Aranyer Din Ratri is the well-known polyphonic narrative of Sunil Gangopadhyay, a narrative published in 1968. In 1970, it was adapted into the medium of cinema by Satyajit Ray. But Ray moved through the narrative's surface purposefully changing characters and their relationship, their ends, and
Where every train mirrors a story of longing, rupture, and return
Bengali cinema’s evolution from male gaze portrayals to powerful, women-centric storytelling and empowerment
From Kerala to Kolkata, Guru Venkit bridged cultures through Kathakali, devotion, and timeless artistic legacy
In the villages and towns of Bengal, before the cinemas and the television screens, there had always been a remarkable tradition called Jatra. People from the neighbouring villages would come and gather in the open air to see a two-or-three hour live event. Jatra is a
In 1972, at the time of his last film Jukti, Takko aar Gappo, when Ritwik Ghatak himself would say, “I have no theory” or “I don’t believe in slogans in cinema,” it is remarkable that the very same person’s first film as a director was an unmistakably leftist,
Letters have long disappeared from our everyday lives. Once, there were messages. Now, we just “text.” With a single tap, we can send words instantly, and with another tap, erase them forever. In such a time, it feels necessary to pause and think about the
Cinema has always been visually oriented, a desire for spectacle, from its very beginning. When the Lumière brothers screened their films for the first time, the rush of a train coming down the track made viewers feel something and irrevocably impressed a memory on us.
Late 1980s. Aniruddha Dhar decided to make a docudrama on Uttam Kumar. The producers were Indrajit Sen and his brother Indranil Sen. It was planned as a television series for Doordarshan. The theme was this: an ageing filmmaker wanted to make a film on Uttam Kumar.
In 1966, All India Radio transitioned Mahalaya from a live broadcast to a pre-recorded format