'Pather Panchali' won at Cannes in 1956. Sixty-six years later, Anik Dutta shot its origin story in black and white, with Ray's son watching, and called it a labour of love. That is what obsession looks like when it is handled well.
A toy gun, a flute, and a silent battle between two children become a haunting reflection of class and power. In just 12 minutes, Satyajit Ray turned silence into one of cinema’s sharpest social commentaries with 'Two'.
Apu’s story drifts through loss, silence, and fleeting moments of love that shape a deeply human journey. In the end, it finds something fragile yet unbreakable: the quiet persistence of hope that keeps life moving forward.
On the mighty Satyajit RayÊs death anniversary which was on 23 April his son Sandip Ray remembered his father
Priyadarshan has finally addressed the storm over ‘Bhooth Bangla’ song lines allegedly borrowed from a Satyajit Ray classic. Fans are debating whether it’s homage or plagiarism.
He died on Friday after a fortnight-long illness during which he was shifted to a local Kolkata hospital.
In 1992, Satyajit Ray became the only Indian filmmaker to receive an Honorary Oscar, accepting it from a hospital bed in Calcutta. The legendary director shared his gratitude to world cinema just weeks before his passing.
Once upon a time, Bengal and Kerala created brilliant cinema. Helmers like Satyajit Ray, Ritwik Ghatak and Mrinal Sen, as well as John Abraham, Aravindan, Adoor Gopalkrishnan and Shaji N. Karun gave us films that filled us with joy and a sense of immense satisfaction.
The director recalled how Ray’s films became an important part of his learning years. “When I went to film school, there were weeks and months when all we did was watch Ray’s films."
Twenty years after Pather Panchali (1955), Ray made Jana Aranya (1976), bringing to life one of the gloomiest chapters in India. Today, five decades on, it still pulverises our souls.
