The resounding standing ovation at the Festival de Cannes 2025 still echoes in the hearts of cinephiles worldwide, marking a triumphant moment for Indian cinema and the enduring legacy of its greatest maestro, Satyajit Ray. On May 19, 2025, the newly restored 4K version of Ray’s 1970 classic, Aranyer Din Ratri (Days and Nights in the Forest), premiered in the prestigious Cannes Classics section, captivating audiences and reaffirming the timeless brilliance of Ray’s artistry. Having had the privilege of watching the original print of this extraordinary film, I can attest to its profound impact—an impact that has only been amplified by this meticulous restoration, bringing Ray’s vision to new generations with unparalleled clarity.

A Triumph of Restoration & Global Collaboration

The Cannes premiere of Aranyer Din Ratri was not just a celebration of a film; it was a powerful testament to the art of preservation and the collaborative spirit that made it possible. This breathtaking 4K restoration, a labour of love led by Martin Scorsese’s The Film Foundation through its World Cinema Project, in partnership with Shivendra Singh Dungarpur’s Film Heritage Foundation, Janus Films, and the Criterion Collection, has breathed new life into a cinematic treasure that continues to resonate more than five decades later. The project’s significance was further heightened by the involvement of acclaimed filmmaker Wes Anderson, a passionate admirer of Ray’s work, whose deep affection for the film adds a personal touch to this restoration.

It all began in 2019, when Anderson, leveraging his position on the board of The Film Foundation, initiated talks about preserving the film. Driven by his admiration for Ray’s legacy, he guided a collaboration between The Film Foundation, the Film Heritage Foundation, Janus Films, and the Criterion Collection, with support from the Golden Globe Foundation.

Having watched the original print, I recall the raw, evocative power of the film’s visuals—the interplay of light through the sal forests, the subtle expressions of the characters, and the haunting beauty of Ray’s compositions. While the original print carried a certain nostalgic charm, with its grainy texture and lived-in feel, I can only imagine how the restored version enhances these elements, making every frame sharper, every emotion more vivid. The restoration process, undertaken with such care, ensures that Ray’s vision is not only preserved but elevated, allowing modern audiences to experience the film as it was meant to be seen.

A Personal Connection to a Cinematic Gem

Watching Aranyer Din Ratri in its original form was a transformative experience for me. Adapted from Sunil Gangopadhyay’s novel, the film follows four urban men from Kolkata—Ashim, Sanjoy, Hari, and Shekhar—who set out for a carefree holiday in the forests of Palamau (now part of Jharkhand). What begins as a lighthearted escape from the constraints of city life soon becomes a profound journey of self-discovery, as their interactions with the local tribal communities, two enigmatic women, and the untamed wilderness challenge their assumptions about privilege, love, and identity.

Ray’s storytelling is a masterclass in subtlety and depth, weaving themes of urban alienation, class dynamics, and the search for meaning into a narrative that feels both intimate and universal. The original print, with its slightly weathered quality, lent a sense of authenticity to the story, as if the film itself were a relic of the era it depicted. Yet, even in that form, the emotional weight of the characters’ journeys—particularly their moments of vulnerability and revelation—left an indelible mark on me. Ray’s ability to use the natural world as a mirror to the human psyche is nothing short of extraordinary, and I eagerly anticipate the day I can experience the restored version to see how it enhances this already powerful narrative.

The Enchanting Backdrop of Betla National Park (Palamau Tiger Reserve)

One of the most captivating aspects of Aranyer Din Ratri is its setting in Betla National Park, located in the Palamau Division of Jharkhand. This lush, verdant expanse of sal forests, rolling hills, and serene rivers is more than just a backdrop—it’s a silent yet integral character in the film, shaping the story and reflecting the characters’ inner turmoil. The film was shot in several iconic locations within the park, including the banks of the Koel River and the dense sal groves that dominate the landscape. These settings, with their raw beauty and untamed spirit, perfectly complement the film’s exploration of human nature stripped of urban pretences.

Sharmila Tagore, one of the film’s stars, has shared vivid memories of the challenging shoot in Betla National Park during the sweltering heat of May. She recounted how Ray insisted on capturing the stark, leafless trees before the monsoon arrived, a decision that gave the film its distinctive visual texture. The rugged terrain of Palamau, with its towering sal trees and tranquil riverbanks, provides a striking contrast to the characters’ urban sophistication, amplifying their sense of dislocation and discovery. Watching the original print, I was mesmerised by how Ray and cinematographer Soumendu Roy used the landscape to enhance the emotional depth of the story, making the forest a living, breathing presence in the narrative.

For those familiar with Betla National Park, part of the larger Palamu Tiger Reserve, the film feels like a cinematic ode to one of India’s hidden natural treasures. Home to diverse wildlife, including tigers, elephants, and myriad bird species, the park’s untouched beauty makes it the perfect setting for a story about confronting one’s true self. The Koel River, with its gentle flow, and the sprawling sal forests, with their stark elegance, linger in my mind as vividly as the characters themselves, a testament to Ray’s ability to weave place and story into a seamless whole.

A Star-Studded Celebration at Cannes

The Cannes premiere was made all the more poignant by the presence of veteran actors Sharmila Tagore and Simi Garewal, whose performances in Aranyer Din Ratri remain iconic. Tagore, as the sophisticated yet vulnerable Aparna, and Garewal, as the enigmatic tribal woman Duli, delivered performances that are both nuanced and unforgettable. Their attendance at the screening was a powerful reminder of the film’s rich history and the brilliance of its ensemble cast, which also includes Soumitra Chatterjee, Subhendu Chatterjee, Samit Bhanja, and Robi Ghosh.

Saba Pataudi, Sharmila Tagore’s daughter, captured the emotional weight of the moment on social media, sharing videos of the audience’s heartfelt standing ovation. She described it as “a beautiful celebration of life,” a sentiment that resonates deeply with the spirit of the film and its triumphant return to the global stage. The ovation was not just for the film but for the collective effort to preserve Ray’s legacy and share it with a new generation of viewers.

The Importance of Film Restoration

The restoration of Aranyer Din Ratri is a powerful reminder of why preserving cinematic heritage matters. Films like this are not just entertainment—they are cultural artefacts, windows into our history, values, and shared humanity. Satyajit Ray, widely regarded as one of the greatest filmmakers of all time, brought a uniquely Indian perspective to global cinema, blending deep humanism with incisive social commentary. Watching the original print, I was struck by the timelessness of his storytelling, but I also noticed the signs of age—faded colours, scratches, and a certain softness in the visuals. The restoration process, undertaken with such care and precision, ensures that future audiences can experience Ray’s vision in its full glory, free from the ravages of time.

Restoring a film like Aranyer Din Ratri is no small task. Decades-old negatives are fragile, prone to deterioration, and require immense technical expertise to salvage. The collaboration between The Film Foundation, Film Heritage Foundation, Janus Films, and the Criterion Collection reflects a shared commitment to safeguarding Ray’s legacy. As someone who cherishes the original print, I am thrilled to know that this restoration will allow new viewers to discover the film’s beauty and depth, while preserving its place in the pantheon of world cinema.

A Call to Celebrate & Reflect

The triumphant premiere of Aranyer Din Ratri at Cannes 2025 is a moment of immense pride for Indian cinema and a testament to the enduring relevance of Satyajit Ray’s work. It’s also a call to action—to celebrate the preservation of cinematic treasures and to support efforts to protect our cultural heritage. Watching the original print was a deeply moving experience for me, one that reminded me of the power of storytelling to transcend time, place, and culture. I look forward to experiencing the restored version, to see how it enhances the film’s visual and emotional impact.

If you haven’t yet watched Aranyer Din Ratri, I encourage you to seek out either the original print or the restored version when it becomes available. And if you ever find yourself in Jharkhand, a visit to Betla National Park might feel like stepping into the world of Ray’s masterpiece. The sal forests, the Koel River, and the quiet majesty of the landscape are as integral to the film’s magic as its unforgettable characters and poignant narrative.

What are your thoughts on Aranyer Din Ratri or the importance of film restoration? Have you visited Betla National Park or been inspired by Ray’s work? Share your reflections in the comments below—let’s keep the conversation alive and celebrate the timeless legacy of one of cinema’s greatest visionaries.