During a Mayoral election in a small town in the Hill Capital, the son of the opposing candidate is missing while on a trip to Worlds End. The opposing candidate who is a leading lawyer has a mistress named Annette, who now becomes the main suspect. A search begins around Worlds End involving the police and the army, thereby involving the media and people to follow the story.
Vaishnavee (The Goddess), (Sinhalese: වෛෂ්ණාවී) is a 2018 Sri Lankan Sinhala drama thriller film directed by veteran director Sumitra Peries and produced by Mano Nanayakkara. 1930’s, Sri Lanka. Partly a compelling domestic drama, and a demonic love story, the narrative follows a puppet-maker who’s set to be married to a young girl. Unfortunately, the girl elopes with her secret lover. Devastated, the grieving puppet-maker ends up carving a puppet in her likeness, which eventually comes to life, setting in motion a fantastical chain of events.
A married man (Nissanka) and woman (Miranda) find their lives disrupted after their affair is exposed by the police. Leaving their respective families, the two decide to live together. Shortly afterwards, Miranda secretly goes back to see her former husband. As paranoia mounts, Nissanka disintegrates psychologically to point where reality and fantasy are blurred.
A man deals with the consequences of his own actions.
Abasiri’s wife Suddhi abandoned him and the village a long time ago. Now, Abasiri and his young friend Mani are summoned to identify a woman who got raped and murdered in the city. Hiding his personal distress after the shocking discovery that it’s his own wife, Abasiri embarks on a strange journey with a coffin heading through captivatingly beautiful hill stations towards the village where embarrassing rumours of Suddhi’s demise are already spreading.
The cost of living sky rocketed. The government introduced an income ceiling. Private practice for doctors was abolished. It was the fate of Dr. Moladanda to live with a struggle he did not create.
Ishara, the only beautiful young daughter of an elderly wealthy plantation owner, Clifford, is attacked by extortionists. Clifford has to pay ransom money to save his daughter. However, when the ransom is paid, the police intervene and try to catch the extortionists, but they run away. Meanwhile, three young men are recruited for new jobs in the tea plantation. A love affair develops between one of the young men, the handsome Sameera, and Clifford's daughter Ishara. Greshan, the estate superintendent, who is strict about this, objects to it. He maintains a secret relationship with Clifford's young wife Sherin. Soon Sherin gets murdered and Ishara and Sameera tries to uncover the secrets behind the murder but then unexpectedly, Ishara gets kidnapped again, and its upto Sameera to solve all the mystries and save Ishara.
A middle class boy from the highlands who falls in love with an upper class girl in Colombo. They are both high school students. The girl's arranged marriage and her illness make life difficult for the young couple. They challenge cultural conventions to succeed.
Ko Mark No Mark is a 2014 Sri Lankan Sinhala comedy film directed by Jayaprakash Siwgurunadan and produced by Soma Edirisinghe for EAP Films. It stars Vijaya Nandasiri in dual roles and Dilhani Ekanayake in lead roles along with Giriraj Kaushalya and Mihira Sirithilaka
A film that touches Life, Death and Expectations.One Person’s death fans the flame of expectations in another. the life that begins with that expectation ultimately ends in death. Loneliness, loss of social contacts and deceit are the underlying human conditions of the film.
Thunveni Yamaya (Third part of the night) is an attempt to delve deep into, and cinematically depict a series of terrifying and tormenting experiences of a young man (Percy), during a nightmare honeymoon. These experiences appear to be a catharsis of traumatic experiences of a bewildered childhood. And in their eructation they engulf all around them, his wife (Princy), his mother, his servant, and all who come in contact with him, the most cruelly persecuted being the image of his own innocent childhood.
Radhika and Bhatia are a married couple between 30-35 years old. They have been married for several years but they have no children and now there is a distance between the two.
A young man visits a troubled village where a boy refuses to vote. When their candidate wins by one vote, the boy realizes his choice changed everything.
A lonely widowed water-gate keeper is attracted to the lonely young wife of a soldier who is away at the battlefront. Their passionate need for each other is strongly condemned by the hypocritical villagers. The tragedy unfolds as the village is starved of its precious water supply.
The lives of a middle-class Sri Lankan family are disrupted when they learn their maid has cancer, leading to a series of events that expose underlying social tensions and culminate in a tragic climax.
An adolescent boy with no birth certificate denied access to free education. He overwhelms the whole country and achieves what he has been dreaming in daylight.
A desperate father goes above and beyond to enlighten the future of his children.
Maruthaya is a very honest, daring, and dramtic exposure of the traumatic experiences of an honest politicain and his family. Director Vasantha Obeysekera’s frank and sensitive handling of an age old topic, conveys a clear message that in politics, honesty is not always the best policy! And politicians are losers everytime! Maruthaya highlights the tragic plight of a politician’s family, which had tasted all the perks of power when the going was good, and the shattering experience of being faced with defeat at the elections, and all the evil that comes with it in Sri Lanka.
The love story between beastly-looking prince Kusa and beautiful princess Paba.
Sasitha works as the underpaid delivery man for Giftnet, an Internet based business which accepts gift orders from outside Sri Lanka. Suffocated by economic pressures and sexual frustrations, like most of his peers he sees going abroad as the only way out of his wretched existence. Fascinated with the idea of “abroad” he forms relationships with the recipients of these gifts, most of whom are rich, lonely women. When the real world starts to look too bleak, Sasitha seeks greener pastures through virtual relationships he builds on Facebook and Skype with Sri Lankan women of his own class, working abroad. But when nothing seems to go right, he grows desperate.
