Satyajit Ray

Pather Panchali

Looking for any excuse, Landon Palmer and Scott Beggs are using the 2012 Sight & Sound poll results as a reason to take different angles on the best movies of all time. Every week, they’ll discuss another entry in the list, dissecting old favorites from odd angles, discovering movies they haven’t seen before and asking you to join in on the conversation. Of course it helps if you’ve seen the movie because there will be plenty of spoilers. This week, they travel to Bengal to spend a few days with a poor rural family. In the #41 (tied) movie on the list, Satyajit Ray delivers a view into poverty that eschews exaggeration in favor of realism and calm, quotidian contemplation. But why is it one of the best movies of all time?

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Culture Warrior

In the late 1990s, two quite divergent Iranian films were recognized on the Western stage. During the 1999 Academy Awards, Majid Majidi’s Children of Heaven, a touching Satyajit Ray-like neorealist drama about a pair of siblings searching for lost shoes, became the first Iranian film nominated for an Academy Award for Best Foreign Language Film. Two years earlier, in May 1997, Abbas Kiarostami’s minimalist exercise Taste of Cherry won the Palme d’Or at Cannes, the first Iranian film to do so. By the tail end of the twentieth century, Iran had made its way onto the stage of world-renowned arthouse filmmaking. While other cinematically underrepresented nations have oscillated in and out of prominence as the place where great new movies are being pioneered (South Korea, Romania), Iran has consistently, albeit quietly, given the West a limited but incredible output of challenging and innovative films.

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published: 12.19.2014
A-
published: 12.18.2014
C-
published: 12.17.2014
B+
published: 12.15.2014
B


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