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The Hero (1966)
The earthly and metaphysical odysseys that one disillusioned movie star navigates in The Hero fluidly collapses memory and dreams, preserving intimate truths that the public gaze overlooks, and safeguarding a dignity which may only survive through sincere, affirming connection.
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The Invite (2026)
A simple dinner party serves as the canvas for Olivia Wilde’s viciously funny chamber piece in The Invite, mining the bitter verbal sparring between two mismatched couples, and gleefully tipping the evening into gloriously calculated dysfunction.
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The Holy Man (1965)
When a religious conman preys on a grieving family in The Holy Man, Satyajit Ray sets the stage for a battle of reason and delusion, threatening to unravel a young couple’s hopes of romance with a wry, comical edge.
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The Coward (1965)
Time instantly dissipates when one young scriptwriter runs into his former lover in The Coward, yet Satyajit Ray keeps emotional closure at a tentative distance as this old flame resists rekindling, choreographing a dance of glances and hesitations that ambiguously withholds the truth.
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Charulata (1964)
Satyajit Ray’s lonely housewife in Charulata does not live an exciting existence by any measure, yet his subtle choreography of camera and blocking elevates this mundanity into something hypnotic, and utterly mesmerising when guilty feelings for her husband’s cousin begin to stir.
