Cinema can be considered as a practice of philosophical concerns through the cinematographic apparatus. Yet in India, the most rigorous film maker of this approach, Mani Kaul, has not only been the most ignored, but the most castigated. How can a renewed interest in his work, be a much deeper engagement with form of cinema? How do these films create a blending of Hindu, Islamic, Buddhist and Jain philosophy through the way in which they are made? 10 years after Kaul's death, can a reassessment of his films be made with an eye toward concerns of global film theory and praxis? Through his acquaintance with Kaul, Devdutt Trivedi interviews a complex construction of film & philosophy through the structuring of essays on Kaul's films, articles and interviews the first to combine theory and practice to create a unique amalgam of creative