Goopy Gyne Bagha Byne

When Goopy and Bagha learn about Hirak Raja's tyranny, they try to set him right with the help of Udayan, a school teacher, and their magical powers.

Goopy and Bagha are invited to the Kingdom of Shundi, where they must outwit an evil astrologer and his imposter to save the king and prevent an attack from the neighbouring kingdom of Halla.

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.

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).

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.

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.

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.

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.

This short film shows an encounter, through a series of games, between a street child from the shantytowns and a child of a rich family, stationed at his window. The film has no dialogue and the action moves through the attempts at one-upmanship evident in their successive display of their toys. Their rivalry (a kite shot down by a toy rifle, for example) concludes with the opposition between the world of noise (the toys inside the house) and that of music (the street child's flute). Preserved by the Academy Film Archive in 2006.

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.

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.

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.

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.

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.

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.

Ashoke Gupta is an idealistic doctor working in a town near Calcutta. He discovers that the water at a popular temple is the source of an outbreak of typhoid and hepatitis. In order to save lives, he risks his career to try and call attention to this polluted water source, while a local group of building contractors attempt to discredit him in various ways.

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.

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.