Adoor Gopalakrishnan

Rat-Trap; Man of the Story


Voted in the directors’ poll

Voted for

400 Blows, The


François Truffaut

Andrei Rublev


Andrei Tarkovsky

Boy, The


Oshima Nagisa

Pather Panchali


Satyajit Ray



Robert Bresson

Puppetmaster, The


Hsiao-hsien Hou



Akira Kurosawa

Round-Up, The


Miklos Jancso

strada, La


Federico Fellini

Tokyo Story


Ozu Yasujirô


The lyrical realism of Pather Panchali encapsulated life lived in a village in India with great artistry and humanity, as never before. It was the first time a complete artist took up cinema as his profession. Indian cinema can be seen in two parts – one before Pather Panchali and the other post Pather Panchali.

La strada is a great saga of love and bondage, very raw and real, almost brutal in its portrayal. The images are so strong that they refuse to dim with the passage of time.

The 400 Blows is a highly sensitive recreation of Truffaut’s own difficult childhood, unsympathetic parents, oppressive teachers and petty crime – a remarkable first feature, mirroring one’s own life and times so effectively.

Subtle and sensitive, Tokyo Story lets the viewer experience the tensions and demands that modern life makes on people – here family members.

Passage of time has not erased even an iota of freshness and novelty of Rashomon.

Boy is at once a very personal tale and a universally relevant one – of contemporary life lived anywhere in the world of deprived people.

Pickpocket tells the story of a compulsive thief; because of the way he executes the theft, the audience is slowly conditioned to think that what he does as a thorough professional is not a crime after all.

The Puppetmaster marked the arrival of a master filmmaker well entrenched in the medium of cinema and a maverick at that.

Formally awe-inspiring, The Round-Up is a marvellous piece of storytelling executed in a masterly manner. The style has no parallel.

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