Bengali

Three years after the partition of India, Shibnath returns from 11 years of imprisonment. He tries to pick up his life again but his past experiences make it impossible.Read More »

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When a sculptor visits a remote fishing village on the Bangladeshi Delta, he finds himself center stage in a primal, elemental conflict between land and sea, man and nature, past and future.Read More »

The servant boy, a minor, engaged in a middle class family dies mysteriously locked in a kitchen.Read More »

Follows the life of a bereaved mother trying to desperately find a new identity, love and independence.Read More »

Chittagong is a seaport in southern Bangladesh that has become the center of a thriving industry in the Third World — breaking up old and obsolete ships and selling the scrap metal, usually to construction firms.Read More »

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“The World of Apu” is the third and final installment in the film trilogy of Satyajit Ray’s (Pather Panchali, Aparajito and Apur Sansar) Apu has grown to manhood and has been forced to give up his studies and find employment. Unable to find work, he is writing a novel based on his life. In a representation of an arranged marriage Apu nobly stands in for a distraught bridegroom. He had never seen his wife before the ceremony but together they find brief happiness. Tragedy again befalls Apu as his pregnant wife dies in childbirth. His son is brought into the world but blamed by his father for his mothers death. Apu matures, overcomes and sets forth with his boy, Kajal, to Calcutta to continue his adventure and start a new beginning.Read More »

Synopsis

Hirak Rajar Deshe is the second movie of the Goopy Gyne Bagha Byne series directed by Satyajit Ray. An unique aspect of the film is that most of the dialogues exchanged by the protagonists of the film are rhyming. Satyajit Ray was initially apprehensive whether this approach would be liked by people as it was a novel one but it was a great success.Read More »

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Jalsaghar opens to the shot of a large, ornate, candlelit chandelier, precariously swaying from the momentum of its cumbersome weight. It is a vestige of the fading grandeur of Huzur Biswambhar Roy’s (Chhabi Biswas) cherished jalsaghar – the elegant entertainment room where guests listen to the performance of traditional musicians amid eroded columns and peeling plaster. In early twentieth century India, it is also a symptom of Roy’s aristocratic obsolescence. Roy lounges on his empty rooftop terrace, overlooking his inherited property, now worthlessly reduced to marshland, staring idly into space, smoking his hookah pipe. Read More »

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Abhijan was Satyajit Ray’s most popular film in Bengal: a “conscious” effort to communicate with a wider audience. The project was originally conceived by his friends and Ray stepped in when they panicked at the prospect of directing. Ray’s mastery turned a starkly conventional plot into a subtly nuanced story which topped the Bengali box office for months.Read More »