Introduction:

During a visit to Sodepur, Satyajit Ray saw a steamship drifting down the river Ganga. He was along the banks of the river when his father, Sukumar Ray, excitedly pointed out the ship leading to a foundational image that stuck with him through his years as a filmmaker. This moment became inspiration to several emotional and visual symbolisms in his movies. This scenery sparked curiosity and wonder that he inculcated into his movies over the years. Many of his films such as ‘Pather Panchali (1955)’, ‘Aparajito (1956)’ and ‘The Adversary (1970)’ have featured ship imagery, as a way to convey underlying layers of emotion and depth.

In his early days, before fame, Satyajit Ray co-wrote a script for Tagore’s Ghare Baire with his friend Harisadhan Das Gupta. When asked to make commercial changes by the producer, he refused to compromise the storyline. He placed emphasis on maintaining depth and quality to the story, a trait that set his films and stories apart even today. He did not believe in confining his stories to meet the larger audience but rather focused on making his stories rich in substance, complexity and resonance. His films featured a raw and unfiltered portrayal of human experiences, carrying a reverence and compassion for everyday life.

Life Brief:

Satyajit Ray was born on May 2^nd 1921 to an affluent family in Kolkata. His father, Sukumar Ray, was a renowned author known for various literary works. Satyajit Ray initially trained to be a commercial artist and illustrator. He studied at Visva-Bharati University in Santiniketan, where he developed an interest in the legacy of Rabindranath Tagore.

He was inspired to become a film maker upon his meeting with the French director Jean Renoir and by the Italian film ‘Bicycle Thieves (1948)’. For his first film ‘Pather Panchali (1955)’ he sold his personal belongings in order to obtain the funding. This movie along with it sequels gained worldwide recognition for Indian cinema. In addition to film making he also wrote scripts, composed music and designed materials for publicity. He was also a writer of short stories and novel for children as well as young adults. Through his writing, he created memorable characters like detective Feluda and scientist Professor Shonku. His films continue to be honoured for their humanity, emotional depth and unique cinematic language.

Life Philosophy:

His film making style was greatly influenced by realism and admiration for life’s ordinary moments. He observed human nature and portrayed his characters with empathy and authenticity rather than exaggeration. He saw cinema as a mirror of reality. His films avoided the use of artificial elements, relying solely on natural lighting, real locations and naturalistic actors. This was done with an aim to reflect life’s daily rhythm. These films often explored social issues, traditions and human relationships, inviting viewer contemplation rather than providing a pre-defined conclusion.

His focus lay on the integrity of conveying the story rather than obtaining profits or recognition. He prioritised originality irrespective of social expectations and mass preferences. His talent lay in his ability to create emotionally harsh yet resonant films. He did not cater to industry expectations, instead focusing on truthful story telling. He sought to bring out the beauty within the ordinary.

Creative Work Dissection:

1. The Apu Trilogy (Pather Panchali, Aparajito, Apur Sansar)

This trilogy was inspired by Bibhutibhushan Bandyopadhyay’s semi-autobiography. It follows the journey of a young boy named Apu. The movies showcase the endurance and resilience shown by Apu as he navigates rural life, poverty and other social challenges. This trilogy conveys the message that life is precious despite hardships.

2. Charulata (1964)

This movie takes inspiration from Rabindranath Tagore’s novel, Nashtanirh (The Broken Nest). Charulata follows the story of a lonely housewife during the pre-independence era in Bengal. Satyajit Ray was deeply touched by Tagore’s subtle emotional signals and feminine consciousness. The movie revolves around Charulata’s want for independence and her defiance against domestic constraints.

3.  Jalsaghar (1958)

Jalsaghar (The Music Room) was inspired by a short story by Tarasankar Bandyopadhyay. The movie follows Bishwambhar Roy, a zamindar whose wealth has declined. He throws lavish musical recitals even as his fortunes depreciate. The story conveys a message of denial and delusion as Bishwambhar stubbornly refuses to accept his fate.

4. Agantuk (1991)

Satyajit Ray’s Agantuk (The Stranger) is inspired by his own short story. It explores themes of identity and the bridge between tradition and modernisation. The story centres Manmohan Mitra whose views and ideologies lead to him feeling alienated by his own family. It perfectly captures how social and cultural changes could lead to feelings of estrangement in one’s own home.

Actionable for Aspiring Filmmakers:

• Patient and Paced Storytelling:

Satyajit Ray was known for his unrushed and emotionally focused movies. His method prioritised conveying the message thoughtfully rather than just reaching an ending point. By doing so, the viewers are given time to absorb the density and depth of the story.

• Visual Storytelling and Symbolic Depth:

Satyajit Ray made use of elements like lighting, framing and symbolism to convey the complexity of his storylines. By mastering the art of utilising these elements, cinematic representation can be strengthened.

• Multi-Disciplinary Skills:

Besides filmmaking, Satyajit Ray was also skilled in writing, music composition and illustrations. Developing multi-field talents can enhance filmmaking and improve cinematic language.

• Balancing Tradition and Modernity:

Satyajit Ray’s movies provide a meeting-point for tradition and modernity. He skilfully weaves modern cinema into traditional storytelling to add emotional resonance to his films. Finding a balance between the two, enriches cinematic expression which sets apart films from the mainstream cinema.

Conclusion:

Satyajit Ray is an inspiration to those who have a genuine passion for films and storytelling. His films are rooted in culture and integrity. He motivates aspiring filmmakers to focus on emotionally rich and meaningful depiction rather than chasing commercial gains and profits. Young creators can learn the lessons of patience and strong creative belief through his films. His legacy continues to shine highlighting the beauty of simplicity and grace in films.

As technology became more advanced and a boon to society, the bane was not so far behind. Technology made people’s lives easier, but soon certain people realised it could make their lives even easier through illegal means, and then came the surge of cybercrime. Cybercrime refers to the criminal act of using digital devices or a network to commit a crime or facilitate it. With the changing times and increasing usage of technology, cybercrimes are at an all-time high. And the most vulnerable population to this are people who use it without much in-depth knowledge about its dark side.

According to the report, ‘Crime in India’, the number of cases registered under the cybercrimes category rose to 86,420 in 2023 from 65,893 cases recorded in 2022 (Source: The Indian Express). These staggering numbers led to the release of the cybercrime thriller web series, Weekend Club, produced by Kiran Lanjewar and directed by Heeren Adhikari. 

Weekend Club: The Premise

The thrilling web series that captures the true darkness of cybercrime, Weekend Club, may appear simple, but it carries a much deeper and graver message. With phenomenal actors like Sanjay Parmar, Nia Tripathi, Amika Shail, Jigna Trivedi, Seema Kulkarni, and Farzan Karanjia, Weekend Club is bound to leave a lasting impression on any viewer. With COVID-19 hyping the trend of catching up online, this show elaborates on how cybercrime and the ugliness of it all unfold during the said meet-up. The name of the show, Weekend Club, sounds simple as it literally alludes to the name of the weekly meet-up that takes place among the friends in the thriller web series. But the name, Weekend Club, highlights the importance and significance of this online meet-up as the crux of the entire cybercrime series.

Directed by celebrated director Heeren Adhikari, there is no doubt that this show is bound to hit the right spot for all thriller fans. But more importantly, it’s his director’s eye, along with the sound judgment of the team behind the scenes at Vibro Motion Pictures, including the producer, Kiran Lanjewar, that ensured that Weekend Club maintained the authenticity of the impact of cybercrime while also ensuring visual effects were used as and when required. A sweet harmony of realism and VFX ensured that the message reached the audience without being off-putting.

Weekend Club: Behind The Scenes

The idea for the cybercrime thriller web series Weekend Club germinated in producer Kiran Lanjewar’s mind when he himself witnessed a staggering amount of financial fraud happening while working in the corporate sector. Furthermore, when he got the news about the death of a niece of a senior bureaucrat, he realised it was about time somebody raised awareness about this growing innovative field of crime that keeps growing new roots with more technological advancements. And once the esteemed director Heeren Adhikari teamed up with him, Weekend Club happened.  

The main focus for the casting team was to find actors who possessed true raw acting talent. Hence, more than fame, it was the theatre background of actors that was prioritised because the cybercrime thriller web series required shooting a lot of intense scenes to highlight the emotions of the victims of cybercrime. Further, the logistical concerns were far from a walk in the park, as shooting in three locations, i.e., Mumbai, Lonavala, and Surat, came with its unique challenges, as the entire tech team, equipment, and actors were from Mumbai, but with local support, the makers of Weekend Club managed to pull through.

To ensure that the true picture of cybercrime is captured, the makers of the thriller web series reached out to experts such as Ajit Vartak (Retd. Cybercrime cell, Juhu, Mumbai Police), Prabodh Halde (Head Regulatory, Marico Ltd., Mumbai), and Vivek Agarwal (prominent crime reporter). These expert consultants guided the team of Weekend Club every step of the way and ensured that they were on the right track. 

Afterword

Weekend Club raises awareness about recent cybercrime issues like digital arrests, making it one of a kind in its genre. The six-part, thirty-minute each episode series makes the show a short yet crisp one for the viewers, making the message even more lasting. The decision to release it on Hungama OTT, an OTT platform, increases its accessibility and helps create a greater impact. In the press release shared by the Weekend Club team, director Heeren Adhikari said, “The GEN Z Cybercrime web series ‘Weekend Club’ is my latest offering to the entertainment industry and 1.4 billion Indians. If the message against the cybercrimes goes to the common people through this highly gripping web series, then I feel we have achieved the core objective. I am happy to celebrate my return to OTT media with this cutting-edge cyber-crime thriller.”

When asked about the future plans for the web series, producer Kiran Lanjewar mentioned that they are already brainstorming for a potential season 2, and in fact, Yashasvi Yadav, the current Additional Director General (ADG) of Maharashtra Cyber, gave his inputs for the same. 

Tyeb Mehta’s art was largely influenced by a traumatic event he encountered back in 1947 during the partition riots. Living in Mumbai at the time, he witnessed a man being stoned to death by a mob. This scene would go on to haunt him and become the primary inspiration for his art pieces. The shocking act encouraged him to move away from traditional art figures towards more expressionist, vivid styles of depiction.

Tyeb Mehta’s art features motifs such as the falling figure, depicting the helplessness and suffering from his experience. His art combines disturbing elements as he aims to convey not just events but also the emotions of people when surrounded by violence and despair. His paintings became a voice of silent rebellion and disagreement as they portrayed the overwhelming stages that people go through when caught in emotionally dense situations. His art style is complex with sentimental depth as he combines Western influences and Indian themes to create universally resonant art. His work provides insight into the horrors of the partition and the unrest that followed independence. They serve as a powerful window into the past and a reflection of how far we’ve come as a community.

Tyeb Mehta’s life:

Tyeb Mehta was born on July 26^th, 1925, in Kapadvanj, Gujarat, before his family moved to Mumbai. Growing up he was exposed to different cultures and a diverse urban environment. Initially he began his creative journey as a film editor and was later drawn to visual art. His newfound interest led him to graduate from the Sir J.J. School of Art in 1952. He went forth to become a member of the Progressive Artists’ Group alongside influential contemporaries such as F.N. Souza, S.H. Raza, and M.F. Husain. His career found international success in London, New York and at Santiniketan, each playing a significant role in shaping his art style.

His work has also gained recognition in foreign exhibitions earning him numerous prestigious awards, including the Rockefeller Fund Scholarship. Apart from this he has also received the Kalidas Samman, Lalit Kala Akademi Gold Medal, Dayawati Modi Foundation award and the Padma Bhushan in 2007. His art has found its place in numerous prestigious collections around the world. His three-paneled work, ‘Celebration’, marked a major event for Indian art’s global emergence. Tyeb Mehta’s art continues to influence multiple artists today.

Life and Art philosophy:

Drawing inspiration from real life situations and conditions during the partition of India, Tyeb Mehta’s work centred on emotional expression with human suffering, violence and endurance. He believed that art is a reflection of personal and shared experiences that evolves from understanding the external world to understanding ones-self. His ideology was that an artist matures through his paintings as they convey real world circumstances and emotions.

His motifs symbolize powerlessness, endurance and the human struggle against societal and existential restrictions. The use of minimalistic forms, flat colours and dramatic diagonal divisions highlighted physical and psychological conflict. His work forms the bridge between modern and traditional art styles, taking inspiration from the Indian culture and representing them with a modernistic approach.  Although his images appear violent, they are supported by a desire for non-violence and peace.

Artwork Dissection:

1. The Diagonal Series:

This series was created after an era of personal struggles as well as external political and social chaos. The diagonal across the canvas symbolizes division, conflict and turmoil. This series reflects a fundamental turn in Tyeb Mehta’s style to minimalism and abstraction.

2. Falling figures:

The recurring motif of falling figures represents the distress caused to Tyeb Mehta due to his memories from the partition. The suspended figures depict a state of limbo-a state between freedom and captivity, hope and despair, salvation and helplessness. These figures paint a metaphor of human vulnerability and resilience.

3. Gesture:

This painting utilizes human hand and body language to convey emotional complexity. He makes use of monochrome flat colours and physical gestures to convey tension, pain or defiance. This painting is proof of Tyeb Mehta’s interest in the silent language of the human body.

4. The Rickshaw Puller:

This piece is evidence of Tyeb Mehta’s compassion for the underprivileged and the brutality of urban manual labour. In order to highlight fatigue and resiliency, the rickshaw puller is depicted as a thin, exhausted figure with a muted color scheme. By bringing attention to societal injustices and human perseverance, he aimed to elevate the struggles of common people.

Inspiration for Aspiring Artists:

• Be Committed and Resilient:

Despite suffering a near-fatal cardiac arrest, Tyeb Mehta continued to practice and create his art. This is an important valuable lesson for aspiring artists. It goes to show that dedication can go a long way in your journey of success.

• Individuality and Authenticity:

Tyeb Mehta sought inspiration from Western modernism as well as Indian traditions but kept his art authentic and unique. The lesson we can learn is to seek inspiration from various sources while compiling them together to create your own, one-of-a-kind art work.

• Embrace Solitude and the Power of Reflection:

Solitude and deep reflection have greatly inspired Tyeb Mehta’s artwork adding mystery, depth and gravity to each piece. When artists learn to utilize these tools to their advantage, they unlock the secret to create truly moving and heart-touching paintings.

• Draw Inspiration from Real Life Experience:

Most of Tyeb Mehta’s paintings are inspired from real life events and circumstances. He captures the emotions and sentiments of those experiences through his paintings. He teaches young painters to find meaning and depth behind every situation and utilize it as inspiration for a masterpiece.

• Find your own unique form of expression :

Tyeb Mehta’s art features a unique and personalized method of expression. His paintings serve as encouragement for young artists to find their own ways to convey a message rather than going by the book. His work is proof that art isn’t a one size fits all but instead a language that connects people sharing the same hopes and aspirations, irrespective of how they convey these emotions.

Tyeb Mehta is known for creating a unique visual language characterized by strong lines, striking contrasts, and emotionally charged compositions that combine modernist abstraction with Indian themes. His work, which is rooted in both individual and societal pain, strikes a balance between expressionism and minimalism. His signature diagonal technique cuts across paintings to represent psychological strain and division. Through limited palettes and reduced forms, he conveys agony, resilience and anguish, achieving emotional depth within abstraction.

Over a thousand films are released every year, but only a handful of them make it out there. And out of these handful, only a few of them truly carry with them the authenticity of the place they originate from and these are the ones that tell a story that stands out from the rest, not because it’s something very unique and out of the world, but because it’s something common yet often overlooked. Raibaar has the potential to be one such film with its central theme highlighting the beauty of forgiveness, not for somebody else’s sake but for your own. Directed by Shishir Uniyal and produced by Bhagat Singh Saini, Balraj Jangra and Parveen Saini, Raibaar is a story that may just make you sit down, take a moment and reflect on why you should forgive. And who needs it more? You or the one seeking it?

Raibaar: An Idea

It all started with a poem by Jeevan Prakash Chamoli, which showcased the resilience and dedication of the postmaster through a beautiful and poetic conversation between a daughter and her father, a postmaster. This poem became the seed that sparked the minds to churn and soon the masters behind Raibaar, Shishir Uniyal, Bhagat Singh Saini, Balraj Jangra and Parveen Saini came up with the characters and storyline that would become the first Uttarakhandi film to be screened in the US. 

The idea behind Raibaar is simple: forgiveness. The film highlights how this simple act is often so hard to communicate because of the culture we practice in India, which doesn’t give a space for a father to openly apologise or express his fears without making it look like he is angry or for a son to effectively communicate why he wants to leave his home and put forth his argument without sounding rude for doing so. It brings to light the importance of ending the generational silence cycle with hopes for healthy communication through the story of two pairs of father-son duos.

Making Raibaar A Reality

In order to capture the true essence of Gharwal, the team went ahead of time to spend some time in the local area to understand their mindset and ensure that authenticity was maintained throughout the film. But shooting Raibaar in the beauty of the hills didn’t come without its challenges. 

From the topography to the ever-changing altitude of the sun made shooting an uphill battle against time and light. Plus, the added cost of transporting the heavy equipment across the hilly areas, along with the crew falling sick as they struggled to adjust to the new environment, made it even more difficult to finish the shoot. Additionally, the time they started shooting turned out to be the peak season for the char dham yatra (spiritual pilgrimage in Hinduism) and to aid the devotees in their yatra, helicopter services were provided. This made the entire shooting a nightmare as it kept getting interrupted with the sounds of the helicopter every now and then. But it was the determination and passion of the team who would literally wake up at the crack of dawn without an alarm clock and the hospitality of the people at Gharwal that made it all worth it in the end.

It isn’t easy to avoid the traps of cliches when writing a character, but the makers of Raibaar managed to do so by prioritising authenticity and taking inspiration from anywhere and everywhere, not particularly just films. This ensured that the characters were real, authentic and fresh. Certain instances in the film were even taken from the real life of the filmmakers, such as using notes as a medium of communication.

Using simple instruments like the cello and the piano to bring out the depth of the character’s emotion was indeed a genius plan. The filmmakers further ensured that the authenticity of Gharwal is communicated with the incorporation of folk music in the film. The introductory song in the film, which highlights the lament of the mountains as the silent observer, but first time complainant is truly something to keep an ear out for.   

The idea of using a simple letter to convey such a heavy meaning of forgiveness highlights the unique mind of the team at work. According to the team, letters have become a novelty that carries a lot of nostalgia for the millennial generation in today’s time. They carry the permanence of words; unlike a text, it can’t be changed once posted. They carry with them the true essence of the phrase that “Time heals wounds”, as the longer it takes to reach someone, the longer it allows for people to reflect, contemplate and understand the importance of forgiveness and who truly needs it.

Lastly, the most important aspect of the making that made this film a true success among the crew was the eternally positive and healthy work environment that the filmmakers ensured was fostered from the beginning “Action” to the last “Cut”. Learning from their own past experiences in different kinds of workplaces, the filmmakers decided that they wished to create a place where they would themselves want to work and hence the mood was never damp and the vibe never toxic at the set of Raibaar. 

An instance narrated by the filmmakers cements this claim, one time during shooting when they wrapped up and returned to their resting area, the camera team realised that they have left an equipment in the shoot location and felt anxious to get it back even in the darkness of the night, but the filmmakers prioritised the employees’ well being and told them not to fret and fetch it tomorrow morning as it was too late and dark and probably not safe to go back. Previously, they have been complimented by their previous crew for their work ethic and healthy work environment that prioritises the quality of the work and health of its employees. 

Sweet Expectations

After pouring their blood, sweat and tears into Raibaar, all the filmmakers hope for is that the audience is pleasantly surprised by their portrayal of Gharwali cinema. They hope that they can connect it with global cinema and appreciate the nuances in each scene. Praise from prominent actor Manju Bahuguna during the trailer launch does give them hope for positive feedback from the audience. Extremely elated to be the first Uttarakhandi film to be screened in the US, they are truly proud of how they have managed to keep the regional authenticity of the film while ensuring it maintains a global connect. 

They hope that with the success of Raibaar, more regional filmmakers will take up the task of working with regional cinema and bringing out fresh perspectives into the world of cinema, where, above all, authenticity is maintained. Raibaar truly captures the spirit of why, sometimes it’s important to leave to value the return journey more and for whom should we forgive? 

If you’re looking for something new which still carries a thread of familiarity, give Raibaar a go!

The moment I walked into the WAVES (World Audio Visual and Entertainment Summit) launch, I knew I was witnessing more than another media event, a defining moment for the Indian media and entertainment sector. It was a declaration – bold, ambitious and unapologetically one that India is ready to lead the future of storytelling.

Backed by the Ministry of Information and Broadcasting and driven by the vision of Prime Minister Narendra Modi, WAVES 2025 brought together everyone who matters in the global creative economy, from filmmakers and tech leaders to animators, investors, actors and emerging creators. As as someone who has been part of this industry and witnessed it’s evolution, I can confidently say that this is a turning point.

From Kala to Code: Where Tradition Meets Tech

What truly struck me was how seamlessly WAVES blended India’s artistic heritage with it’s technical potential. At Bharat Pavilion, called “Kala to Code”, I walked through installations that moved from sound and music to AI and immersive media, all under one roof. It was like witnessing centuries of creativity merge with the future in real-time. 

The convergence of the old with the new is not a coincidence. It begins to unfold how India’s creative industry can evolve with the cutting edge technology, while staying rooted in the Indian culture and on heritage. WAVES is truly a rare occasion where the creators meet coders and producers meet platform builders.

One of the most exciting part of WAVES is the “Create in India Challenge” (CIC), which has garnered over 1 lakh submissions from 60 countries! Now that shows how far India’s creative influence is reaching now. At the CreatoSphere, the finalists showcased their innovative ideas, prototypes and raw talent. But what moved me most was the intention behind CIC. It is not merely a contest; it is a launchpad, messaging to the creators around the world that India is not just a place to consume content but also a place to build it for the world.

WAVES also excels in the area of democratising opportunity. I saw regional filmmakers, indie game developers, anime fans and first time content creators sharing space with industry titans. It gave out a simple but powerful message: no voice is too small, no idea is too wild. In a country where the next big storyteller could be from a Tier-2 town or a comeback independent YouTube channel, this inclusivity is not only fair, it’s smart.  

The fact that the Indian film industry has supported WAVES speaks for itself. For stars like Shah Rukh Khan, Deepika Padukone and Karan Johar to attend and endorse the summit as a transformational leap for the sector, speaks volumes. Their support is not just because they want to play a part, it indicates a belief that this is more than a policy push: a common goal to structurally and sustainably take Indian entertainment global. 

A Movement, Not Just a Summit

As I left the venue, I realised that WAVES wasn’t just a one-off spectacle, it was a foundational move for long term collaborations among creators, investors, distributors and technologists, all working towards a shared vision of ‘Create in India, Create for the World’.

In a world where attention is currency, storytelling is power. And India? We’re ready to lead.