Satyajit Ray’s Film To Showcase At Cannes 2025; Wes Anderson, Sharmila Tagore, Simi Garewal To Attend The Premiere

Film Heritage Foundation (FHF), a dedicated non-profit organization committed to preserving South Asia’s cinematic legacy, proudly announces its participation in the Cannes Film Festival 2025 with the world premieres of two meticulously restored masterpieces: Satyajit Ray’s Bengali film ‘Aranyer Din Ratri’ (1970) and Sumitra Peries’ Sinhalese film ‘Gehenu Lamai’ (1978). These landmark restorations will grace the Cannes Classics section, highlighting the importance of film preservation and celebrating the rich cinematic heritage of India and Sri Lanka.

The selection of these two films marks the fourth consecutive year that Film Heritage Foundation has been invited to present its restoration work at Cannes Classics. FHF’s previous Cannes presentations include Aravindan Govindan’s ‘Thamp’ in 2022, Aribam Syam Sharma’s ‘Ishanou’ in 2023, and Shyam Benegal’s ‘Manthan’ in 2024, each contributing to a growing appreciation for South Asian cinema on the global stage. Showcasing two films this year underscores FHF’s commitment to preserving and promoting the rich tapestry of South Asian cinema on a global stage.

Shivendra Singh Dungarpur, Director, Film Heritage Foundation remarks, “Working on the restoration of Satyajit Ray’s ‘Aranyer Din Ratri’ has been an incredibly moving experience. Seeing the film’s beauty and artistry revitalized after 56 years – from its haunting score and the captivating chemistry of its cast, to the unforgettable grace of Sharmila Tagore and Ray’s sensitive portrayal of the Santhal tribals – has been a true privilege. Equally profound was the journey of restoring Sumitra Peries’ ‘Gehenu Lamai.’ I remember so vividly the day Sumitra-ji entrusted me with a DVD of the film, her handwritten notes a testament to her deep affection for this work. Watching it, I was struck by the film’s poetic imagery and the delicate assuredness with which she navigated the fragile emotions of her young actors. Knowing the precarious condition of the film elements at the time, I felt a sense of urgency to preserve this masterpiece before it was lost forever. Thanks to the generous support of the French Government through our collaboration on the FISCH initiative, we were able to undertake this challenging restoration. It was a painstaking process, piecing together three different elements to bring ‘Gehenu Lamai’ back to its original glory. My only regret is that Sumitra-ji is not here to witness this rebirth of her poetic vision.”

Aranyer Din Ratri (Days And Nights In The Forest)

Satyajit Ray’s ‘Aranyer Din Ratri’, a seminal work in the canon of Indian cinema, has been meticulously restored through a synergistic collaboration between The Film Foundation’s World Cinema Project, Film Heritage Foundation and The Criterion Collection /Janus Films. The 4K restoration was completed using the original camera and sound negative preserved by Purnima Dutta, producer of “Aranyer Din Ratri” and two other Satyajit Ray films – “Goopy Gyne Bagha Byne” (1969) and “Pratidwandi” (1970).

The premiere of ‘Aranyer Din Ratri’ in Cannes will be presented by a distinguished cohort of film luminaries, including filmmaker and Board Member of The Film Foundation Wes Anderson, film’s lead actress Sharmila Tagore, Simi Garewal, producer Purnima Dutta, Executive Director of The Film Foundation Margaret Bodde, Director of Film Heritage Foundation Shivendra Singh Dungarpur and Peter Becker and Fumiko Takagi of The Criterion Collection / Janus Films.

Wes Anderson states, “Anything signed by Satyajit Ray must be cherished and preserved; but the nearly-forgotten Days and Nights in the Forest is a special/particular gem… Made in 1970. Modern and novelistic. Ray worked in terrain perhaps more familiar to Cassavetes. A clash/negotiation between castes and sexes. Urbans and rurals. Selfish men and their hopes and cruelties and spectacular lack of wisdom. Women who see through them. The great Soumitra Chatterjee: lost but searching. The great Sharmila Tagore: mysterious, cerebral, mesmerizing. From the master, another masterpiece.”

Sharmila Tagore states, “It’s wonderful that Manik Da’s ‘Aranyer Din Ratri’ has been restored and will have its world premiere at the Cannes Film Festival this year. This is a very special moment for me and I am so happy that I will be in Cannes to present the film at the premiere. I remember I was shooting for ‘Aradhana’ when Manikda approached me to shoot for this film for a month at a stretch. It was incredibly hot during the shoot and we could only shoot in the mornings and late afternoons. I have wonderful memories of the time spent with my co-actors and Manikda’s precision, especially in the way he shot the memory game sequence, was incredible. I can’t wait to watch the restored film. Aranyer Din Ratri is such a contemporary film that I know it will resonate with new audiences across the world even today. I would like to thank the Film Heritage Foundation for their amazing contribution in restoring this film.”

This cinematic Bengali gem offers a nuanced and introspective portrayal of post-colonial urban India. Through the lens of four young men seeking a temporary escape in the forests of Jharkhand, the film subtly unravels the complexities of class consciousness, gender relations, and the enduring weight of tradition in a rapidly changing society. Far from serving as mere scenery, the verdant landscape becomes a potent catalyst, exposing the protagonists’ inherent prejudices and simultaneously illuminating their potential for self-awareness and personal evolution. The film boasts a constellation of talent, including Sharmila Tagore, Kaberi Bose, Simi Garewal, Soumitra Chatterjee, Shubhendu Chatterjee, Rabi Ghosh, Samit Bhanja, Pahari Sanyal, Premashish Sen, Samar Nag, Khairatilal Lahori, Master Dibyendu Chatterjee and Aparna Sen. Hailed by David Robinson of the Financial Times as “Ray’s work at its best,” ‘Aranyer Din Ratri’ transcends its narrative framework to offer a profound meditation on the challenges faced by a generation caught between inherited privilege and the burgeoning promise of a new India.

Gehenu Lamai (Girls)

Sumitra Peries’ debut film, ‘Gehenu Lamai’, has been meticulously restored by Film Heritage Foundation under the aegis of FISCH (France- India – Sri Lanka Cine Heritage – Saving Film Across Borders). This pioneering international collaboration brings together the Film Heritage Foundation, the Embassy of France and the French Institute in India, and the Embassy of France in Sri Lanka and the Maldives, all dedicated to preserving cinematic heritage.

The premiere of ‘Gehenu Lamai’ will be graced by the presence of its lead stars, Wasanthi Chathurani, Ajith Jinadasa and Shyama Ananda alongside a distinguished delegation including Director of Film Heritage Foundation Shivendra Singh Dungarpur, Chairperson of the Lester James Peries and Sumitra Peries Foundation Gayathri Mustachi and actor, director and Head of the Gamini Fonseka Foundation Dammith Fonseka.

Wasanthi Chathurani states, “I am overwhelmed that ‘Gehenu Lamai’ has been restored by Film Heritage Foundation and will be premiered at the Cannes Film Festival, 47 years after it was released. I was just 16 and studying in a convent school when Sumitra Peries selected me for the role of Kusum. Initially, I was very nervous and almost gave up, but she was so patient and she taught me the nuances of acting and how to face the camera. The character of Kusum will stay etched in my mind forever. The film was a life-changing experience for me. I cannot think of a better tribute to pay to Sumitra Peries, one of the greatest filmmakers from Sri Lanka. I only wish she could have been in Cannes to see her film come back to life on such an amazing platform. Film Heritage Foundation should be commended for their commitment over the years in building a movement for film preservation in Sri Lanka and for putting Sri Lanka’s film heritage on the world map.”

Ajith Jinadasa states, “During the 1970s, it was rare to see women directing films, and Mrs. Sumitra Peries stood out as a visionary. I often reflect on how pivotal ‘Gehenu Lamai’ was in my life. If Mrs. Sumitra Peries had not chosen me for the role of Nimal, I might have faded away as a one-hit-wonder child actor. That film gave me a second life in cinema, and for that, I am forever grateful. The relationship between Nimal, the character I played, and Kusum, portrayed so beautifully by Wasanthi Chathurani, was innocent, pure, and without conflict from others—yet, it could not survive the rigid social norms of the time. The film left many heartbroken. Even today, 47 years later, fans still ask me, often emotionally, why I abandoned Kusum. Their anger and passion speak volumes about how deeply the story touched people. ‘Gehenu Lamai’ resonates across generations and borders, perhaps because no other love story of that era so truthfully portrayed the silent battles fought within society and within oneself. It is an immense honour to witness the restoration of ‘Gehenu Lamai’ and to be part of its celebration at one of the world’s most prestigious film festivals. My heartfelt thanks goes to Film Heritage Foundation for their dedication in preserving this important piece of Sri Lankan cinematic history and to the French Government for supporting the restoration. This film deserves to live on—not just for nostalgia, but for future generations to understand the soul of our storytelling.”

‘Gehenu Lamai’, honored as the Outstanding Film of the Year at the 1978 London Film Festival, stands as a poignant cinematic study of youthful longing and the restrictive forces of societal convention in rural Sri Lanka. Sumitra Peries, revered as the Poetess of Sri Lankan Cinema and a pre-eminent figure in the global film landscape, orchestrates a masterful exploration of the delicate nuances of adolescent love. Set against the backdrop of entrenched class divisions and a society in transition, the film delicately unfurls the tragic narrative of two sisters whose aspirations are ultimately stifled by the insurmountable barriers of their social milieu. The film is further enriched by its evocative black and white cinematography and features unforgettable performances from a talented ensemble cast, including Wasanthi Chathurani, Ajith Jinadasa, Jenitha Samaraweera, Shyama Ananda, Trilicia Gunawardena, Chitra Wakishta, Senaka Perera, Nimal Dayaratne, Dayamanthi Pattiarachchi, and Joe Abeywickrema.

 Aranyer Din Ratri

Sandip Ray states, “Aranyer Din Ratri’ is, still today, one of my favourite films and the restoration work that has been done to it is absolutely stunning. I worked closely with Shivendra Singh Dungarpur through the whole restoration process and was quite amazed by the meticulous approach that was taken to the restoration. It thrills me to know that the film has been selected to premiere at the Cannes Film Festival. I’m tremendously grateful to Martin Scorsese’s ‘The Film Foundation’, Film Heritage Foundation, and The Criterion Collection for joining hands to make this restoration possible. My heartfelt thanks to Wes Anderson, who I know is a great admirer of my father’s work, for presenting the film at Cannes.”

Purnima Dutta states, “I am overwhelmed that Aranyer Din Ratri, a masterpiece by Satyajit Ray has been selected to be premiered at the Cannes Film Festival. The film has resonated with the audiences all across the world and will certainly spark meaningful discussions at the festival.As the producer of the film, it is a great honour and pleasure for me to present the restored film at such a prestigious international festival. I would like to thank The Film Foundation for restoring the film and Shivendra Singh Dungarpur of Film Heritage Foundation for his dedication and the time he spent to supervise and coordinate the restoration to ensure that Aranyer Din Ratri is given a second life.”

Simi Garewal states, “The restoration of Aranyer Din Ratri is an extraordinary gift —not just to those of us who were part of the film, but to world cinema. To have it premiere at Cannes Film Festival is a beautiful tribute to Satyajit Ray’s timeless brilliance. I still remember the silence of the forests, the rhythm of the shoot . . . Working with Satyajit Ray was like stepping into the mind of a quiet genius—every word, every gesture mattered, and he had this rare ability to make you discover depths in yourself you didn’t know existed. I’m so pleased that this masterpiece has been so lovingly restored by Martin Scorsese’s The Film Foundation, Film Heritage Foundation and the Criterion Collection for future generations to experience.”

 Gehenu Lamai

Gayathri Mustachi, Chairperson, Lester James Peries and Sumitra Peries Foundation states, “As the Chairperson of the Lester James Peries and Sumitra Peries Foundation, and the niece of both Sumitra and Lester James Peries—two visionaries who shaped the soul of our national cinema, it is an incredibly moving moment for me personally to stand witness to the world premiere of restored ‘Gehenu Lamai’. This film, directed by the trailblazing Sumitra Peries, is not only a landmark in Sri Lankan cinema but also a powerful, compassionate portrayal of womanhood that continues to resonate across generations. Film Heritage Foundation has done incredible work on the restoration and I would like to thank them for selecting this film for restoration in association with our Foundation and under the aegis of FISCH (France–India–Sri Lanka Cine Heritage – Saving Film Across Borders). This restoration is an act of cultural preservation. It ensures that Sumitra’s quiet strength, poetic eye, and progressive spirit will once again touch audiences around the world.”

Remi Lambert, Ambassador of France to Sri Lanka states, “In choosing to restore Gehenu Lamai, directorial debut of Sumitra Peries, we sought not only to safeguard a cornerstone of Sri Lanka’s film history, but also to bring a masterpiece of women’s storytelling back into the light. The choice felt like an obvious one : what stronger symbol than to restore such an essential cinematic landmark which showcases Sri Lanka women’s cultural heritage, all the more so as it was directed by an artist who was, quite literally, an ambassador of Franco–Sri Lankan relations. Thanks to the dedication and expertise of the Film Heritage Foundation, who took on the challenge of restoring the film, Gehenu Lamai has been restored and given a new life. France is honored to stand alongside Sri Lanka in keeping its rich cinematic heritage alive. This lies at the very heart of our cultural commitment: preserving the arts and their memory. A film is made to be seen ; not to sleep on reels, but to live on screen. The spotlight on Sri Lankan cinema at Cannes this year is a profound source of pride, but we also hope to see Gehenu Lamai return to Sri Lankan silver screen soon, where it can resonate once more in the hearts for which it was first created.”

Restoration Process – Aranyer Din Ratri

The impetus for the restoration of Satyajit Ray’s ‘Aranyer Din Ratri’ arose in 2019, championed by The Film Foundation (TFF) at the suggestion of its board member, Wes Anderson. A collaborative dialogue was initiated with Shivendra Singh Dungarpur of Film Heritage Foundation (FHF), leading to formal discussions with copyright holder Purnima Dutta of Piyali Films. The aim was to secure access to the original camera and sound negatives, essential for undertaking a comprehensive restoration. TFF also engaged with longtime partner Fumiko Takagi of Janus Films/Criterion Collection, who had previously explored licensing the title with Ms. Dutta in Kolkata (2013). The restoration formally commenced in 2020, facing significant logistical challenges due to the global pandemic. Despite these obstacles, Shivendra Singh Dungarpur journeyed from Mumbai to Kolkata during a period of strict lockdown to assess the condition of the negatives and arrange their transport to L’Immagine Ritrovata in Bologna, Italy, for high-resolution scanning and 4K digital restoration. The restoration process was meticulously executed at L’Immagine Ritrovata, utilizing the original camera and sound negatives preserved by Purnima Dutta as primary source elements. The laboratory undertook extensive digital restoration work, addressing a range of issues present in the original materials, including dust, scratches, stains, image instability, green mold and flickering. The original sound negative exhibited varying degrees of quality across and within reels. Audio restoration efforts focused on mitigating electrical and support noise, filling audio gaps, and addressing inconsistencies in background ambience. Notably, Reels 9 through 12 presented the most significant challenges, which were successfully minimized through careful intervention. A magnetic track preserved by the BFI National Archive was used to replace a limited portion of the audio in Reel 2. Throughout the restoration process, Shivendra Singh Dungarpur maintained close collaboration with L’Immagine Ritrovata, overseeing the technical work and the creation of an accurate English translation. He also coordinated with the Dutta Family and Satyajit Ray’s son, Sandip Ray, who actively participated in work-in-progress screenings and final reviews to ensure fidelity to the original artistic vision. All restoration work has been formally approved by the Dutta Family and Sandip Ray, underscoring the commitment to preserving the film’s integrity. The English subtitles were crafted by Indrani Mazumdar, a longtime collaborator of Satyajit Ray and the only person he entrusted with English subtitles during his lifetime. Mazumdar is also a renowned translator of Ray’s Bengali literary works. In parallel with the restoration, and with the support of TFF and FHF, Janus Films secured licensing rights for “Aranyer Din Ratri” in the US and UK, ensuring the restored film’s availability to audiences in its highest possible quality. ‘Aranyer Din Ratri’ was restored by The Film Foundation’s World Cinema Project at L’Immagine Ritrovata, in collaboration with Film Heritage Foundation, Janus Films and The Criterion Collection. Funding was generously provided by the Golden Globe Foundation, with special acknowledgement to Wes Anderson for his instrumental support. The 4K restoration was completed using the original camera and sound negative preserved by Purnima Dutta, and a magnetic track preserved at the BFI National Archive. Special thanks are extended to Sandip Ray for his invaluable contributions.

Restoration Process – Gehenu Lamai

The impetus for restoring Sumitra Peries’ ‘Gehenu Lamai’ originated in 2018 when Shivendra Singh Dungarpur, alongside members of FIAF (Fédération Internationale des Archives du Film), undertook a “Rescue Mission” to Colombo. This expedition involved assessing the condition of approximately 30,000 film reels housed in various storage facilities, including the National Film Corporation (NFC) Headquarters, the National Archives, the government film archive, and the NFC Film Archive at Sarasavi Studios. The team faced a daunting collection of films in varying states of decomposition, often stored in suboptimal conditions. The primary objective was to identify films beyond salvage and to offer guidance on equipment, storage solutions, digitization strategies, and overall preservation methodologies. During this visit, Shivendra Singh Dungarpur met Lester James Peries and Sumitra Peries. Sumitra Peries expressed her desire to restore some of her films, later providing Dungarpur with DVDs accompanied by handwritten notes indicating her preferred titles for restoration, chief among them her debut feature, ‘Gehenu Lamai’. It was not until six years later that this vision became a tangible possibility, thanks to a grant awarded under the umbrella of FISCH – France – India – Sri Lanka Cine Heritage – Saving Film Across Borders, an international collaborative initiative. This funding enabled Film Heritage Foundation, in association with the Lester James Peries and Sumitra Peries Foundation, to embark on the challenging restoration of ‘Gehenu Lamai’. Fortunately, surviving film elements of “Gehenu Lamai” were located at the National Film Corporation of Sri Lanka: a 35mm combined dupe negative and two first-generation 35mm release prints. These elements were carefully transported to L’Immagine Ritrovata, the renowned film restoration laboratory in Bologna, Italy. Upon inspection at both the Film Heritage Foundation archive and the laboratory in Bologna, conservators determined that the condition of the reels varied significantly, ranging from average to poor to critical. Several reels exhibited tears, broken sprockets, blockage, shrinkage, emulsion damage, buckling, and warping. Significant time was invested in meticulously repairing these physical damages – addressing damaged perforations, mending tears, and replacing aging tape splices – to prepare the film for high-resolution 4K scanning. The film comparison stage revealed that one of the positive prints was a vintage release of the Sri Lankan version, containing additional shots not found elsewhere. This print served as a valuable guide for the restored version. While the dupe negative, a second-generation element, offered the best overall photographic quality, it unfortunately contained embedded subtitles. Ultimately, the dupe negative’s lower photographic contrast allowed for the recovery of greater detail, making it the primary element used for the restoration. This necessitated extensive digital restoration work to correct distortions and faithfully recover the image’s original aesthetic. The sound restoration proved particularly complex. The sound quality was generally low, exhibiting issues such as clicks, crackles, hiss, physical gaps, and damaged optical sound tracks that rendered portions inaudible. High levels of electrical noise and distortion further compounded the challenges. ‘Gehenu Lamai’ was restored by the Film Heritage Foundation at L’Immagine Ritrovata laboratory, in association with the Lester James Peries and Sumitra Peries Foundation. Funding was generously provided by a grant under the aegis of FISCH: France- India – Sri Lanka Cine Heritage – Saving Film Across Borders. It was restored using the best surviving elements: the 35mm combined dupe negative and two 35mm release prints preserved at the National Film Corporation of Sri Lanka. The condition of the three elements had deteriorated, exhibiting tears, broken sprockets, heavy warping, emulsion damage, and shrinkage, which also impacted the sound quality. The combined dupe negative contained embedded subtitles.