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<image:caption><![CDATA[ Actor Arjun Gowda turns ambulance driver]]></image:caption>
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<lastmod>2021-04-30T22:12:00.000Z</lastmod>
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<loc>https://www.cinemaexpress.com/stories/news/2021/Apr/30/director-s-mahendar-and-ravichandran-join-hands-for-a-rural-film-24264.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/ravichandran.jpg</image:loc>
<image:caption><![CDATA[ The film marks the duo's first collaboration]]></image:caption>
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<lastmod>2021-04-30T22:22:00.000Z</lastmod>
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<loc>https://www.cinemaexpress.com/stories/news/2021/Apr/30/director-shashank-to-introduce-newcomer-praveen-24263.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/shashankdirector.jpg</image:loc>
<image:caption><![CDATA[ Director Shashank to introduce newcomer PraveenDirector Shashank to introduce newcomer PraveenDirector Shashank to introduce newcomer Praveen]]></image:caption>
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<loc>https://www.cinemaexpress.com/stories/news/2021/Apr/30/maa-abbayi-director-kumar-vatti-succumbs-to-covid-19-24262.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/kumar_vatti.jpg</image:loc>
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<lastmod>2021-04-30T17:48:00.000Z</lastmod>
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<url>
<loc>https://www.cinemaexpress.com/stories/interviews/2021/Apr/30/jiiva-i-wanted-to-do-one-more-film-with-kv-anand-sir-24261.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/jiiva.JPG</image:loc>
<image:caption><![CDATA[ Jiiva: I wanted to do one more film with KV Anand sir ]]></image:caption>
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<lastmod>2021-04-30T17:45:00.000Z</lastmod>
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<url>
<loc>https://www.cinemaexpress.com/stories/news/2021/Apr/30/suriya-on-kv-anands-demise-his-photographs-created-the-miracle-of-sarvanan-becomingsuriya-24260.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/suriya_kv_anand_1.JPG</image:loc>
<image:caption><![CDATA[ Suriya on KV Anand's demise: His photographs transformed Sarvanan into Suriya]]></image:caption>
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<lastmod>2021-04-30T16:36:00.000Z</lastmod>
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<url>
<loc>https://www.cinemaexpress.com/photos/slideshows/2021/Apr/30/lights-landscapesshadows-silhouettes-and-more-remembering-kv-anand-through-his-exquisite-frames-1268.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_1.png</image:loc>
<image:caption><![CDATA[ This is the first-ever frame that came with the artful stamp of KV Anand.   Thenmavin Kombathu - 1994]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/kv_anand_1ses.png</image:loc>
<image:caption><![CDATA[ His first onscreen credit as a cinematographer...]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_1-1.png</image:loc>
<image:caption><![CDATA[ Thenmavin Kombathu - 1994]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_2.png</image:loc>
<image:caption><![CDATA[ Anand loved to play with colours. This is the first frame from his work in Minnaram (1994)]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_2-2.png</image:loc>
<image:caption><![CDATA[ Minnaram - 1994]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_2-3.png</image:loc>
<image:caption><![CDATA[ Minnaram - 1994]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_2-4.png</image:loc>
<image:caption><![CDATA[ Another framing device that was close to Anand's heart - windows  Minnaram - 1994]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_21212.jpg</image:loc>
<image:caption><![CDATA[ Playing with colours and technology in 1994]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-1.png</image:loc>
<image:caption><![CDATA[ KV Anand made his Tamil debut with the 1996 film, Kadhal Desam]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-2.png</image:loc>
<image:caption><![CDATA[ The iconic flower road in the Kalluri Salai number  Kadhal Desam (1996)]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-3.png</image:loc>
<image:caption><![CDATA[ Anand's favourites in play. colours, lights and silhouettes]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-4.png</image:loc>
<image:caption><![CDATA[ Kadhal Desam]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-5.png</image:loc>
<image:caption><![CDATA[ Friendship as vast as this frame was explored in the film, starring Vineeth and Abbas]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-6.png</image:loc>
<image:caption><![CDATA[ Cover picture material for both Vineeth and Abbas]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-8.png</image:loc>
<image:caption><![CDATA[ Underwater romance between Abbas and Tabu in KAdhal Desam (1996)]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-9.png</image:loc>
<image:caption><![CDATA[ Tabu walks away many a time, and KV Anand tracked each of these shots to give us more than one of these frames]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_3-10.png</image:loc>
<image:caption><![CDATA[ Let's end the Kadhal Desam retrospective with this iconic frame...  Saar, Tabu Saar.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/nerukku_vijay_1qw.png</image:loc>
<image:caption><![CDATA[ For his next Tamil film, KV Anand signed on Vasanth's Nerukku Ner (1997), an interesting take on Agni Natchathiram, a film known for its cinematography by his guru, PC Sreeram]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/nerukku_suriya_1qwe.png</image:loc>
<image:caption><![CDATA[ This was the first time we saw Suriya on screen. The actor would go on to act in three of KV Anand's directorials -- Ayan, Maattraan, Kaappaan]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_4-qwe.png</image:loc>
<image:caption><![CDATA[ Everything fell into place for the Manam Virumbudhey number. Simran shone resplendently in his lens]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_4-3qweqwe.png</image:loc>
<image:caption><![CDATA[ Another Simran Showcase]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_4-4weqwe.png</image:loc>
<image:caption><![CDATA[ A Goa-based song, a calm party number with a wonderful play with neon lights and more]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_4-5qwe.png</image:loc>
<image:caption><![CDATA[ Featuring an uber-cool Vijay dancing his way into our hearts, Anand gave him the platform to exhibit his inner cuteness]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_5-1.png</image:loc>
<image:caption><![CDATA[ Sushmita Sen. Blazing lights. Reverse processing. Anand Shakalaka'd  technical brilliance into this 1999 blockbuster, Mudhalvan]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_5-3.png</image:loc>
<image:caption><![CDATA[ The village portions allowed Anand to have fun with nature he very much loved to portray on screen]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_5-4.png</image:loc>
<image:caption><![CDATA[ Set pieces became a thing with KV Anand thanks to his collaboration with Shankar]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_5-6.png</image:loc>
<image:caption><![CDATA[ Have you ever wondered how a voyeur behind a waterfall would look at a couple in love? No?? Nevertheless, KV Anand gave us an idea]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_5-7.png</image:loc>
<image:caption><![CDATA[ Look at this video to see how the swords glisten in this game of snakes and ladders]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/frame_5-8.png</image:loc>
<image:caption><![CDATA[ Water. Mountains. Arjun and Manisha Koirala.   Mudhalvan - 1999]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_6-1sasd.png</image:loc>
<image:caption><![CDATA[ Moving up north for his first original Hindi film, Anand got to lens the likes of Shah Rukh Khan and Aishwarya Rai in Mansoor Khan's 2000 film, Josh]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_6-2qweqwe.png</image:loc>
<image:caption><![CDATA[ Here's viewing the gorgeous Aishwarya Rai through the wonderful perspective of Anand]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_6-3qweqwe.png</image:loc>
<image:caption><![CDATA[ Another play with lights and silhouettes. We'll see him use it a lot more in almost every film of his. But when one can make it stand out every single time, who's complaining?]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_6-4wewqe.png</image:loc>
<image:caption><![CDATA[ This here is one of my most favourite frames lensed by Anand. Shah Rukh's iconic gesture against what is made to be the moon... Anand was a genius!]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_6-5qweqwe.png</image:loc>
<image:caption><![CDATA[ The road less travelled? The waves of the long-winding road allow Chandrachur Singh to fall in love with the beauty that is Aishwarya Rai]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_6-6qweqwe.png</image:loc>
<image:caption><![CDATA[ Anand seems to have always loved the contrast provided by the beaches and mountains. Here's one more example of his love for this landscape]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_7-1qweqwe.png</image:loc>
<image:caption><![CDATA[ In his next Hindi film, the 2001 Shankar film, Nayak, a remake of his very own Mudhalvan, Anand showed how he could bring in variety to the same thing.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_7-qweqwe.png</image:loc>
<image:caption><![CDATA[ Snakes and Ladders, yet again.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_7-3qweqwe.png</image:loc>
<image:caption><![CDATA[ Green. Blue. Yellow. And a lot of Anil Kapoor and Rani Mukerji.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_9-2qwweqasdadw.png</image:loc>
<image:caption><![CDATA[ Let's go back in time to KV Anand's first period film, The Legend of Bhagat Singh (2002)]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_9-3asdasd.png</image:loc>
<image:caption><![CDATA[ As Bhagat and his friends went around singing about their love for the country, Anand was right ahead capturing them in all their glory]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_9-4asdasd.png</image:loc>
<image:caption><![CDATA[ You can't really separate Anand from framing his heroes in front of a rock or a mountain or any other nature's gift. Here's Ajay Devgn as Bhagat.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_9-5asdasd.png</image:loc>
<image:caption><![CDATA[ Barren landscapes done, we now move on to Anand's other favourite, the waters. Amidst raging waters, we see Ajay as Bhagat guiding everyone to the shore]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_9-6asdasd.png</image:loc>
<image:caption><![CDATA[ Lights... frames... can a prison really jail a revolutionary like Bhagat? Anand didn't think so, and he shows how those cells are just constructs for an idea like Bhagat Singh]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_10-1asdad.png</image:loc>
<image:caption><![CDATA[ Vishal must have thanked his lucky stars that it was the lens of KV Anand that first showed him on the big screen. The last time Anand worked with a debutant hero, the actor was Suriya]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_10-2asdasd.png</image:loc>
<image:caption><![CDATA[ Chellame featured such gorgeous shots that showcased the strength of Anand. The blues. The waters. The wide shots.]]></image:caption>
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<image:caption><![CDATA[ In contrast, Anand had fun with this number in a dustbowl. The usual snakes and ladders being replaced by a game of chess.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_11-1asdasd.png</image:loc>
<image:caption><![CDATA[ It was in 2004 that Anand last worked in a Bollywood film. It was Rajkumar Santoshi's Khakee, which also marked Anand's first time filming a big-ticket multi-starrer]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_11-2asdasd.png</image:loc>
<image:caption><![CDATA[ One more favourite frame of KV Anand. Bullets. Darkness, and of course, the light seeping in through them.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_11-5asdasd.png</image:loc>
<image:caption><![CDATA[ How does he manage to frame these gorgeous shots? He had a penchant for spotting the light waves and used it to the best of his advantage.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_11-6asdasd.png</image:loc>
<image:caption><![CDATA[ This song looks different. It has an almost ethereal yet staged quality. How can something be so original and artificial at the same time? KV Anand could strike that balance]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-1asdasd.png</image:loc>
<image:caption><![CDATA[ And then we come to what was to become his final full-length feature. By this time, he was a one-film-old director too. But he returned...  For Shankar. For Rajinikanth. For Sivaji (2007)]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-2asdasd.png</image:loc>
<image:caption><![CDATA[ In Vaaji Vaaji, KV Anand is said to have used the  Super 35 mm single-sensor electronic camera to give the song a glossy feel. Well, he delivered!]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-3asdasd.png</image:loc>
<image:caption><![CDATA[ Each frame is a painting in the song. And this is not just restricted to Vaaji Vaaji. What about the fancy carnivalesque nature of Athiradee]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-4asdasd.png</image:loc>
<image:caption><![CDATA[ The team turned a normal shooting spot into something sort of Venice of the East. The grandeur was unmatched but was almost equalled in the technically brilliant Style song]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-5asdasd.png</image:loc>
<image:caption><![CDATA[ The various getups, the VFX, the quirkiness, the mirrors, everything... played right into the KV Anand zone... and he lapped it up like only he could.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-7asdas.png</image:loc>
<image:caption><![CDATA[ One Rajini. Two Rajini. Three. Four Rajini. Five Rajini. Six. Getting back into the setpieces format of song shooting, KV Anand made quite the splash with this Rajini intro number]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-8asdasd.png</image:loc>
<image:caption><![CDATA[ If Vaaji Vaaji is a painting, Sahana is one too. Everything subtly screams beauty in this exquisite number]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-9asdas.png</image:loc>
<image:caption><![CDATA[ Not saying anything, except... Wow]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/frame_12-10asda.png</image:loc>
<image:caption><![CDATA[ once again...just WOW]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/finalasd.png</image:loc>
<image:caption><![CDATA[ Well... in his final work as a cinematographer, KV Anand appears briefly in the Balleilakka number, nodding his head along with director Shankar, Rajini, and art director Thotta Tharani]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/one_last_time.png</image:loc>
<image:caption><![CDATA[ His last onscreen credit as a cinematographer...  Well, thank you for the visuals and ever-lasting memories, KV Anand... Wherever you are, paint that world in silhouettes and shadows... Thank you.]]></image:caption>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/5/1/original/KV_ANAND_cover.jpg</image:loc>
<image:caption><![CDATA[ Acclaimed cinematographer-filmmaker KV Anand passed away in the wee hours of Friday after suffering a cardiac arrest. Here's a look back at some of his wonderful work]]></image:caption>
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<lastmod>2021-04-30T22:35:00.000Z</lastmod>
</url>
<url>
<loc>https://www.cinemaexpress.com/stories/news/2021/Apr/30/ram-to-join-hands-with-nivin-pauly-24259.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/Ram_to_join_hands_with_Nivin_Pauly_.jpg</image:loc>
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<lastmod>2021-04-30T14:34:00.000Z</lastmod>
</url>
<url>
<loc>https://www.cinemaexpress.com/photos/slideshows/2021/Apr/30/100-years-of-satyajit-ray-here-are-15-classics-of-the-master-to-revisit-1267.html</loc>
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<image:loc>https://media.cinemaexpress.com/cinemaexpress/import/2021/4/30/original/1.jpeg</image:loc>
<image:caption><![CDATA[ Pather Panchali: Ray’s first film was a lyrical glimpse into life and poverty in rural Bengal.]]></image:caption>
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<image:caption><![CDATA[ Adapted from Bibhutibhushan Bandyopadhay’s epic novel, the film emerged as a cornerstone of Indian cinema.  It’s the perfect inlet into Ray’s work: with his distinct blend of poetry and heartbreak]]></image:caption>
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<image:caption><![CDATA[ Aparajito: The second in the trilogy, Aparajito took on a darker, lonelier hue. The film bookends the adolescent Apu’s coming-of-age with the loss of his parents.]]></image:caption>
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<image:caption><![CDATA[ The final moments, when Apu goes back to the village, are the most harrowing in any Ray film.]]></image:caption>
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<image:caption><![CDATA[ Apur Sansar: Ray’s reputation as a visual master was cemented by Apur Sansar]]></image:caption>
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<image:caption><![CDATA[ In one memorable scene, Soumitra Chatterjee and Sharmila Tagore take turns to fan each other while they eat. The equality of a relationship is suggested in the simplest of terms.]]></image:caption>
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<image:caption><![CDATA[ Paras Pathar: Between Aparajito and Apur Sansar, Ray made two other films: Paresh Pathar and Jalsaghar.]]></image:caption>
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<image:caption><![CDATA[ The film is immortalized by Tulsi Chakraborty’s comedic lead turn.]]></image:caption>
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<image:caption><![CDATA[ Jalsaghar: Chhabi Biswas was the scion of a wealthy Calcutta family, and a star of Bengali theatre. In 1958, he worked on his first film with Ray, the haunting Jalsaghar]]></image:caption>
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<image:caption><![CDATA[ Initially unsung, Jalsaghar is held now as a masterpiece, featuring great music (by Ustad Vilayat Khan) and dazzling indoor cinematography by Subrata Mitra.]]></image:caption>
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<image:caption><![CDATA[ Devi: The film Devi examined the conservative belief systems that thrived on the oppression of women. The protagonist Doyamoyee (Sharmila Tagore) is declared to be an incarnation of the goddess Kali]]></image:caption>
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<image:caption><![CDATA[ Ray conjures some striking symbolic imagery: a superimposition of the goddess’s eyes on Doyamoyee, or the final shot of her disappearing into a field.]]></image:caption>
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<image:caption><![CDATA[ Mahanagar: Ray based his 1963 feminist classic on a short story by Narendranath Mitra. In the film, Madhabi Mukherjee’s demure housewife takes up a job as a door-to-door salesman in Kolkata.]]></image:caption>
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<image:caption><![CDATA[ Her growing independence causes a stir in her conservative middle-class family. The film has notable supporting performances by Anil Chatterjee, Haradhan Banerjee, and a young Jaya Bhaduri.]]></image:caption>
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<image:caption><![CDATA[ Charulata: Charulata was the highpoint of Madhabi Mukherjee’s association with Ray.]]></image:caption>
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<image:caption><![CDATA[ Set in Victorian Bengal, the film captured the languorous rhythms and shifting cultural mores of the time]]></image:caption>
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<image:caption><![CDATA[ The opening sequence is a masterclass—as is the final use of a freeze frame.]]></image:caption>
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<image:caption><![CDATA[ Goopy Gyne Bagha Byne: Ray’s grandfather, Upendrakishore, had written a story about two itinerant musicians in Sandesh magazine]]></image:caption>
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<image:caption><![CDATA[ Ray adapted it, spruced up the tone, added wonderful musical interludes and practical effects, and got the rollicking pair of Tapen Chatterjee and Rabi Ghosh to play Goopi-Bagha.]]></image:caption>
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<image:caption><![CDATA[ The result was a delightful cinematic explosion, a ‘freakout’ in the nicest sense. In 1980, he added a sequel, Hirak Rajar Deshe, and a third film was made by his son Sandip Ray later on.]]></image:caption>
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<image:caption><![CDATA[ Nayak: Bengali superstar Uttam Kumar did two films with Ray—Nayak and Chiriyakhana]]></image:caption>
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<image:caption><![CDATA[ In the first, he plays Arindam Mukherjee, a popular Bengali actor with an outsized persona]]></image:caption>
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<image:caption><![CDATA[ The film is framed as a conversation between Arindam and a journalist (Sharmila Tagore) on a train. Ray intersperses this journey with flashbacks and dream sequences.]]></image:caption>
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<image:caption><![CDATA[ Teen Kanya: The OG Netflix anthology. In 1961, Ray adapted three short stories by Rabindranath Tagore, each revolving around a female character or protagonist.]]></image:caption>
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<image:caption><![CDATA[ Aranyer Din Ratri: A Ray film that eludes easy categorisation. Essentially an adventure story, Aaranyer Din Ratri follows four friends on a forest expedition]]></image:caption>
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<image:caption><![CDATA[ As drinks and memory games flow, their insecurities and alienation bubble to the surface. Sharmila Tagore, Kaberi Bose and Simi Garewal join the boys in this subtle, shape-shifting drama.]]></image:caption>
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<image:caption><![CDATA[ Two: From a high window, a rich kid shows off his toys to a boy from a nearby slum]]></image:caption>
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<image:caption><![CDATA[ A tense rivalry grows, which ends with the rich kid shooting down his adversary’s kite. But he can’t drown out the joyous playing of his flute, and keeps looking out the window]]></image:caption>
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<image:caption><![CDATA[ Made in 1964, this wordless, 12-minute short film was seen as an allegory for the Vietnam War. But it equally spoke to Ray’s preoccupations with childhood and class.]]></image:caption>
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<image:caption><![CDATA[ Joi Baba Felunath: The second in his Feluda film series, Joi Baba Felunath is Ray’s wittiest film. Feluda, Topsey and Jatayu reach Benaras, where a complicated mystery ensues.]]></image:caption>
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<image:caption><![CDATA[ The film is rich in detail and danger, with an iconic knife-throwing sequence involving Jatayu (Santosh Dutta). It’s moving that after Dutta’s death, in 1988, Ray resolved to not make a Feluda again]]></image:caption>
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<image:caption><![CDATA[ Jana Aranya: Jana Aranya closed Ray’s Calcutta Trilogy, preceded by Pratidwandi and Seemabaddha. The film follows a frustrated middle-class youth who fails to find a decent job.]]></image:caption>
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<image:caption><![CDATA[ Reluctantly, he becomes a ‘middleman’, but faces a moral crisis. The film is counted among Ray’s most cynical works: the opening montage is of students cheating at an exam.]]></image:caption>
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<image:caption><![CDATA[ Satyajit Ray was born on May 2 in 1921 in Kolkata. On the master’s 100th birthday, here are 15 classics you should absolutely revisit:]]></image:caption>
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