Two years before his death at fifty, Ritwak Ghatak’s final fictional film, the autobiographical and poetically black-and-white Jukti, Takko Aar Gappo, has Ghatak appearing as Neelkantha, a version of himself, on a symbolical foot-journey through past and present. (His film thus reminds us of Jean Cocteau’s last one, Le testament d’Orphée, 1960.) Its springboard in […]