The six-year recovery journey led by filmmaker Wes Anderson eventually led to Satyajit Ray's 1970 masterpiece "Aranyer din Ratri" ("Day and Night in the Forest") gaining slots on the Cannes Classics.

The restoration project began in 2019 when Anderson discussed saving the film through a board position at Martin Scorsese's The Film Foundation. The director’s passion for Ray’s work has fueled a collaborative effort between the Film Foundation’s World Film Film Project, the Film Heritage Foundation, Janus Film and Standard Collection, and funded by the Golden Globes Foundation.

"Everything signed by Satyajit Ray must be cherished and preserved; but the almost forgotten 'the day and night in the forest are special/special gemstones," Anderson said. "Made in 1970. Modern and novel. Ray works on the terrain perhaps more familiar with cassava. Conflicts/negotiations between castes and genders. Urbans and urrals. Selfish men and their hopes, telescopes, spectacular wisdom. Through the women they see. Masterpiece."

Recovery efforts are facing extraordinary challenges due to the global pandemic. Film Heritage Foundation Director Shivendra Singh Dungarpur made a high-risk journey from Mumbai to Kolkata under strict lockdown conditions in 2020 to assess the status of the original camera and sound negatives that producer Purnima Dutta retained in her home.

Dungapur told type. "I managed to go to Kolkata during the pandemic and checked the condition of the original camera at Purnima Dutta's home and the negative effects of the sound in the movie. Once the producer agreed, we arranged for the elements to be shipped to the Ritrovata in L'Immagine ritrovata in Bologna to surprise me, which surprised me. At that time."

The technical recovery process takes original camera and sound negatives as the main source elements, and the work is done at the professional facility L'Immagine Ritrovata in Bologna, Italy. Throughout the process, Dungarpur worked closely with the lab to focus on preserving the real visual features of the film.

Throughout the recovery process, Dungarpur maintained close coordination with Sandip Ray, the son of the Dutta family and Ray, who actively participated in the production screening and final reviews to ensure that the restored version remains loyal to the original art vision. All recovery efforts are formally approved by the Dutta family and Sandip Ray.

"I worked closely with Sandip Ray and Bologna's labs, starting with the delivery of the original negatives to the final restoration and again being hit by Satyajit Ray's mastery," Dungarpur said. "We worked hard to maintain the grain and black people to match the original work of Soumendu Roy as closely as possible. ”

The lab’s digital recovery team addressed a comprehensive range of issues in the original material, including dust, scratches, stains, image instability, green molds and flickering. Sound recovery presents a special challenge as the negative mass of the original sound has varying degrees of mass both inside and outside the reel. Reels 9 to 12 present the most important audio challenges, successfully minimizing the audio challenges through careful intervention. For the limited portion of audio in Reel 2, track tracks saved by the BFI country archive are used to replace the tradeoffs.

The key element of recovery is to create new, accurate English subtitles. For this essential task, the team is engaged to Ray's longtime collaborator Indrani Mazumdar, who is the only person in his life to entrust English subtitles. Mazumdar is also known for translating many literary works in Ray Bengali, and she gained an in-depth understanding of Ray's intentions.

"'Aranyer din Ratri' is still one of my favorite movies, and the restoration that has been done is absolutely amazing," said Sandip Ray. "I worked closely with Shivendra Singh Dungarpur throughout the restoration and was very surprised by the meticulous approach to recovery. I am so grateful to Martin Scorsese's "Film Foundation", the Film Legacy Foundation, the Criterion Collection for being my recovery for this restoration. My warm thanks for your respect.

Producer Purnima Dutta has retained the original negatives of the film for decades, adding: "I was overwhelmed, Satyajit Ray's masterpiece 'Aranyer din Ratri' has been restored. As the film's producer, it's a film of honor and pleasure. For his dedication and the time he spent supervising and coordinating the restoration to ensure "Aranyer Din Ratri" gets a second life."

Meanwhile, Janus Movies gained permission for American and British films through negotiations with Purnima Dutta. The Film Foundation (TFF) collaborates with long-time partner Fumiko Takagi at Janus Films/Criterion Collection, who had previously explored in 2013 with Dutta to win the championship at Kolkata, ensuring that the restored films attract audiences with their highest quality at the highest quality.

The classic Bengali rituals provide a subtle portrayal of India, a post-colonial city, through the lens of four young men seeking a temporary escape in the forests of Jharkhand. The film includes Sharmila Tagore, Kaberi Bose, Simi Garewal, Soumitra Chatterjee, Shubhendu Chatterjee, Rabi Ghosh, Samit Bhanja, Pahari Sanyal and Aparna Sen, among others.

Actor Simi Garewal, who played a memorable role in the film, reflected on the significance of the restoration: “The restoration of 'Aranyer Din Ratri' is an extraordinary gift – not just to those of us who were part of the film, but to world cinema. I still remember the silence of the forests, the rhythm of the shoot… Working with Satyajit Ray was like stepping into the mind of a quiet genius – every word, Every gesture is important, he has this rare ability to let yourself discover depths that you don’t know, and I’m glad this masterpiece is collected from Martin Scorsese’s Film Foundation, Film Heritage Foundation and Standards to experience the future generations.”

Lead actor Sharmila Tagore also shared her memories of the work: "I remember when I was shooting for 'Aradhana' when Manik da (the nickname of Satyajit Ray) approached the filming of a month. During the shooting, it was so hot. During the shooting, we could only shoot in the afternoon and later that I could shoot my even numbers. The sequence was incredible.