This film traces the origins of Indian Animation and brings to light important landmarks of animation development as it evolved with time. From the pioneering work of Dada Saheb Phalke in creating stop motion of match sticks for his film “Agkadyanchi Mouj” to the present day high-tech computer animation, the film recognizes contribution of many other individuals and institutions like Films Division's which started the Cartoon Film Unit..

Encouraged by her parents and teachers, Pampa could develop her hobby of drawing and painting. At the age of 14 when she reached the ninth standard she had already won many awards for her talents. Through the story of Pampa, this film underlines the message that there are thousands of young boys and girls in India who can do just as well as Pampa in their chosen fields. But they all need some understanding and encouragement. For instance, Pampa was even asked to design a postage stamp, representing the vitality of youth.

Guru Chengannur Raman Pillai, the greatest living exponent of Kathakali was born in Chengannur, a village in Kerala in 1884. He received his early training under Thakazi Kesava Panikkar and Ambalapouza Kunju Krishna Panikkar. Chengannur's figure and face were such that all his roles were endowed with striking beauty. Guru Chengannur has trained generations of great Kathakali artistes in his lifetime. He received the most coveted awards in India, including the Sangit Natak Akademy Award (1964), and Padmashree (1971).

Through a sentimental journey of Lakshmi to her village, Manavalakurichi in Kanyakumari district in Tamil Nadu, this film demonstrates the overall transformation that has taken place in rural India. However, for all its progress, Manavalakurichi, for instance, still retain sits old character. It is still a land of fisherfolk, people who constantly battle with the stormy seas to earn a living. But there is a change : now there are three co-operatives which find a good market for their catch in the hinterland.

Made by M. F. Hussain who belongs to the progressive group of painters, this experimental film presents the painter's images of Rajasthan, through cinema.

The grandeur of the rock-cut carvings of the Kailash temple in the Ellora caves is highlighted in this film Situated 18 miles north west of Aurangabad, these caves still remain an architectural marvel even today.

The massacre of Jallianwalla Bagh is a flash point of history and heritage of our nation. For the making of this film, material was collected from various sources in India and abroad. Filmic material was procured from newsreel organisations in Europe which were operating in India during the first half of the 20th Century and archival material from India Office Library, London, Nehru Museum and the National Archives. This film tries to bring home the role played by this incident in our struggle for freedom.

By observing simple rules of hygiene and sanitation, sickness and disease can be banished and this is what the cartoon, meant for audience in rural areas, attempts to depict. While explaining the two important aspects of rural sanitation - clean and safe drinking water and the use of sanitary latrines, the film also depicts the proper methods of constructing sanitary wells and latrines.

The film shows the emergence of individual modern artist as a result of colonical transformation of the country, colonial hegemony and its nationalistic negation and also focused how Gandhiji and Nehru influenced the artist during the years leading to and following independence.

Freedom takes along with it the sense of responsibility towards one's own family and society at large. Children born in the atmosphere of free India should cherish freedom of thought and action while shaping the future for better and peaceful living.