How to get around India’s capital city, Mumbai

The capital of India’s westernmost state of Maharashtra is the subject of a new documentary by the Sundance Institute, which follows the construction of the state’s largest building, the landmark Parliament building, and its surrounding infrastructure, from its initial construction in the early 19th century to the completion of its massive glass facade in 2000.

The film, entitled Capital, is directed by the award-winning filmmaker Arundhati Roy, who won an Emmy and a Peabody for her documentaries on the construction, reconstruction, and redevelopment of the ancient city.

Roy’s documentary chronicles the construction and subsequent demolition of the building and its infrastructure, which took more than 40 years.

The building was completed in 1891 and was designed by the Danish architect Frederic Jacob Jansen.

The Parliament building was designed in the 1920s by architect Frederick Jacob Jensen, and was completed at a cost of nearly $8 billion.

Its main building, The Parliament, housed the Indian Parliament of 1857, the first and only building of its kind to be completed in India.

The first Parliament building opened in 1897, and the second was completed during World War II.

The last parliament building in India, the Kolkata Congress Building, was destroyed in 2008 during the aftermath of the deadly riots in the Indian capital, which left more than 50 dead and more than 1,000 injured.

Roy tells TIME that the building’s iconic glass facade, which was created in the 1880s and was meant to be permanent, “seemed like a perfect match” for the new structure.

The documentary also reveals the complex history behind the construction process.

“I always wondered why a building this tall, which has a central pillar, has never been completed in this country,” says Roy.

“Because in the 20th century, the government didn’t like tall buildings.

In the 1920-30s, the building was seen as a nuisance.

The government said the building should be demolished.

So it was bulldozed and rebuilt.

But I was fascinated by the building, which had been built over a span of years.

And the architecture was designed to withstand the heat of summer, the rain, and even the snow.

So, even though I didn’t get to see it from the inside, I had a great experience filming it.”

Roy began filming at the Parliament building in early 2013, and has since traveled to more than 30 states, including New York, London, and Australia, to document the construction in detail.

The project, which premiered at the Sundances Film Festival in February and was screened on the Sundays at SXSW, was funded by a grant from the International Fund for Animal Welfare, which provided funding for the project.

“The film is a celebration of this building, its history, its legacy,” says filmmaker A.M. Vadub, who produced the film.

“It tells the story of the architect who designed it, and his son who designed the building in the late 20th and early 21st centuries.”

For Roy, the film’s subject matter is important because it is “very personal and the film explores the role of women in this building and the role they played in it.”

In a 2015 interview with TIME, the filmmaker explained that the project is about the building itself, not about how it is constructed.

“What the building represents is the building that the state of India built around itself, and this is a story about India’s construction of a building that was meant for its people.

And when you think about this building in terms of its structure, the glass and the structure, and you look at the history of India, you have to look at that,” she said.

“This is not a building for the rich, this is not the building for people from the upper classes, this building is for the working class, for the poor.”

The film also highlights the importance of building codes, which have been used to limit the construction size and construction techniques in India to prevent them from destroying the structures.

“One of the things I wanted to do in this film was to really examine the building codes,” says Vadab.

“We had to get involved with the government to get them changed.

I have no interest in government buildings, I’m not interested in any of the government buildings.

I want to get the government and the architect to change these codes.”

“It’s really about the story, the history, and how it happened, and not just the building.

There’s no room for the building on this film,” he adds.

“So, it’s about the relationship between the people and the building.”

Roy, a former television journalist who has worked for various publications, including the New York Times and The New Yorker, has been a long-time advocate of India and the people of the country.

She is also a writer and filmmaker.

Roy has written about Indian history, architecture, and culture for publications including

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