A love-triangle story revolving around an upper-class Bengali hero. Satyendra, the son of a zamindar, experiences the conflict between family duty and the modern world in terms of his desire for an 11-year-old virgin bride, Radharani, and the nurturing and self-sacrificing courtesan Bijli. It depicts several stereotypical scenes like drunkenness and a courtesan's dance.

The poor but educated Mahim and his childhood friend, the rich but conservative Suresh, both fall in love with the same woman, the liberated Achala. Mahim marries her and they move to a village but she cannot forget Suresh. Her smoldering unhappiness takes the form of resentment towards the orphaned Mrinal, raised by Mahim's father, and receives a dramatic visual embodiment when their house burns down. Mahim falls ill, is rescued by Suresh, and nursed back to health by Achala. On a train (a metaphor for the irreversibly linear course of life) to a health resort where Mahim is supposed to convalesce, Suresh on a rainswept night gives in to temptation and elopes with Achala. At the end of the film, there is a dubious reconciliation as Achala is shown following Mahim's 'good' traditionalism with Sharatchandra's barely concealed hostility towards Achala's liberated Brahmo Samaj upbringing.

Dena Paona is a dramatic exploration of societal pressures and personal redemption. The film follows Sorashi, a strong-willed temple priestess, as she confronts the challenges of a troubled marriage and a disapproving community. Her journey towards self-discovery and reconciliation with her husband forms the heart of this compelling story.

This film is based on five shot stories of Rabindranath Tagore's Jibito O Mrito, Sarat Chandra Chattopadhyay's Abhagir Swarga, Gour Kishore Ghosh's Aei Daha, Prafulla Roy's Satgharia and Dibyendu Palit's Kaanch.

Radha lives with her widowed dad and is of marriageable age. Accordingly her details her provided to a marriage-broker, Avtar, who also doubles as a Ved (Village Doctor). He brings the proposal before Shriram and his wife, Sita. They approve of Radha and show her photograph to Shriram's brother, Dr. Madhu, who agrees to marry her. The marriage is celebrated with great pomp and ceremony in the entire village. It is then that the Shriram, Sita, and Madhu find out that Radha has a serious illness - a fact that was known to Avtar - but not communicated to them. This illness prevents her from being intimate with Madhu, and the only cure is when she has a child of her own. Will this marriage be annulled?

After his wealthy family prohibits him from marrying the woman he is in love with, Devdas Mukherjee's life spirals further and further out of control as he takes up alcohol and a life of vice to numb the pain.

Ajoy Kar's 1969 film adaptation of Sarat Chandra Chatterjee's 1914 novel, 'Parineeta'.

A Bangladeshi Bengali language film adapted from the novel of the same name by Sarat Chandra Chatterjee, this is the story of a struggling woman whose husband is an addict and whose daughter and sister-in-law are widowed.

Devdas is a Bengali-language film based on the Sharat Chandra Chattopadhyay novel Devdas. It is the first Bangladeshi version of the story and the first colour film version in Bangladesh. It was the first of two versions directed by Chashi Nazrul Islam.

Andhare Alo is a 1957 Bengali movie by Haridas Bhattacharya

Suren, prevented by his family from pursuing a university career, leaves home and becomes a tutor to Pramila. He falls in love with her widowed elder sister Madhavi who, although returning his love, has him sacked to save the situation.

Nilambhar Chakravorty belongs to a poor family, and lives in a joint family with his married brother, Pitambar, unmarried sister, Punnu, and wife, Biraj. Since his sister is of marriageable age, he arranges her marriage, and borrows some money. When Pitambar comes to know about this, he refuses to share any expense in his sister's marriage, and decides to separate, resulting in a fence being put up between their homes. Nilambher, unable to find employment, is unable to pay back the loan, and soon both he and his wife barely have enough to live on. To complicate matters further, Deodhar, a wealthy young contractor has his eye on Biraj's beauty and would like to be intimate with her, in return for money and a better life.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute. All Indian prints of this Bengali version were destroyed in a fire that ravaged New Theatre’s studios. Today, only one copy of the film survives which belongs to the Bangladesh Film Archives. Of that copy almost forty percent is destroyed.

The film portrays a charismatic and passionate freedom fighter 'Sabyasachi', taken from the novel 'Pather Dabi' by Sarat Chandra Chattopadhyay, in his repeated struggle against the full might of the colonial British rule.

This film is partially inspired by the first volume of renowned Bengali author Sarat Chandra Chatterjee's seminal novel 'Srikanto'. On an idyllic retreat sponsored by an influential friend, Srikanto, the drifter-protagonist, comes across the beautiful Rajlokhi, his friend's mistress.

In Calcutta at the turn of the century, two families (one wealthier than the other but both belonging to the same caste) live in adjoining properties. Their respective patriarchs fall out over the repayment of a loan and the intervention of a member of a lower caste in the families' financial arrangements. The rift causes much heartache to the younger members of the families, two of whom have secretly plighted their troth to each other.

Childhood sweethearts grow up in a small village with a love-hate relationship which changes to love when they mature.

Childhood sweethearts Lalita and Shekhar wish to get married someday. However, Shekhar's growing suspicions about Lalita coupled with his conniving father's antics threaten to tear them apart.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a tawaif.

Kusum and Brindavan are two small children living in a small village in India. Both love each other, and decide to marry when they grow up. Kusum has his name tattooed on her arm. But fate has other plans - both are separated. Kusum thinks that Brindavan has betrayed her, and she burns her arm to eradicate the tattoo. Years later, Kusum has grown up and is looking after a wealthy woman in her village. The wealthy woman falls sick, and her son brings in a doctor to treat her. Kusum's hopes for meeting her beloved surface, when she finds out that the doctor's (Jeetendra) name is Brindavan

Landlord Narayan Rao's son Devdasu and Parvathi, their poor neighbour's daughter, fall in love. But Devadas's family does not approve of the relationship.

Based on the novel "Grihadaha" written by Sarat Chandra Chattopadhyay.

After breaking up with his childhood love Paro, Dev finds solace in drugs and alcohol. He soon bumps into Leni, a prostitute, and falls for her.

Businessman Baikunth remarries after the death of his wife and is blessed with a second son. Years later, he leaves his wealth to his wiser elder son, which causes friction between the two brothers.

In ‘Abhagir Swargo’ the mother Abhaghi is a lower caste woman, whose only dream was that after her death she should be cremated with full rituals like the high-caste Hindus. She dies in penury and his son went further into the debt trap to fulfill his mother’s last wish.

Bijoya, the daughter of a zamindar, falls in love with a learned doctor, Naren.

Based on Sarat Chandra Chattopadhyay's classic 'Datta', Banamali proposes his daughter Bijoya's hand to his childhood friend's son, Narendra. But, Bijoya is attracted to Bilas and has always been skeptical about Narendra. However, when Bijoya meets Narendra, her feelings take a turn towards the unexpected.

Saudamini is a pampered girl until she is forced to marry the widower Ghanshyam and move into his large household. Saudamini cannot cope with her husband's overbearing and greedy stepmother and pines after the man she really loved and had to abandon, Narendra.

The scion of a wealthy landowner family turns to alcohol and self-pity and slowly self-destructs after class differences force him to break off his relationship with his childhood sweetheart.

Bipinchandra breaks family tradition by marrying a city girl, Hemangini, much to the chagrin of his sister-in-law, Kadambini, and her husband, Navinchandra. Things are delicate even after both women give birth to two children each. Then Hemangini testifies against Navinchandra in Court, leading to the division of the property. Things got worse by the arrival of Kadambini's orphaned school-going step-brother, Kishan, who is beaten and abused by not only by Kadambini and Navinchandra, but also by their overweight son. When Hemangini objects to Kishan's ill-treatment, Bipin takes the side of the rest of the family, and may probably force her to abandon Kishan to his fate or divorce her.

Abhagi is a lower-caste, poor village woman left by her husband and lives with her son Kangali in her small mud hut. In her childhood, Abhagi dreams of her death, she takes ill and soon passes away. Before her death, she tells her son about her wish for sindoor, alta, and being burnt in wood. Will her wish be fulfilled? Based on Sarat Chandra Chattopadhyaya's short story 'Abhagir Swargo'.

Bindubasini, a young woman, faces conflicts in her married life. In an attempt to divert her attention, she decides to raise a child.

The story revolves around three characters: Annapurna, her son Amulya, and Bindubashini, a woman desperate to become a mother. Annapurna's husband Jadab goes through much hardship to pay for his younger brother Madhab's education; years later, Madhab becomes an eminent lawyer. Madhab's wife Bindubashini comes from an affluent family and is strikingly beautiful. Bindu is childless and when she gets to take care of Amulya, her yearning to experience motherhood finds some fulfillment. Sisters-in-law Bindu and Annapurna share a bittersweet relationship. Bindu respects Annapurna and the latter reciprocates by showering a lot of affection on her. But they have frequent rows over household chores. One day, they have a major disagreement over Amulya's upbringing. The disagreement proves to be irreconcilable. As a result, the two families split. The after-effects of this disagreement reverberate between the two estranged families for a long time.

The film follows an adolescent girl who struggles to survive through drought, hardship and discrimination as her father is shunned by the majority of the village for engaging in a blasphemous act.

Madhu and Sobha love each other. But they have differences in their political views. So they need to overcome several hurdles to get united again.

The film portrays the disreputable life of Srikanta and his encounters with various women. After facing many failures in love he becomes a monk.

Feeling lonely after his father's death, Chandranath meets and falls in love with a poor widow's daughter during his travels. Later, secrets from her past come to haunt him.

The story centers around a character named Ram, a mischievous and cunning teenager who keeps the villagers on their toes with his antics. He steals fruit from trees, fish from ponds, and seems to get into constant trouble. Ram's brother, Shyam, works for the local zamindar (landlord) and has a domineering wife named Narayani. One day, Ram gets into a fight with the zamindar's son, which leads to Narayani taking a stand and refusing to speak to Shyam. Disappointed by this turn of events, he realizes his mistake when he loses the trust of his relatives and decides to leave the village, relinquishing all his property to his nephew, and move to his mama's house. What unfolds next is the heart of the story. It is likely to explore themes of family dynamics, social class, and the consequences of Ram's actions.

The film is a romantic story about a wealthy Brahmo woman and a poor but intelligent Hindu man. It explores their growing love despite societal obstacles. Sarat Chandra Chattopadhyay, combines humor with serious themes and social commentary, creating a timeless story that respects women.

A woman takes care of a young boy as her own son, and the challenges that follow.

Suren, the son of a zamindar of Bangladesh, lives his life in his own way. He takes up the private tutor job for a girl whose elder sister is Madhabi, an ill-fated widow. But after a few days, he returns to his rich family and marries. But he cannot forget Madhabi who loves him like an elder and caring sister. In the meantime, when Madhabi's sister-in-law drives her out of the house, Suren hears that and arranges to return the property to her.

Being an unwed mother, Kamal Lata had no option but to abort the child and move on with life. The man who left her comes back into her life, but she decides to stay in Vrindavan.

In this poignant tale, brothers Nilambar and Pitambar have contrasting personalities: Nilambar is kind but aimless, while Pitambar is responsible and practical. Nilambar's wife, Virajmohini, struggles as he mortgages their property to support his sister's marriage. When the village Zamindar, Rajendrakumar, becomes infatuated with Viraj, her life takes a tragic turn. Misunderstood by her husband, Viraj leaves home, faces numerous hardships, and eventually reunites with Nilambar in Tarakeswar. In her final moments, she finds peace, resting her head on her husband's lap, ending their story on a tender note.

Businessman Baikuntha remarries after the death of his wife and is blessed with a second son. Years later, he leaves his wealth to his wiser elder son, which causes friction between the two brothers.

Sisir Kumar Bhaduri's Palli Samaj. A 1932 Bengali Talkie Film directed by Sisir Kumar Bhaduri.

A 1949 Indian Bengali Film directed by Pashupati Chattopadhyay.