Naata is about Bhau Korde and Waqar Khan, two activists and friends, who have been involved in conflict resolution, working with neighbourhood peace committees in Dharavi, reputedly, the largest ‘slum’ in Asia. This film explores their work, which has included the collective production and use of visual media for ethnic amity. Naata is also about us; among other things, it is an attempt to reflect on how we relate to spaces of the other, spaces like Dharavi. It is, above all, about Mumbai, the city that encompasses Bhau, Waqar and us.

Saacha is about a poet, a painter and a city. The poet is Narayan Surve, and the painter Sudhir Patwardhan. The city is the city of Mumbai (a.k.a. Bombay), the birth place of the Indian textile industry and the industrial working class. Both the protagonists have been a part of the left cultural movement in the city. Weaving together poetry and paintings with accounts of the artists and memories of the city, the film explores the modes and politics of representation, the relevance of art in the contemporary social milieu, the decline of the urban working class in an age of structural adjustment, the dilemmas of the left and the trade union movement and the changing face of a huge metropolis.
Second Prize, New Delhi Video Forum, 2001

What does it mean to cross that line which sharply divides us on the basis of gender? To free oneself of the socially imposed onus of being male, to liberate the female that lies within? In this film, scenes from Nirvanam, a one person performance in Tamil which explores these questions, are juxtaposed with an intimate portrait of three generations of trans-gendered female subjects, who are all bound together by ties of adoption. In the process, the film questions notions of normality and fixed gender identities

SheWrite weaves together the narratives and work of four Tamil women poets. Salma negotiates subversive expression within the tightly circumscribed space allotted to a woman in a small town. For Kuttirevathi, solitude is a crucial creative space from where her work resonates. Her anthology entitled Breasts (2003) elicited hate mail, obscene calls and threats. The fact that women poets are exploring themes such as desire and sexuality been opposed by some Tamil film lyricists, who have gone on record with threats of death and violence. This has been resisted by a collective of poets and artists called Anangu (Woman). Malathy Maitri is a founder member of Anangu. Her poems explore feminine power and spaces. Sukirtharani writes of desire and longing, celebrating the body and feminine empowerment. The film traverses these diverse modes of resistance, through images and sounds that evoke the universal experiences of pain, anger, desire and transcendence.
Best documentary Prize, IV Three Continents International Documentary Festival, Venezuela 2005, Indian Documentary Producers Association Awards 2005: The First Technical Award for Sound Design and the Second Technical Award for Cinematography

Domestic violence is one of the gravest and the most pervasive of human right violations. Yet, there is very little by way of response from the community or the state. For this crime is looked upon as a personal matter, not withstanding the fact that for large number of women this personal matter translates into a life along “adjustment” with torture, both mental and physical. For many, this adjustments end only with the loss of their lives. There have been attempts to mainstream the issue pf domestic violence both by the State and the civil society. This film looks at some of these initiatives of the community and the State aimed at breaking the barriers that divide lives into personal and public.

Based on a workshop with a group of women on the theme of self-image and sexuality, this video expresses women's perceptions of the relationships of power that impinge on women's bodies and their selves. Through a process of sharing and exploration, the group attempts a critique of the dominant modes of power that are immediate to their lives.
2nd prize, Health and Population category, International Video Festival, Thiruvananthapuram, 1995.

Sudha, a woman facing domestic violence, approaches a police station for help. Her experience there leaves her wondering whether the police can be of any help in such situations. She meets Anita, an activist, who familiarises her with the basic procedures and police personnel involved in registering cognisable and non-cognisable complaints. In the process, Sudha begins to appreciate the possibilities and limitations of police intervention.

The programme traces the differential socialisation processes that girl children internalise, to focus on women's limited rights to property. It goes on to discuss the alternatives available to women in distress, such as working women's hostels and shelter homes, emphasising the need to search for more appropriate systems of support.