in pursuit of the unknown and his quest to find himself.

When Paaru sees a fairy tale she heard from from a stranger as a child painted across the walls of a costal town, she goes in search of the man who painted it - Maara.

Ajmal, who is a part of the group of people who come together to repair a large boat, falls in love with the boat owner's granddaughter, Jasmine. Things take a turn when a family member finds out the love story.

A traumatized woman plagued by the continuous influence of her childhood sexual abuse cannot sustain a romantic relationship for more than 30 days.

1947. The ravages of Partition have compelled an old artist, Husyn Naqqash, to sell his ancestral home in Western India and move with his family to Karachi, Pakistan. When Kishorilal, a stoic and stone-hearted man, who has bought the house, comes to know that Husyn is a well-known miniature painter and has an invaluable and rare miniature collection, he schemes to get hold of the collection. But all is not what it seems and there is a secret about the collection that Husyn's family is holding back. Not only from Kishorilal - but also from Husyn.

Cheluvi, a poor young woman, has a secret magical power. With the magic, she turns into a tree which produces exotic flowers. Soon, her secret is spotted by Kumar, the son of the village head.

For over a century, a substantial number of Adivasis, or tribals of the Chottanagpur plateau, have been converting to Christianity in order to free themselves from bonded labour and feudal oppression still prevalent in rural India. A combination of education and Christianity have helped the Adivasis establish an alternative identity outside the Hindu caste system, undermining feudal and Hindu authority. While the demand for a tribal homeland called Jharkand has been gaining momentum from a number of sources since independence, Hindu fundamentalist organisations such as the Rashitriya Swayamsevak Sangh and the Vishwa Hindu Parishad have held the Christian missionaries singularly responsible for encouraging the Jharkand movement. In the absence of dialogue between Hindu revivalists and Christian tribals, this feature length documentary represents an effort to understand how the two communities will co-exist within a secular Indian fabric.