As David Dhawan announces his retirement, here are 5 legendary directors from global and Indian cinema who said goodbye to the director’s chair with a memorable final film. Whether planned as a graceful retirement or cut short by fate, their films remain iconic. 

From Yash Chopra to Stanley Kubrick: 5 iconic directors who said goodbye with a memorable last film

Spike Lee and Denzel Washington will reunite for the English adaptation of Akira Kurosawa’s High and Low. The film is backed by Apple Original Films and A24.&nbsp;The two last worked together in the 2006 movie&nbsp;Inside Man.

High and Low will start production in March.&nbsp;

<h2>Spike Lee to direct High and Low remake</h2>

Spike Lee will direct the upcoming film from a script penned by Alan Fox.&nbsp;

The film is loosely based on the novel King's Ransom by Ed McBain. Akira Kurosawa’s High and Low was the first adaptation of the same. It released in 1963. It featured Toshiro Mifune as Kingo Gondo, a wealthy man who puts himself into debt in a risky bid to enact a hostile takeover of a company and is later targeted by kidnappers.

<h2><a href="https://www.wionews.com/entertainment/hollywood/news-tiktoker-calls-zayn-malik-misogynist-wanted-a-threesome-during-their-9-months-dating-688552">TikToker calls Zayn Malik 'misogynist': Wanted a threesome during their 9-months dating</a></h2>

High and Low was released in Japan on 1 March 1963. The film was released by Toho International with English subtitles in the United States on 26 November 1963.

The Spike Lee remake will be produced by Todd Black for Escape Artists and Jason Michael Berman for Mandalay Pictures.

Spike Lee and Denzel Washington have worked together on multiple projects like 1990's Mo’ Better Blues, Malcolm X (1992), He Got Game (1998) and&nbsp;Inside Man (2006).

<a href="https://www.wionews.com/entertainment/hollywood/news-ti%C3%ABsto-pulls-out-of-super-bowl-performance-due-to-%E2%80%98family-emergency%E2%80%99-688565">Tiësto pulls out of Super Bowl performance due to ‘family emergency’</a>

(With inputs from agencies)

Spike Lee and Denzel Washington will reunite for the English adaptation of Akira Kurosawa’s High and Low. The film is backed by Apple Original Films and A24. The two last worked together in the 2006 movie Inside Man.

Spike Lee and Denzel Washington will reunite for the English adaptation of Akira Kurosawa’s High and Low. The film is backed by Apple Original Films and A24. The two last worked together in the 2006 movie Inside Man. High and Low will start production in March. Spike Lee to direct High and Low remake Spike Lee will direct the upcoming film from a script penned by Alan Fox. The film is loosely based on the novel King's Ransom by Ed McBain. Akira Kurosawa’s High and Low was the first adaptation of the same. It released in 1963. It featured Toshiro Mifune as Kingo Gondo, a wealthy man who puts himself into debt in a risky bid to enact a hostile takeover of a company and is later targeted by kidnappers. TikToker calls Zayn Malik 'misogynist': Wanted a threesome during their 9-months dating High and Low was released in Japan on 1 March 1963. The film was released by Toho International with English subtitles in the United States on 26 November 1963. The Spike Lee remake will be produced by Todd Black for Escape Artists and Jason Michael Berman for Mandalay Pictures. Spike Lee and Denzel Washington have worked together on multiple projects like 1990's Mo’ Better Blues, Malcolm X (1992), He Got Game (1998) and Inside Man (2006). Tiësto pulls out of Super Bowl performance due to ‘family emergency’ (With inputs from agencies)

Denzel Washington, Spike Lee reuniting for remake of Akira Kurosawa’s ‘High and Low'

“Intellectual property” probably wasn’t a term anyone thought to apply to “Star Wars” when the first movie premiered in May 1977. More than 40 years of films, books, television series, toys, games, trading cards and theme park rides later, it’s hard to think of George Lucas’ outer-space saga as anything but.

That might have been on the minds of the Lucasfilm executives who came up with <a href="https://www.wionews.com/entertainment/disney-plus-star-wars-visions-first-look-release-date-unveiled-395856">“Star Wars: Visions,”</a> a set of nine animated short films arriving Wednesday to Disney+. It’s the latest calculated exploitation of the brand, but it won’t wear you out. It’s low-key and small-scale, and it has an original twist: The 13- to 22-minute films were created by a variety of Japanese anime studios, making the project an instance of both cross-cultural collaboration and mutual hommage.

<a href="https://www.wionews.com/entertainment/hollywood/news-‘star-wars-the-bad-batch’-renewed-for-season-2-at-disney-403197">Also Read:&nbsp;‘Star Wars: The Bad Batch’ renewed for season 2 at Disney+</a>

Animation has been a significant segment of the “Star Wars'' business and storyline, primarily through the “Clone Wars” films and series, including the current Disney+ show “Star Wars: The Bad Batch.” But it has never had the two-dimensional, handcrafted beauty you’ll find throughout the chapters of “Visions,” not to mention the visual variety, which makes it easy to take in the films in a single 2 1/2-hour sitting.

The Japanese animators were given free rein to invent characters and depart from “canonical” storylines (hopefully forestalling outrage from overprotective fans). The stand-alone films introduce a raft of new heroes, although at least one incorporates some familiar characters: Bounty hunter Boba Fett shows up in Taku Kimura’s “Tatooine Rhapsody” (Studio Colorido), hunting a Hutt who has fled the family crime business to join a band.

Anime as a genre and “Star Wars” as a franchise are insular, highly formalized creative worlds with traditions and expectations that can be smothering. But they have always influenced each other, and there are intersections that are apparent in the films. Lucas’ core concept of the Force aligns with the eco-romanticism prevalent in science fiction and fantasy anime. The Jedi knights, with their robes and lightsabers, are samurai by another name. And the two traditions share an inordinate fondness for chirping robotic helpmates.

These elements show up in varying configurations throughout the nine films. What varies is the mix: the degree to which the films feel like “Star Wars” shorts that happen to have anime character designs, or like anime shorts that happen to borrow “Star Wars” motifs.

Films on the “Star Wars” end of the spectrum include “The Twins” (directed by Hiroyuki Imaishi for Studio Trigger), about a brother and sister who are darker counterparts of Luke and Leia, battling on a double-hulled star destroyer, and Kenji Kamiyama’s ambitious “The Ninth Jedi” (Production I.G), about a plan to gather a group of hunted Jedi and rearm them with lightsabers.

More interesting for those who are bigger fans of anime than of Lucasfilm are the shorts that put the action in Japanese settings that aren’t a standard part of the “Star Wars” landscape. The planet Tau in Yuki Igarashi’s “Lop &amp;amp; Ocho” (Geno Studio), one of the more exciting films, is a richly detailed urban Japanese world. Masahiko Otsuka’s “The Elder” (Trigger) and Eunyoung Choi’s “Akakiri” (Science SARU) invoke the Japanese countryside as traditionally depicted in anime; “Akakiri” heightens the connection with watercolor and pen-and-ink effects.

“Akakiri” also brings the anime-“Star Wars” connections full circle: Its story about a princess and a samurai making a dangerous journey in the company of two bumptious commoners is the plot of the Akira Kurosawa film “The Hidden Fortress,” which was one of Lucas’ primary inspirations for the original “Star Wars” film.

The most interesting of the shorts are the ones that burrow into those sorts of connections. Takanobu Mizuno’s mostly black-and-white “The Duel” (Kamikaze Douga) also invokes Kurosawa, with a “Yojimbo”-style wandering ronin accompanied by an R2-D2 robot in a traditional straw farmer’s hat. Abel Góngora’s charming, cartoonish “T0-B1” (Science SARU), about an android who wants to be human, is a salute to the classic anime hero Astro Boy.

(The collection poses a practical cultural and aesthetic question for the non-Japanese speaker: subtitles versus dubbing. Subtitles are always the right answer for anime, but with “Visions” the English tracks feature a number of notable voices, including Neil Patrick Harris, Alison Brie and “Shang-Chi” star Simu Liu. The dubbing sounds as artificial as ever, but it’s worth switching on occasionally, such as when George Takei voices one of the commoners in “Akakiri.”)

That “Star Wars: Visions” is, finally, more of a pleasant diversion than a really fulfilling experience isn’t a factor of running time or talent. It’s because all of the films — and you may realize this with a sinking sensation as you watch — play like auditions for continuing series rather than organic wholes; none feel really self-contained, and some even end with obvious cliffhangers. To paraphrase Yoda, there is no do. Only try for future residuals.

<h2><a href="https://www.wionews.com/entertainment/netflix-ceo-meets-up-with-ib-minister-anurag-thakur-gets-bhagvad-gita-as-gift-414911" hreflang="en">Netflix CEO meets up with I&amp;B minister Anurag Thakur, gets Bhagvad Gita as gift</a></h2>

“Intellectual property” probably wasn’t a term anyone thought to apply to “Star Wars” when the first movie premiered in May 1977. More than 40 years of films, books, television series, toys, games, trading cards and theme park rides later, it’s hard to think of George Lucas’ outer-space saga as anything but.

“Intellectual property” probably wasn’t a term anyone thought to apply to “Star Wars” when the first movie premiered in May 1977. More than 40 years of films, books, television series, toys, games, trading cards and theme park rides later, it’s hard to think of George Lucas’ outer-space saga as anything but. That might have been on the minds of the Lucasfilm executives who came up with “Star Wars: Visions,” a set of nine animated short films arriving Wednesday to Disney+. It’s the latest calculated exploitation of the brand, but it won’t wear you out. It’s low-key and small-scale, and it has an original twist: The 13- to 22-minute films were created by a variety of Japanese anime studios, making the project an instance of both cross-cultural collaboration and mutual hommage. Also Read: ‘Star Wars: The Bad Batch’ renewed for season 2 at Disney+ Animation has been a significant segment of the “Star Wars'' business and storyline, primarily through the “Clone Wars” films and series, including the current Disney+ show “Star Wars: The Bad Batch.” But it has never had the two-dimensional, handcrafted beauty you’ll find throughout the chapters of “Visions,” not to mention the visual variety, which makes it easy to take in the films in a single 2 1/2-hour sitting. The Japanese animators were given free rein to invent characters and depart from “canonical” storylines (hopefully forestalling outrage from overprotective fans). The stand-alone films introduce a raft of new heroes, although at least one incorporates some familiar characters: Bounty hunter Boba Fett shows up in Taku Kimura’s “Tatooine Rhapsody” (Studio Colorido), hunting a Hutt who has fled the family crime business to join a band. Anime as a genre and “Star Wars” as a franchise are insular, highly formalized creative worlds with traditions and expectations that can be smothering. But they have always influenced each other, and there are intersections that are apparent in the films. Lucas’ core concept of the Force aligns with the eco-romanticism prevalent in science fiction and fantasy anime. The Jedi knights, with their robes and lightsabers, are samurai by another name. And the two traditions share an inordinate fondness for chirping robotic helpmates. These elements show up in varying configurations throughout the nine films. What varies is the mix: the degree to which the films feel like “Star Wars” shorts that happen to have anime character designs, or like anime shorts that happen to borrow “Star Wars” motifs. Films on the “Star Wars” end of the spectrum include “The Twins” (directed by Hiroyuki Imaishi for Studio Trigger), about a brother and sister who are darker counterparts of Luke and Leia, battling on a double-hulled star destroyer, and Kenji Kamiyama’s ambitious “The Ninth Jedi” (Production I.G), about a plan to gather a group of hunted Jedi and rearm them with lightsabers. More interesting for those who are bigger fans of anime than of Lucasfilm are the shorts that put the action in Japanese settings that aren’t a standard part of the “Star Wars” landscape. The planet Tau in Yuki Igarashi’s “Lop &amp; Ocho” (Geno Studio), one of the more exciting films, is a richly detailed urban Japanese world. Masahiko Otsuka’s “The Elder” (Trigger) and Eunyoung Choi’s “Akakiri” (Science SARU) invoke the Japanese countryside as traditionally depicted in anime; “Akakiri” heightens the connection with watercolor and pen-and-ink effects. “Akakiri” also brings the anime-“Star Wars” connections full circle: Its story about a princess and a samurai making a dangerous journey in the company of two bumptious commoners is the plot of the Akira Kurosawa film “The Hidden Fortress,” which was one of Lucas’ primary inspirations for the original “Star Wars” film. The most interesting of the shorts are the ones that burrow into those sorts of connections. Takanobu Mizuno’s mostly black-and-white “The Duel” (Kamikaze Douga) also invokes Kurosawa, with a “Yojimbo”-style wandering ronin accompanied by an R2-D2 robot in a traditional straw farmer’s hat. Abel Góngora’s charming, cartoonish “T0-B1” (Science SARU), about an android who wants to be human, is a salute to the classic anime hero Astro Boy. (The collection poses a practical cultural and aesthetic question for the non-Japanese speaker: subtitles versus dubbing. Subtitles are always the right answer for anime, but with “Visions” the English tracks feature a number of notable voices, including Neil Patrick Harris, Alison Brie and “Shang-Chi” star Simu Liu. The dubbing sounds as artificial as ever, but it’s worth switching on occasionally, such as when George Takei voices one of the commoners in “Akakiri.”) That “Star Wars: Visions” is, finally, more of a pleasant diversion than a really fulfilling experience isn’t a factor of running time or talent. It’s because all of the films — and you may realize this with a sinking sensation as you watch — play like auditions for continuing series rather than organic wholes; none feel really self-contained, and some even end with obvious cliffhangers. To paraphrase Yoda, there is no do. Only try for future residuals. Netflix CEO meets up with I&B minister Anurag Thakur, gets Bhagvad Gita as gift

Review: What if ‘Star Wars’ really were Japanese?

India may have the largest film industry in the world, but in a list of 100 best foreign language films of 21st century curated by the BBC, it has only managed to feature once. Satyajit Ray’s classic ‘Pather Panchali’ is the only India film that features in the long list which has films by Bergman, Kurosawa and Kiarostami.&nbsp;

Over 200 critics from 43 countries took part in the poll and Akira Kurosawa’s cult classic ‘Seven Samurai’ was adjudged as the number one film in the list. 
&nbsp; 
The poll featured 100 films from 67 different directors, from 24 countries, and in 19 languages. “27 of the highest-rated films were in French, followed by 12 in Mandarin, and 11 each in Italian and Japanese,” states BBC.&nbsp;

The only Indian film, Ray’s Pather Panchali, released in 1955 and is placed at number 15 on the list.

While a quarter of the films listed were from East Asia, it had a very poor representation of women directors on the list. Of the 100 films listed, only four films had women directors. Though, BBC noted, that 45% of those who responded to the poll were women.&nbsp;

Here's the full list:&nbsp;

100. Landscape in the Mist (Theo Angelopoulos, 1988) 
99. Ashes and Diamonds (Andrzej Wajda, 1958) 
98. In the Heat of the Sun (Jiang Wen, 1994) 
97. Taste of Cherry (Abbas Kiarostami, 1997) 
95. Floating Clouds (Mikio Naruse, 1955) 
94. Where Is the Friend’s Home? (Abbas Kiarostami, 1987) 
93. Raise the Red Lantern (Zhang Yimou, 1991) 
92. Scenes from a Marriage (Ingmar Bergman, 1973) 
91. Rififi (Jules Dassin, 1955) 
90. Hiroshima Mon Amour (Alain Resnais, 1959) 
89. Wild Strawberries (Ingmar Bergman, 1957) 
88. The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939) 
87. The Nights of Cabiria (Federico Fellini, 1957) 
86. La Jetée (Chris Marker, 1962) 
85. Umberto D (Vittorio de Sica, 1952) 
84. The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972) 
83. La Strada (Federico Fellini, 1954) 
82. Amélie (Jean-Pierre Jeunet, 2001) 
81. Celine and Julie go Boating (Jacques Rivette, 1974) 
80. The Young and the Damned (Luis Buñuel, 1950) 
79. Ran (Akira Kurosawa, 1985) 
78. Crouching Tiger, Hidden Dragon (Ang Lee, 2000) 
77. The Conformist (Bernardo Bertolucci, 1970) 
76. Y Tu Mamá También (Alfonso Cuarón, 2001) 
75. Belle de Jour (Luis Buñuel, 1967) 
74. Pierrot Le Fou (Jean-Luc Godard, 1965) 
73. Man with a Movie Camera (Dziga Vertov, 1929) 
72. Ikiru (Akira Kurosawa, 1952) 
71. Happy Together (Wong Kar-wai, 1997) 
70. L’Eclisse (Michelangelo Antonioni, 1962) 
69. Amour (Michael Haneke, 2012) 
68. Ugetsu (Kenji Mizoguchi, 1953) 
67. The Exterminating Angel (Luis Buñuel, 1962) 
66. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1973) 
65. Ordet (Carl Theodor Dreyer, 1955) 
64. Three Colours: Blue (Krzysztof Kieślowski, 1993) 
63. Spring in a Small Town (Fei Mu, 1948) 
62. Touki Bouki (Djibril Diop Mambéty, 1973) 
61. Sansho the Bailiff (Kenji Mizoguchi, 1954) 
60. Contempt (Jean-Luc Godard, 1963) 
59. Come and See (Elem Klimov, 1985) 
58. The Earrings of Madame de… (Max Ophüls, 1953) 
57. Solaris (Andrei Tarkovsky, 1972) 
56. Chungking Express (Wong Kar-wai, 1994) 
55. Jules and Jim (François Truffaut, 1962) 
54. Eat Drink Man Woman (Ang Lee, 1994) 
53. Late Spring (Yasujirô Ozu, 1949) 
52. Au Hasard Balthazar (Robert Bresson, 1966) 
51. The Umbrellas of Cherbourg (Jacques Demy, 1964) 
50. L’Atalante (Jean Vigo, 1934) 
49. Stalker (Andrei Tarkovsky, 1979) 
48. Viridiana (Luis Buñuel, 1961) 
47. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007) 
46. Children of Paradise (Marcel Carné, 1945) 
45. L’Avventura (Michelangelo Antonioni, 1960) 
44. Cleo from 5 to 7 (Agnès Varda, 1962) 
43. Beau Travail (Claire Denis, 1999) 
42. City of God (Fernando Meirelles, Kátia Lund, 2002) 
41. To Live (Zhang Yimou, 1994) 
40. Andrei Rublev (Andrei Tarkovsky, 1966) 
39. Close-Up (Abbas Kiarostami, 1990) 
38. A Brighter Summer Day (Edward Yang, 1991) 
37. Spirited Away (Hayao Miyazaki, 2001) 
36. La Grande Illusion (Jean Renoir, 1937) 
35. The Leopard (Luchino Visconti, 1963) 
34. Wings of Desire (Wim Wenders, 1987) 
33. Playtime (Jacques Tati, 1967) 
32. All About My Mother (Pedro Almodóvar, 1999) 
31. The Lives of Others (Florian Henckel von Donnersmarck, 2006) 
30. The Seventh Seal (Ingmar Bergman, 1957) 
29. Oldboy (Park Chan-wook, 2003) 
28. Fanny and Alexander (Ingmar Bergman, 1982) 
27. The Spirit of the Beehive (Victor Erice, 1973) 
26. Cinema Paradiso (Giuseppe Tornatore, 1988) 
25. Yi Yi (Edward Yang, 2000) 
24. Battleship Potemkin (Sergei M Eisenstein, 1925) 
23. The Passion of Joan of Arc (Carl Theodor Dreyer, 1928) 
22. Pan’s Labyrinth (Guillermo del Toro, 2006) 
21. A Separation (Asghar Farhadi, 2011) 
20. The Mirror (Andrei Tarkovsky, 1974) 
19. The Battle of Algiers (Gillo Pontecorvo, 1966) 
18. A City of Sadness (Hou Hsiao-hsien, 1989) 
17. Aguirre, the Wrath of God (Werner Herzog, 1972) 
16. Metropolis (Fritz Lang, 1927) 
15. Pather Panchali (Satyajit Ray, 1955) 
14. Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (Chantal Akerman, 1975) 
13. M (Fritz Lang, 1931) 
12. Farewell My Concubine (Chen Kaige, 1993) 
11. Breathless (Jean-Luc Godard, 1960) 
10. La Dolce Vita (Federico Fellini, 1960) 
9. In the Mood for Love (Wong Kar-wai, 2000) 
8. The 400 Blows (François Truffaut, 1959) 
7. 8 1/2 (Federico Fellini, 1963) 
6. Persona (Ingmar Bergman, 1966) 
5. The Rules of the Game (Jean Renoir, 1939) 
4. Rashomon (Akira Kurosawa, 1950) 
3. Tokyo Story (Yasujirô Ozu, 1953) 
2. Bicycle Thieves (Vittorio de Sica, 1948) 
1. Seven Samurai (Akira Kurosawa, 1954)

India may have the largest film industry in the world, but in a list of 100 best foreign language films of 21st century curated by the BBC, it has only managed to feature once.

India may have the largest film industry in the world, but in a list of 100 best foreign language films of 21st century curated by the BBC, it has only managed to feature once. Satyajit Ray’s classic ‘Pather Panchali’ is the only India film that features in the long list which has films by Bergman, Kurosawa and Kiarostami. Over 200 critics from 43 countries took part in the poll and Akira Kurosawa’s cult classic ‘Seven Samurai’ was adjudged as the number one film in the list. The poll featured 100 films from 67 different directors, from 24 countries, and in 19 languages. “27 of the highest-rated films were in French, followed by 12 in Mandarin, and 11 each in Italian and Japanese,” states BBC. The only Indian film, Ray’s Pather Panchali, released in 1955 and is placed at number 15 on the list. While a quarter of the films listed were from East Asia, it had a very poor representation of women directors on the list. Of the 100 films listed, only four films had women directors. Though, BBC noted, that 45% of those who responded to the poll were women. Here's the full list: 100. Landscape in the Mist (Theo Angelopoulos, 1988) 99. Ashes and Diamonds (Andrzej Wajda, 1958) 98. In the Heat of the Sun (Jiang Wen, 1994) 97. Taste of Cherry (Abbas Kiarostami, 1997) 95. Floating Clouds (Mikio Naruse, 1955) 94. Where Is the Friend’s Home? (Abbas Kiarostami, 1987) 93. Raise the Red Lantern (Zhang Yimou, 1991) 92. Scenes from a Marriage (Ingmar Bergman, 1973) 91. Rififi (Jules Dassin, 1955) 90. Hiroshima Mon Amour (Alain Resnais, 1959) 89. Wild Strawberries (Ingmar Bergman, 1957) 88. The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939) 87. The Nights of Cabiria (Federico Fellini, 1957) 86. La Jetée (Chris Marker, 1962) 85. Umberto D (Vittorio de Sica, 1952) 84. The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972) 83. La Strada (Federico Fellini, 1954) 82. Amélie (Jean-Pierre Jeunet, 2001) 81. Celine and Julie go Boating (Jacques Rivette, 1974) 80. The Young and the Damned (Luis Buñuel, 1950) 79. Ran (Akira Kurosawa, 1985) 78. Crouching Tiger, Hidden Dragon (Ang Lee, 2000) 77. The Conformist (Bernardo Bertolucci, 1970) 76. Y Tu Mamá También (Alfonso Cuarón, 2001) 75. Belle de Jour (Luis Buñuel, 1967) 74. Pierrot Le Fou (Jean-Luc Godard, 1965) 73. Man with a Movie Camera (Dziga Vertov, 1929) 72. Ikiru (Akira Kurosawa, 1952) 71. Happy Together (Wong Kar-wai, 1997) 70. L’Eclisse (Michelangelo Antonioni, 1962) 69. Amour (Michael Haneke, 2012) 68. Ugetsu (Kenji Mizoguchi, 1953) 67. The Exterminating Angel (Luis Buñuel, 1962) 66. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1973) 65. Ordet (Carl Theodor Dreyer, 1955) 64. Three Colours: Blue (Krzysztof Kieślowski, 1993) 63. Spring in a Small Town (Fei Mu, 1948) 62. Touki Bouki (Djibril Diop Mambéty, 1973) 61. Sansho the Bailiff (Kenji Mizoguchi, 1954) 60. Contempt (Jean-Luc Godard, 1963) 59. Come and See (Elem Klimov, 1985) 58. The Earrings of Madame de… (Max Ophüls, 1953) 57. Solaris (Andrei Tarkovsky, 1972) 56. Chungking Express (Wong Kar-wai, 1994) 55. Jules and Jim (François Truffaut, 1962) 54. Eat Drink Man Woman (Ang Lee, 1994) 53. Late Spring (Yasujirô Ozu, 1949) 52. Au Hasard Balthazar (Robert Bresson, 1966) 51. The Umbrellas of Cherbourg (Jacques Demy, 1964) 50. L’Atalante (Jean Vigo, 1934) 49. Stalker (Andrei Tarkovsky, 1979) 48. Viridiana (Luis Buñuel, 1961) 47. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007) 46. Children of Paradise (Marcel Carné, 1945) 45. L’Avventura (Michelangelo Antonioni, 1960) 44. Cleo from 5 to 7 (Agnès Varda, 1962) 43. Beau Travail (Claire Denis, 1999) 42. City of God (Fernando Meirelles, Kátia Lund, 2002) 41. To Live (Zhang Yimou, 1994) 40. Andrei Rublev (Andrei Tarkovsky, 1966) 39. Close-Up (Abbas Kiarostami, 1990) 38. A Brighter Summer Day (Edward Yang, 1991) 37. Spirited Away (Hayao Miyazaki, 2001) 36. La Grande Illusion (Jean Renoir, 1937) 35. The Leopard (Luchino Visconti, 1963) 34. Wings of Desire (Wim Wenders, 1987) 33. Playtime (Jacques Tati, 1967) 32. All About My Mother (Pedro Almodóvar, 1999) 31. The Lives of Others (Florian Henckel von Donnersmarck, 2006) 30. The Seventh Seal (Ingmar Bergman, 1957) 29. Oldboy (Park Chan-wook, 2003) 28. Fanny and Alexander (Ingmar Bergman, 1982) 27. The Spirit of the Beehive (Victor Erice, 1973) 26. Cinema Paradiso (Giuseppe Tornatore, 1988) 25. Yi Yi (Edward Yang, 2000) 24. Battleship Potemkin (Sergei M Eisenstein, 1925) 23. The Passion of Joan of Arc (Carl Theodor Dreyer, 1928) 22. Pan’s Labyrinth (Guillermo del Toro, 2006) 21. A Separation (Asghar Farhadi, 2011) 20. The Mirror (Andrei Tarkovsky, 1974) 19. The Battle of Algiers (Gillo Pontecorvo, 1966) 18. A City of Sadness (Hou Hsiao-hsien, 1989) 17. Aguirre, the Wrath of God (Werner Herzog, 1972) 16. Metropolis (Fritz Lang, 1927) 15. Pather Panchali (Satyajit Ray, 1955) 14. Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (Chantal Akerman, 1975) 13. M (Fritz Lang, 1931) 12. Farewell My Concubine (Chen Kaige, 1993) 11. Breathless (Jean-Luc Godard, 1960) 10. La Dolce Vita (Federico Fellini, 1960) 9. In the Mood for Love (Wong Kar-wai, 2000) 8. The 400 Blows (François Truffaut, 1959) 7. 8 1/2 (Federico Fellini, 1963) 6. Persona (Ingmar Bergman, 1966) 5. The Rules of the Game (Jean Renoir, 1939) 4. Rashomon (Akira Kurosawa, 1950) 3. Tokyo Story (Yasujirô Ozu, 1953) 2. Bicycle Thieves (Vittorio de Sica, 1948) 1. Seven Samurai (Akira Kurosawa, 1954)

Ray’s 'Pather Panchali' the only Indian film to feature in 100 best foreign language films list

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From Yash Chopra to Stanley Kubrick: 5 iconic directors who said goodbye with a memorable last film

Denzel Washington, Spike Lee reuniting for remake of Akira Kurosawa’s ‘High and Low'

Review: What if ‘Star Wars’ really were Japanese?

Ray’s 'Pather Panchali' the only Indian film to feature in 100 best foreign language films list