A selfless young woman, the daughter of a middle-class refugee family from East Pakistan, sacrifices her own happiness for her unappreciative family.

A British administrator with a flair for game hunting develops a friendship with a commoner who is an expert archer in an Indian village. The movie portrays the relationship between the British colonialists, and native villagers who were exploited by Indian landlords in 1920s India. This happens against the backdrop of the awakening of the Indian people against the British rule.

Four men, each peculiar in his own way, embark on a quest to reason with the estranged wife of the protagonist. This is considered to be Ghatak's autobiographical film.

Bimal is a taxi-driver in a small provincial town. He lives alone, his taxi (an old 1920 Chevrolet jalopy which he named Jagaddal) is his only companion and, although very battered, it is the apple of Bimal's eye.

Through the microcosmic perspectivising of a group of devoted and uncompromising IPTA workers, Ghatak with his signature style touches on varied issues of partition, idealism, corruption, the interdependence of art and life, the scope of art, and class-struggle.

A gullible man faces strange situations on his quest fo find an elephant in order to keep a promise he made with a little girl.

A poor Muslim man's horse.

The film narrates the life of a little boy and his ostracized mother who is isolated from him as she is believed to be a witch in the village she lives in. It is based on a Bengali short story named Baen written by the renowned Indian author Mahasweta Devi.

Ravi, a wealthy model, leaves his father's business after unsatisfactory modeling work and returns to his parents' home to join struggle students and revolutionary Manohar.