Revisiting Satyajit Ray's Devi: The enduring relevance of the film's biting critique of dehumanisation of women
In Devi, the 'goddess's' listlessness and immobility in the face of burgeoning oppression was a metaphor for patriarchy at its diabolical worst.
The unbearable sterility of Pather Panchali in colour: Unpacking the row over changes to Satyajit Ray's masterpiece
The coloured version of Pather Panchali invited the ire of purists who wish to see Satyajit Ray’s masterpiece only in its original form
On Satyajit Ray's 99th birth anniversary, his leading ladies Aparna Sen and Madhabi Mukherjee weigh in on the political significance of the man and his legacy, even 28 years since he breathed his last.
Agantuk: Through Utpal Dutt's character, Satyajit Ray articulated his views on civilisation's illusory nature
It is said that after the final shot of Agantuk, Satyajit Ray announced – ‘That’s it. I don’t have anything more to say.’ A few months later, he passed away in a nursing home in Kolkata | #FirstCulture
Apur Sansar marks the debut of both Soumitra Chattopadhyay and Sharmila Tagore, as Apu and Aparna respectively, both of whom went on to appear in a number of films by Satyajit Ray
Pather Panchali: How Vittorio De Sica's Bicycle Thieves inspired Satyajit Ray to write his first film
Satyajit Ray's Pather Panchali is a reminder that one may need money to make a film, but one needs a deep and respectful understanding of human nature to make a great one | #FirstCulture
When asked by interviewers which was his personal favourite among all the films he had made in his 40-year long career, Satyajit Ray always said, 'Charulata' (The Lonely Wife) — based on Rabindranath Tagore's short story | #FirstCulture
Jalsaghar is one of Satyajit Ray’s many commentaries on the subject of old versus new | #FirstCulture
Satyjit Ray made as many as five films based on the short stories, novellas and novels written by Rabindranath Tagore — that’s the most number of times he has ever adapted any one writer’s work | #FirstCulture
Over a period of almost 40 years, Satyajit Ray’s magnificent documentary titled Sikkim, was cut, chopped and finally banned by not one but two nations | #FirstCulture
With Nayak, Satyajit Ray goes to the heart of the question — who is truly happy? — turning the question around on its head, and asking instead: what, in fact, is true happiness? | #FirstCulture
Satyajit Ray’s Bala provides a fascinating study of the great dancer, a priceless archive for posterity
Satyajit Ray's Bala can be considered a tribute to the greatest dancer of our country (Balasaraswati) by the greatest filmmaker of our times | #FirstCulture
Bibhutibhushan Bandyopadhyay’s tragic tale set in the backdrop of the notorious 1943 man-made famine of Bengal became Satyajit Ray's Ashani Sanket
In Satyajit Ray's Two, while one boy turns a moment of loneliness into one of joyous music, the other sees it as an opportunity for destruction.
With his documentary on Benode Behari Mukherjee, Satyajit Ray himself paints a beautiful picture of the life of a remarkable man – a devoted artist, a born fighter and, in more ways than one, a great philosopher
Satyajit Ray's Pikoo is a magnificent study of a child’s mind, and a reminder that it is only when we adults see ourselves through the eyes of a child that our own actions look so distinctly odd to us | #FWeekend
Shatranj Ke Khilari transports us into a magical world of nawabs and nautch girls, of palaces and forts, of hookahs and Peshawari shawls, of cockfights and kite-flying contests, of kathak and thumris
Satyajit Ray's Ghare Baire could have been a wonderful adaptation of Rabindranath Tagore's story, but turns out to be an underwhelming coming together of the greatest mind in Indian literature and the brightest gem of Indian cinema | #FWeekend
Satyajit Ray adapted Pratidwandi from the novel of the same name by veteran Bengali writer Sunil Gangopadhyay