Sikkim is a 1971 Indian documentary about the nation of Sikkim, directed by Satyajit Ray. The documentary was commissioned by the Chogyal (King) of Sikkim at a time when he felt the sovereignty of Sikkim was under threat from both China and India. Ray's documentary is about the sovereignty of Sikkim. The film was banned by the government of India, when Sikkim merged with India in 1975. In 2000, the copyright of the film was transferred to the Art and Culture Trust of Sikkim. The ban was finally lifted by the Ministry of External Affairs (MEA) in September 2010. In November 2010 the director of the Kolkata film festival stated that upon filming the documentary for the first time, he received an injunction from the court of Sikkim again banning the film.

Apu is a jobless ex-student dreaming vaguely of a future as a writer. An old college friend talks him into a visit up-country to a village wedding. Preserved by the Academy Film Archive in 1996.

Aparajito picks up where the first film leaves off, with Apu and his family having moved away from the country to live in the bustling holy city of Varanasi (then known as Benares). As Apu progresses from wide-eyed child to intellectually curious teenager, eventually studying in Kolkata, we witness his academic and moral education, as well as the growing complexity of his relationship with his mother. This tenderly expressive, often heart-wrenching film, which won three top prizes at the Venice Film Festival, including the Golden Lion, not only extends but also spiritually deepens the tale of Apu. Preserved by the Academy Film Archive in 1996.

A wandering baba initiates a widower layer and his youngest daughter, irritating her boyfriend Satya and the ever-skeptical Nibaran.

Four friends from Calcutta who have very different personalities make a holiday excursion into the country, to a tiny village in the state of Bihar where they set themselves up in a bungalow. A series of minor events, all connected to their respective reactions to their new environment, reveals their characters more deeply.

The story revolves around a North Indian taxi driver, Narsingh, who attempts to reinvent his life by visiting his native place, but instead gets embroiled in a local Marwari businessman's smuggling and human trafficking business. Preserved by the Academy Film Archive in 2001.

Arindam, a matinee idol, is going by train to collect an acting award. On the train, he is confronted by Aditi, a journalist who somewhat unwillingly starts to take his interview. Arindam, won over by Aditi's naivete, starts to disclose his past, his fears and his secrets.

Amitabha Roy (Soumitra Chatterjee), a sriptwriter has a breakdown near a tea-estate and he is offered a place to stay by the estate manager (Haradhan Banerjee) at his bungalow. When he reaches, Amitabha finds out that the manager is married to his ex-girlfriend, Karuna (Madhabi Mukherjee). The manager has invited Amitabha to assuage his own boredom # and fails to notice the uneasiness between his wife and the guest. The plot unfolds over a period of approximately one-day when they have dinner, breakfast and go for a picnic # and small gestures rekindle Amitabha's memories. Through a series of flashbacks, he remembers their first meeting, courtship and separation (which was solely because of his lack of courage to make a commitment). Amitabha's current affluence and his suspicion of Karuna's unhappiness leads him to propose to Karuna once again but she is inclined to believe that the time to muster up courage has gone past.

Life at home changes when a housewife from a middle-class, conservative family in Calcutta gets a job as a salesperson. Preserved by the Academy Film Archive in partnership with The Film Foundation in 1996.

An aging, decadent landlord’s passion for music becomes the undoing of his legacy as he sacrifices his wealth in order to compete with the opulent music room of his younger, richer neighbour.

Impoverished priest Harihar Ray, dreaming of a better life for himself and his family, leaves his rural Bengal village in search of work. Preserved by the Academy Film Archive in partnership with The Film Foundation in 1996.

Gangacharan is the new Brahmin of a village, where he assumes various duties: teaching, organizing religious events, and trying to prevent epidemics. But in that year 1943, war is raging (as reminded by the planes occasionally heard flying over the countryside), and a major famine is under way. As food shortages reach catastrophic proportions, Gangacharan attempts to preserve his privileged situation, while his generous wife, Ananga, conversely tries to help and support the community.

A devout upper-class Hindu has a vision in a dream that his daughter-in-law is the human incarnation of the Goddess Kali and begins worshipping her.

In 1870s India, Charulata is an isolated, artistically inclined woman who sees little of her busy journalist husband, Bhupati. Realizing that his wife is alienated and unhappy, he convinces his cousin, Amal, to spend time with Charulata and nourish her creative impulses. Amal is a fledgling poet himself, and he and Charulata bond over their shared love of art.

When the movie opens, a woman is recalling the events that molded her perspective on the world. Years ago, her husband, a wealthy Western-educated landowner, challenged tradition by providing her with schooling, and inviting her out of the seclusion in which married women were kept, to the consternation of more conservative relatives. Meeting her husband's visiting friend from college, a leader of an economic rebellion against the British, she takes up his political cause, despite her husbands warnings. As the story progresses, the relationship between the woman and the visitor becomes more than platonic, and the political battles, pitting rich against poor and Hindu against Moslem, turn out not to be quite as simple as she had first thought.