Srijit Mukherji on ten films that define Bengali cinema

1. Apur Sansar by Satyajit Ray: Though Pather Panchali is Ray's best known and most lauded work from the Apu Trilogy I prefer Apur Sansar because emotionally and sentimentally I feel like I am more of a urban person.

It's emotional landscape also appealed more to me. And there is the fact that this trilogy put Indian and Bengali films on the world map.

2. Nayak by Satyajit Ray: Nayak encapsulated my desire to tell stories via films. It is a film holistically about cinema and everything related to it and yet it also deal with a world, of which cinema is just a microcosm.

It has one of my all time favourite actors, Uttam Kumar, with all time favourite directors (Ray). It's also the film that I paid a tribute to with my debut film Autograph (2010) so it obviously holds a special place in my heart.

3. Goopy Gyne Bagha Byne by Satyajit Ray: I think this film showcased the cinematic genius of the man. I have actually seen Ray's rough sketches and his notes on the film and the music score he wrote and I am awed by his genius. This is a film that shows of his versatility.

I think it's one of the strongest anti war films ever made. It has so many levels that you discover only after repeat watches.

4. Golpo Holeo Shotti by Tapan Sinha: After Ray, Tapan Sinha is one of my favourite directors especially his music. I think it was a perfectly structured screenplay that was impeccably written.

It had a fantastic performance by Rabi Ghosh and it's the finest example of the road cinema in Bengal. It is story telling at its effortless best.

5. Akaler Sandhane by Mrinal Sen: The film within the film framework that I used in my first film Autograph, it's structures was inspired by this film. Though it has now become a very common ploy used by directors Mrinal Sen's use of this structure really left an impact.

In this film the protagonist is making a film on drought gets caught up in the realities of drought, and this struggle of making a film on a subject and finding yourself embroiled up in the reality of it is something I understand.

6. Paromitar Ak Din by Aparna Sen: I think this is one of her finest Bengali film of hers till date. My favourite one by her is 36 Chowringhee Lane but it's an English film. This one is fascinating because of the stellar performances by the cast, and that nuanced subtle handling of relationships.

Ritu da (Rituparno Ghosh) got it almost as legacy from Rina di (Aparna Sen) and developed his own inimitable style but the seeds were sown by Rina di. He admitted it as much. I think this was just evidence. Her take on unconventional relationships (dwells around a relationship between a mother-in-law and daughter-in-law) specially is what drew me to the film.

7. Bariwali by Rituparno Ghosh: I would have like to put in Goutam Ghosh's Paar here but since it's a Hindi film let's move to Rituda's films. My favourite film of his by far is Bariwali. Bonolata still haunts me. Her loneliness still haunts me.

And it's a favourite for no other reason than the two absolutely stunning dream sequences that I have ever seen so effectively used in any film. Chiranjit's voice being dubbed was one thing that bothered me but that's not enough to take away from the sheer masterclass in filmmaking it turned out to be.

8. Utsab by Rituparno Ghosh: Now comes the tricky part — picking my second favourite Rituparno Ghosh film because there are so many more. I am tempted to pick Shubho Mahurat but it has lot of Agatha Christie as well.

So I pick Utsab because it reminds me of home. It reminds me of Kolkata. I watched it so many times way when I was missing home and even when I was here in Kolkata. I love it for the way it portrays the texture of the relationships it handles. That relationship bordering on incest is done with such panache and finesse. I think if you want to make a family oriented film without gushing or getting mushy, that is not manipulative you make an Utsab. It doesn't jerk tears it brings tears. The song "Amala Dhabala" is so beautifully used to effect.

9. Arekti Premer Golpo by Kaushik Ganguly: I love it for its technique, performances and storytelling but the technique comes first. The way it went to and and fro between two time and space zones. And the way he used intertemporal resonances.

It's something I have used in my Jatishwar. The film follows documentary filmmaker Abhirup who is making a film on Chapal Bhaduri a jatra artist who used enact female characters. So by intertemporal resonance I mean how the events in Chapal Bhaduri's life resonated in Abhirups, how Abhirup's relationship with his camera person was almost the same as Bhaduri's with the men of his era. How everything has changed and yet nothing has.

10. Bhooter Bhobishyot by Anik Dutta: It's an absolute mad caper of a film. I have scarcely read such brilliant script writing. The entire script is in verse. It's a mad ride that is funny irreverent and even crude at times but a heck of a ride. The performances are fresh and even the approach is fresh.

As far as comedy is concerned in Bengal, I think it's a game changer. A lot of people have said unkind things about this film but I disagree with them. I think this is an iconic film. This was about script and the freshness of concept . If there have been so many films in the recent times that I wish I had made. This is one such film.