At Cannes 2025, Film Heritage Foundation unveils restored masterpieces by Satyajit Ray and Sumitra Peries, spotlighting South Asia's cinematic brilliance and the global urgency of film preservation. The Daily Eye #Newsdesk reports...

At Cannes Film Festival 2025, the Film Heritage Foundation presents the world premieres of two newly restored South Asian classics — Aranyer Din Ratri (1970) by Satyajit Ray and Gehenu Lamai (1978) by Sumitra Peries — in the Cannes Classics section. These landmark restorations underscore FHF’s ongoing commitment to preserving South Asia’s cinematic heritage, with support from The Film Foundation, The Criterion Collection, and international collaborators. Featuring rare 4K restorations, appearances by film legends like Sharmila Tagore and Wes Anderson, and meticulous archival work, these premieres mark a major moment for global film restoration and cultural memory.

India, May 2025 — The 77th Cannes Film Festival is set to shine a spotlight on South Asian cinema with the world premieres of two newly restored classics: Aranyer Din Ratri (1970) by India’s legendary filmmaker Satyajit Ray and Gehenu Lamai (1978) by Sri Lanka’s iconic director Sumitra Peries. These premieres, part of the Cannes Classics section, come courtesy of Film Heritage Foundation (FHF), marking the fourth consecutive year that the organization has showcased its restoration work at the prestigious festival.

This double premiere not only highlights the enduring brilliance of two pioneering filmmakers but also stresses the urgency and importance of preserving South Asia’s cinematic history. FHF’s past presentations at Cannes — Thamp (2022), Ishanou (2023), and Manthan (2024) — have already cemented its place as a vital player in the global film restoration arena.

Shivendra Singh Dungarpur: A Mission Rooted in Legacy

For FHF Director Shivendra Singh Dungarpur, these restorations are as much about emotion as they are about expertise. “Working on the restoration of Aranyer Din Ratri has been incredibly moving,” he said. “To witness the film’s beauty — its haunting score, the chemistry of the cast, Sharmila Tagore’s grace, and Ray’s sensitive portrayal of the Santhal tribals — revitalized after 56 years is a true privilege.”

Equally poignant for Dungarpur was restoring Gehenu Lamai, a landmark in Sri Lankan cinema. He recalled, “Sumitra-ji handed me a DVD of the film with handwritten notes, and it became clear how much she cherished this work. Its elements were in a precarious state. There was real urgency to act, and I’m grateful to the French Government and our FISCH initiative collaborators for enabling this restoration. My only regret is that Sumitra-ji is not here to witness this rebirth.”

Aranyer Din Ratri: A Bengali Masterpiece Reborn

Satyajit Ray’s Aranyer Din Ratri — or Days and Nights in the Forest — returns to the world stage in dazzling 4K, thanks to a partnership between The Film Foundation’s World Cinema Project, FHF, and The Criterion Collection/Janus Films. The restoration utilized the original camera and sound negatives preserved by the film’s producer, Purnima Dutta.

Ray’s son, filmmaker Sandip Ray, worked closely with the team. “This film is still one of my favourites. The restoration is absolutely stunning. I was amazed by the meticulous approach. I’m thrilled that it’s premiering at Cannes and grateful to Martin Scorsese’s Film Foundation, FHF, and Criterion,” he said. He also acknowledged director Wes Anderson, “a great admirer of my father’s work,” for presenting the film.

Anderson, a board member of The Film Foundation, praised Ray’s nuanced artistry: “Days and Nights in the Forest is a special gem. Ray explores terrain familiar to Cassavetes — clashes of caste, gender, and self-delusion. Soumitra Chatterjee is lost but searching; Sharmila Tagore is mesmerizing. Another masterpiece from the master.”

Sharmila Tagore, who starred in the film, will be in Cannes to present it. “It’s wonderful that Aranyer Din Ratri has been restored,” she said. “I remember shooting during incredibly hot days, often in early morning or late afternoon. Manikda’s precision, especially in the memory game sequence, was extraordinary. I’m so grateful to FHF for restoring this film that still feels contemporary today.”

Her co-star Simi Garewal echoed the sentiment: “The restoration is an extraordinary gift to world cinema. Working with Ray was like stepping into the mind of a quiet genius. This is a beautiful tribute to his timeless brilliance.”

Purnima Dutta, the producer whose archival efforts helped make the restoration possible, shared her joy: “This is a moment of great honour. The film has resonated globally, and I thank The Film Foundation and Shivendra Singh Dungarpur for giving it a second life.”

Restoration Against All Odds

The journey to restore Aranyer Din Ratri began in 2019, initiated by Wes Anderson’s suggestion to The Film Foundation. Dungarpur collaborated with Dutta and negotiated access to the original negatives. Amidst pandemic restrictions, he travelled from Mumbai to Kolkata to assess the materials, which were then sent to L’Immagine Ritrovata in Bologna, Italy.

The restoration process was rigorous. The original camera and sound negatives were riddled with mould, scratches, and flicker. Audio challenges required sophisticated interventions, including help from the BFI National Archive for one reel. English subtitles were created by Indrani Mazumdar, the only person Satyajit Ray personally trusted with his English translations.

With funding from the Golden Globe Foundation and Anderson’s support, the film was brought back to life in its full artistic integrity — a restoration fully endorsed by the Dutta family and Sandip Ray.

Gehenu Lamai: Sumitra Peries’ Poetic Vision Revived

The restoration of Gehenu Lamai, a landmark Sinhalese film that redefined Sri Lankan cinema in the 1970s, represents another major achievement for FHF. Sumitra Peries’ delicate storytelling and the film’s lyrical aesthetics deeply moved Dungarpur, who personally undertook the project following Peries’ request.

The film had deteriorated significantly, and restoration required piecing together three different elements. Support from the French Government via the FISCH initiative was instrumental in enabling the technically challenging work.

Dungarpur described the emotional journey: “Watching Gehenu Lamai, I was struck by its poetic imagery and the gentle assurance with which Sumitra-ji handled her young actors’ emotions. Restoring this film felt like a race against time.”

Continuing a Legacy of Preservation

The 2025 Cannes premieres mark FHF’s fourth straight year at the festival, a testament to its growing international reputation in film preservation. Its earlier Cannes presentations — Thamp (2022), Ishanou (2023), and Manthan (2024) — have introduced global audiences to overlooked South Asian cinematic treasures.

Margaret Bodde, Executive Director of The Film Foundation, emphasized the importance of such work: “These restorations are about more than film. They’re about cultural memory and artistic legacy.”

Peter Becker and Fumiko Takagi of The Criterion Collection/Janus Films were deeply involved in both projects. Their collaboration helped ensure the restored versions would reach audiences across the US and UK, with high-quality distribution already planned.

As Aranyer Din Ratri and Gehenu Lamai prepare to meet a new generation of viewers at Cannes, they not only rekindle past brilliance but also pave the way for the future of South Asian cinema — where heritage is not only remembered but gloriously revived.

The Daily Eye will continue to follow Film Heritage Foundation’s vital efforts to safeguard the cinematic treasures of the subcontinent.