Abstract
This article examines the aesthetic, dramaturgical, and philosophical features of Satyajit Ray’s directorial art, which occupies an important place in the history of Indian and world cinema. The relevance of the study is determined by the need to analyze auteur cinema as a specific form of artistic expression in which national cultural traditions are combined with universal humanistic ideas. The main purpose of the article is to identify the distinctive features of Ray’s screen language through the analysis of such films as “Pather Panchali”, “Aparajito”, “Apur Sansar”, “Charulata”, “Nayak”, “Jalsaghar”, and “Shatranj Ke Khilari”. The study employs historical-cultural, comparative-analytical, film-aesthetic, and semiotic approaches. Particular attention is paid to the principles of realistic representation, the psychological depth of characters, visual composition, editing rhythm, musical dramaturgy, and acting performance. The article also addresses the international recognition of Ray’s work and its reception within the context of Soviet-Indian cultural relations. The results of the study make it possible to interpret Satyajit Ray’s directing as an integral auteur system that significantly contributed to the development of world humanistic cinema.