Titash Ekti Nadir Naam (Bengali: তিতাস একটি নদীর নাম), or A River Called Titas, is a 1973 Indian-Bangladeshi film directed by Ritwik Ghatak.

Alongside Satyajit Ray's Kanchenjungha (1962)[5] and Mrinal Sen's Calcutta 71 (1972), Titas Ekti Nadir Naam is one of the earliest films to resemble hyperlink cinema, featuring multiple characters in a collection of interconnected stories in the style of The Rules of the Game (1939), predating Robert Altman's Nashville (1975).

Ghatak clearly uses the story as a tragic analogy of what happened to the Bengali people as a result of the Partition of Bengal between British India and Pakistan in 1947.

Spanning an entire generation, the film utilizes its main character, Basanti, who endures a litany of tragedies and mundanities alike as she’s married off only to be sacrificed to nature’s unforgiving advancement, as a symbol for countless victims of Bangladesh’s partition era, when the division of India and Pakistan left thousands of people impoverished.

"He makes use of cultural archetypes familiar to the broadest Indian audience, such as the suffering mother, the wise (or crazy) old man of the village, the local gossips, the blushing, virginal bride" he writes, "and then twists narrative conventions, both subtly and provocatively.

The film is, in line with Ghatak’s Brechtian orientation, a broken, deliberately disjointed melodrama, arranged in two starkly distinct halves, and gives itself the freedom to hop from one character’s story thread to another’s — an uncommon technique in world cinema of the time."

Club, who gave the film a "C−", called it "clumsily melodramatic tale of the fallout that occurs after bandits kidnap a pregnant bride...Leaping forward in time without signposts and continually wandering off on pointless digressions, the film is somehow both overly plotted (coincidences and conveniences abound) and dramatically shapeless, with its lauded anticipation of “hyperlink” cinema—abrupt shifts in focus from one character to another—often coming across as random.

What’s more, Ghatak has enormous difficulty simply establishing a coherent tone; the story’s most tragic moment is so broadly played that it threatens to inspire laughter rather than anguish."

Despite this, he lauded its "breathtaking black-and-white images on the banks of the titular river" and recommended Meghe Dhaka Tara, "his consensus masterpiece", as a better introduction to his filmography.