Satyajit Ray

Director Jean Renoir’s entrancing first color feature—shot entirely on location in India—is a visual tour de force. Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the Bengal river around which their daily lives unfold. Enriched by Renoir’s subtle understanding and appreciation for India and its people, The River gracefully explores the fragile connections between transitory emotions and everlasting creation.

An aging, decadent landlord’s passion for music becomes the undoing of his legacy as he sacrifices his wealth in order to compete with the opulent music room of his younger, richer neighbour.

Impoverished priest Harihar Ray, dreaming of a better life for himself and his family, leaves his rural Bengal village in search of work. Alone, his wife, Sarbojaya, looks after her rebellious daughter, Durga, and her young son, Apu, as well as Harihar's elderly aunt Indir. The children enjoy the small pleasures of their difficult life, while their parents suffer the daily indignities heaped upon them.

Feluda, the famous Bengali detective tackles an international buyer, a corrupt arts agent, numerous henchmen and impostors in this story that revolves around a painting of Jesus by the famous Italian painter Tintoretto.

Apu and his family have moved away from the country to live in the bustling holy city of Benares. As he progresses from wide-eyed child to intellectually curious teenager, eventually studying in Kolkata, we witness his academic and moral education, as well as the growing complexity of his relationship with his mother.

In 1870s India, Charulata is an isolated, artistically inclined woman who sees little of her busy journalist husband, Bhupati. Realizing that his wife is alienated and unhappy, he convinces his cousin, Amal, to spend time with Charulata and nourish her creative impulses. Amal is a fledgling poet himself, and he and Charulata bond over their shared love of art.

The movie consists of two Feluda stories by Satyajit Ray, Samaddar-er-Chabi and Golokdham Rahashya, shown on either half of the film. It was a tribute to the 50-year anniversary of Feluda and a sequel to Royal Bengal Rahashya (2011).

Apu, now a jobless ex-student dreaming vaguely of a future as a writer, is invited to join an old college friend on a trip up-country to a village wedding.

One hundred years of Hindi cinema is celebrated in four short stories showcasing the power of film.

A devout upper-class Hindu has a vision in a dream that his daughter-in-law is the human incarnation of the Goddess Kali and begins worshipping her.

The film presents the life and work of the writer Sukumar Ray, Satyajit Ray's father. Ray made this film as a tribute to celebrate the centenary of his birth.

A notorious gangster is incited to transform into a film hero and opts for a filmmaker and their project descends into a scenario they had never anticipated.

In the year 1856, Nawab Wajid Ali Shah is the King of Awadh, one of the last independent kingdoms of India. The British intend to control this rich land and send General Outram to clear way for an annexation. Pressure is mounting amidst intrigue and political maneuvers, but the Nawab whiles away his time in pursuit of pleasure and religious practice. The court is of no help either — noblemen Mir and Mirza ignore all duties and spend their days playing endless games of chess.

Amitabha Roy is a Calcutta-based scriptwriter, driving around in the country to collect material for a film. His vehicle breaks down in a small town. A tea planter, Bimal Gupta, offers hospitality for the night. Amitabha is forced to accept the offer as he has no alternative.

Arati takes a job as a door-to-door saleswoman in Calcutta's wealthy neighbourhoods, in defiance of her traditionally-minded husband, Subrata, and his live-in parents. Emulating her Anglo-Indian friend Edith, who speaks equal to the men she encounters on the job, Arati quickly becomes her firm's top salesperson. When Subrata loses his job, the power dynamic begins to shift.

Arindam, a matinee idol, is going by train to collect an acting award. On the train, he is confronted by Aditi, a journalist who somewhat unwillingly starts to take his interview. Arindam, won over by Aditi's naivete, starts to disclose his past, his fears and his secrets.

When a wealthy patriarch falls ill on his 70th birthday, three of his sons rush in from Calcutta, leading to a reunion filled with painful ironies and lingering disillusionment. As the family—including an addled fourth son who lives with the old man—watches and waits, the static occasion brings out simmering tensions in their family dynamics, from the father’s moral rectitude to the business ambition of two sons and the withdrawal of their siblings.

Set in the holy city of Benares, this is the second film about the detective Feluda, who goes on a holiday with his cousin, Topshe, and his friend, Lalmohan Ganguly. But the theft of a priceless deity of Lord Ganesh (the Elephant God) from a local household forces him to investigate.

Lalmohan Ganguly, alias Jatayu − a sidekick of Feluda − gets invited to Mumbai (previously Bombay) to watch the shooting of a film based on a novel written by him. Once in Mumbai, he, along with Feluda and Topshe gets embroiled with underworld kingpins. He seems to have transported the Nana Sahib's necklace. But fortunately because of Feluda the real thief is caught and convicted. Although the original story was written in the 1970s, the movie is set in more recent times and depict the real problem of underworld involvement in Bollywood.

Siddhartho Chowdhury, a brilliant young medical student, is forced to leave his studies after his father's sudden demise. He is forced to navigate the high unemployment rate and the communist socio-political climate of 1960s Calcutta in search of a job.

Three stories with three central female characters linking the stories together. The first one concerns an orphan girl who grows attached to the postmaster she is caring for after he teaches her to read and write. The second one is a supernatural tale about a woman obsessed with the jewels her husband buys for her. The final one follows a young man who falls for an unconventional girl from his new village instead of his arranged bride, the daughter of a respectable family.

Sheyal Debota Rahasya is a Mystery, Thriller TV Film of Feluda Series. This film is about The Anubis Mystery. Feluda must solve the Mystery case.

Goopy Gyne and Bagha Byne are banished from their respective villages for being bad musicians. However, with their skills, they succeed in pleasing the king of ghosts who grants them three boons. How will they succeed in preventing the war between Halla and Shundi which is looming large?

By accident, more than anything else, the three find themselves beside the grave of Thomas Godwin. The grave was dug up by some miscreants for unknown reasons. The rather colorful history of Mr. Godwin makes Feluda curious to know more about the man.From the diary of Thomas' daughter Charlotte, Feluda finds that a very precious clock went to Thomas' grave with him. To his surprise, Feluda finds that another party knows about this clock and they are trying to get it aided by the letter with them. Thanks to the brilliance of the detective and the help of 'Haripodobabu', the chauffeur of Mr. Ganguli, a new introduction in this book, their plot is foiled.

From a satire to a psychological thriller, four short stories from celebrated auteur and writer Satyajit Ray are adapted for the screen in this series.

Feluda is an Indian-Bengali detective media franchise created by Indian-Bengali film director and writer Satyajit Ray, featuring the character, Feluda. The titular character is a private investigator who resides at 21 Rajani Sen Road,Ballygunge, Kolkata, West Bengal, India.

Jawto Kando Kathmandute is a Feluda mystery where the detective travels to Kathmandu with Topse and Jatayu to investigate a murder and a fake medicine racket, ultimately confronting Maganlal Meghraj, a familiar antagonist.