A crazy mother-in-law, debt-ridden immigrant parents with children more Hip Hop than Hindu, and a Call Center in India all merge in this comedy and caper where East and West are inextricably intertwined.  Karma Calling is a snapshot of our hyper-globalized world. A story told through the Raj’s, a household of Jersey Indian Immigrants who struggle to find their identity against the backdrop of American life. They are a family full of fantasies, Garden State style.

Ram (49), a New York cabbie, and his wife, Bebe (48), a clerk at the “Busy Lady” strip mall dream of a debt free life with Soprano’s style touches far from their working class apartment in Jersey City.  Sonal (28), their eldest daughter who still lives at home, hopes for work outside of Plantex (a fake plant factory), and seems destined for spinsterdom.  Shyam (25) is a handsome college dropout who aspires to be not Dr. Raj, but Dr. Dre.  And Jamuna (11), the family “accident”, is a whip-smart, sarcastic sixth grader who dreams of her own Bat

Mitzvah.  Into this menagerie enters Mausi (60s), Ram’s sister. Fresh from India, she is a hyper chai- caffeinated Mary Poppins in overdrive bent on restoring tradition to this collection of hapless Hindus.

Call Centers are the matrix for this family dramedy where Bombay based operators master Brooklyn accents and seem to know more about Americans than the CIA, FBI, and NSA combined—Chattanooga and Chennai never seems so connected.

With its universal storylines of family and romance set against the backdrop of credit consumerism, hip-hop, and modern working class life, Karma Calling is at its essence, an American tale.  It’s a film about unlikely alliances, outsourcing, and outwitting. 

And at its heart, it is the story of a family learning to live together.