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Acharya Yugbhushan Suri Maharaj at the Jain ‘Upashray’ in Ghatkopar, Mumbai. Photo: Aniruddha Chowdhury/Mint

During World War II, Lily Bouwmeester refused offers by the German studio Ufa to act and she secretly took in two Jewish boys in her home in The Hague. After the liberation in 1945, she was offered film roles again but declined all offers. She decided to return to the theatre instead and from September 1945 on, she worked for the Residentie Tooneel. In 1948, she moved to the Rotterdams Toneel for five seasons. She returned in her success role of Eliza Doolittle and would play Pygmalion on stage for more than 800 times. She was also remembered for playing the lead role in the play Het Hemelbed in 1952. Author Jan de Hertog had written it especially for her. She would play it more than 500 times. However, in 1955 she took a break from acting again to take some rest. In 1960 she returned to theatre, performing on stage in Arnhem. Meanwhile, she appeared on several television shows, including the TV film Een stukje van jezelf/A piece of yourself (1967). In 1969, she resigned from acting completely. After the death of her husband in 1990, she moved to Sliedrecht, where she spent the rest of her life in seclusion. Although she was awarded a Pre-Golden Calf - being named the ‘Best Actress of Pre-War Dutch Cinema’ - in 1991, she was lonely in her final years. Lily Bouwmeester died in 1993 in a local hospital in Sliedrecht, at the age of 92. She was cremated in the Hague. She had no children. I decide to take every morning photo from my badroom balcony. Here we came to Smoke, film that inspired me to do that. Mother dearest...I believe you have had a bif hand in putting Fluffy and I together to which I truly thank you. Phyllis Margaret gave up her concert playing, modelling, dancing .......to become a housewife and a mother and she would always say "THATS all I ever really wanted..." German postcard by Ross Verlag, no. A 1158/1, 1937-1938. Photo: 20th Century Fox. Simone Simon and James Stewart in Seventh Heaven (Henry King. 1937).

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Young ‘sadhvis’ are given their only possessions—a duster, a piece of white cloth, a water pot, and a bowl. Photo: Aniruddha Chowdhury/Mint Sudha, little miss goody two shoes that she is, works hard to live up to her parents expectations, never once resenting their obvious partiality for her brother. Rahul, on the other hand, casts all conventions to the wind and embarks on a carefree downwards journey spiraling from getting thrown out of Cornell University to living at home to working part time at a dead end job. Thousands of members of the Jain community are in attendance, including 64-year-old Hemant Shah, a newly retired businessman from Canada who has flown in to oversee the logistics. Shah closely assists Acharya Yugbhushan Suri Maharaj (known as Pandit Maharaj), the presiding guru at the ceremony, and also doubles up as a media representative. “You’ve come just in time, the most important part is about to begin,” he says, his booming voice carrying easily over the music as he leads me towards a carpeted wing of the shamiana, a VIP section of sorts. We pass disgruntled men—the genders are strictly divided, my presence unwelcome—but Shah reassures them and swiftly walks me across the stage, where religious proceedings are under way, to the section where the women have gathered.

Those first days (after ‘diksha’) felt like…when you move from a small house into a really massive one. Or come into a lot of money after having very little. Exactly like that.– Muniraj Shri Bhuvanjeetvijay

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These future monks and nuns leave the stage, trailed closely by family members, who will now perform the final ceremonial rites. In this hour-long interval, the diksharthis will be shaved and showered (for the last time, they are only allowed to sponge their bodies hereafter) while those in attendance will settle down for a vegetarian breakfast feast, again with segregated seating for both genders. Meanwhile, on stage, an emcee encourages the crowd to participate in a spirited round of money-raising—families donate lakhs of rupees to fund future religious ceremonies. Shah says the one I am attending cost a few crores. Ashim leaves for Pune on official work, leaving his wife in Calcutta. Taking advantage of his absence, Jeena and Partha go to a resort near Puri for the time Ashim is in Pune. And there Jeena finds sexual fulfillment of a kind she hadn’t found with Ashim, who is 11 years her senior. She is so much into Partha that she even wears a bikini for him on an isolated beach, where he makes love to her.

A glimpse into the lives of a rather selfish pregnant daughter, and her equally self centered father – Ruma initially wants to discourage her father from moving into her house and her life. The father comes for a visit and seeing his homely skills, Ruma changes her mind and voluntarily invites him to live with her family. Dear Daddy refuses of course, he has his hands full with a tepid romance and a new passion for traveling.The scene resembles a wedding. It is 6.30 on a dark January morning when four middle-aged women in bright saris climb out of a white sedan, straightening crumpled pleats and securing hairpieces. They disappear under an illuminated sign that reads “Vijay Prasthan Utsav”, or “path to victory”. The Dedhia family, for instance, had four women take diksha at the ceremony in Borivali. Kritika Dedhia took the vow of renunciation with her daughters Khyati and Khushboo. “My wife had expressed the desire to take diksha earlier, but at that time our daughters were not settled. Being a housewife, she had a responsibility at home,” says Kritika’s husband, Ashok Dedhia, an advocate practising at the Bombay high court. “My daughters had taken a break from studies and were studying Jainism with Guruji (Pandit Maharaj). We asked them to then decide whether they wanted to pursue a professional career or a spiritual career. After staying at the Jain Upashray (accommodation for Jain monks) for eight months, they decided on the latter. In a way it is lonely now, but I am comparing this with a daughter’s marriage, with time you adjust.” The Jain community is divided into two broad sects: the Digambars, those who are clad in the sky (a poetic euphemism describing their practice of nudity), and the Svetambars, those who wear only white. The two groups share a core philosophy and adhere to the five basic vows, or mahavratas—non-violence (ahimsa), truth (satya), not stealing (achaurya), celibacy (brahmacharya) and detachment (aparigraha). A notable difference lies in how they view women. Digambars believe that a female must be reborn as a man to attain moksha, while women of the Svetambar sect are on equal spiritual footing with men. Moksha, freedom from endless reincarnations, is the ultimate goal of both sects. This is made possible through strict asceticism. Toda la gente sola es una comedia dramática que cuenta la historia de seis personajes en búsqueda de la felicidad.