The first song of Madam Sengupta is out
Rituparna Sengupta
, Rahul Bose, Ananya Chatterjee and Koushik Sen unite in Sayantan Ghosal's
Madam Sengupta
— a haunting emotional thriller where art and vengeance collide. The first song-
Jete Dao
sung by
Shilpa Rao
from the film is out.
Set against the vibrant and turbulent backdrop of Kolkata,
Madam Sengupta
follows Anurekha Sengupta , a celebrated cartoonist, as she seeks the truth behind her daughter Ananya's brutal murder at an university. Her investigation draws her into a shadowy world of hidden agendas, political rivalries, and familial fractures.
A distinctive layer in the film is Abol Tabol — Sukumar Ray's classic work of satirical poetry — which serves as both a motif and a mirror, reflecting the surreal absurdities and quiet tragedies Anurekha must confront. Through this lens, Madam Sengupta explores the unsettling intersection of satire, sorrow, and rebellion. Music of the film is scored by
Anupam Roy
while background score is by Indraadip Dasgupta.
"Though I'm known for crafting adventure and thrillers, with
Madam Sengupta
I wanted to explore a different terrain — an emotional thriller where the battles are fought within, where grief and love sharpen every mystery into something deeply personal. This film is not just about solving a crime; it's about confronting the truths we bury and the resilience that emerges from loss," said Sayantan.
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India Today
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Why Bangladesh razing Satyajit Ray's ancestral home is a shared cultural loss
In the heart of Mymensingh in Bangladesh, a city steeped in undivided Bengal's rich cultural past, bulldozers have begun dismantling a monument symbolic of the subcontinent's artistic renaissance. The ancestral home of Upendrakishore Ray Chowdhury—zamindar, pioneering publisher, writer, painter and grandfather of legendary filmmaker Satyajit Ray—is being razed by the interim administration to make way for a new semi-concrete decision has triggered diplomatic overtures, emotional appeals and widespread outrage, laying bare a deeper crisis: the erasure of a shared cultural on Harikishore Ray Chowdhury Road, the house stood on a 36-acre estate once alive with literary and artistic ferment. It was here that Upendrakishore—father of Sukumar Ray and grandfather to Satyajit Ray—envisioned and nurtured a creative legacy that would eventually transcend national boundaries. Often considered the father of children's literature in Bengal, his legacy is inextricably linked with the cultural imagination of the estate wasn't just a residence. It was a complex that included a prayer hall, a workspace (the famed Kachari Bari), multiple ponds, gardens and a playground. It was also the spiritual and artistic hearth for a family that would go on to become synonymous with the Bengali cultural renaissance. Upendrakishore's contributions to children's literature, particularly Tuntunir Boi, and his innovations in halftone printing were revolutionary. Sukumar Ray added to this inheritance with his absurdist verse and sharp satire in works such as Abol Tabol. Though Satyajit Ray never visited this ancestral home, it continued to shape his imagination, rooted as it was in the intellectual traditions his forefathers had a reflective account, filmmaker Sandip Ray revealed that neither he nor his father, Satyajit Ray, had ever visited the ancestral home in Mymensingh. 'Neither Baba (Satyajit Ray) nor I ever saw the building in person,' Sandip said, noting that their knowledge of the house came only from the making of his documentary on Sukumar Ray, Satyajit had initially hoped to include images of the ancestral home. To this end, he sent a close associate involved in his productions to Bangladesh to photograph the building. However, upon receiving the pictures, Satyajit was deeply disheartened by the structure's dilapidated condition. The sight of its decay led him to abandon the idea altogether.'Baba had wanted to use those pictures,' Sandip recalled, 'but after seeing the building in such a ruined state, he decided not to include them in the documentary.'Despite its significance, the property—abandoned for over a decade—had fallen into disrepair. The Mymensingh Shishu Academy, which operated from the building beginning 1989, vacated it in 2007 and shifted to a rented space. Local authorities now cite the building's unsafe condition as justification for Mehedi Zaman, the district's children affairs officer, confirmed that the decision to demolish the house was made by a committee led by the deputy commissioner of Mymensingh, Mofidul Alam. 'The house had been abandoned for 10 years, and Shishu Academy activities have been running from a rented space,' he said, adding that a new semi-concrete structure with multiple rooms will be constructed to resume activities on-site. The project, he insisted, had received necessary approvals and was being undertaken in accordance with official historians, poets and cultural activists across Bangladesh and India have condemned the move as short-sighted and culturally damaging. Sabina Yeasmin, field officer at Bangladesh's department of archaeology for the Dhaka and Mymensingh divisions, acknowledged that while the structure was not officially listed as protected, surveys had identified it as holding archaeological heritage value. Her calls for preservation, too, were responded swiftly and emotionally. In a strongly-worded statement, the ministry of external affairs (MEA) expressed 'profound regret' over the demolition and extended technical and financial support to restore the property. 'Given the building's landmark status, symbolising Bangla cultural renaissance, it would be preferable to reconsider the demolition and examine options for its repair and reconstruction as a museum of literature and a symbol of the shared culture of India and Bangladesh,' the MEA said in a statement. 'The Government of India would be willing to extend cooperation for this purpose.'advertisementWest Bengal chief minister Mamata Banerjee also voiced concern, calling the news 'extremely distressing.' In a message on X, she wrote: 'The Ray family is one of the foremost bearers and carriers of Bengali culture. News reports reveal that in Bangladesh's Mymensingh city, the ancestral home of Satyajit Ray's grandfather, the renowned writer-editor Upendrakishore Ray Chowdhury, steeped in his memories, is reportedly being demolished. It is said that the demolition work had already begun.' Mamata urged the Bangladesh government's chief advisor Mohammad Yunus to take steps to conserve the is not the first such episode involving a Bengali cultural landmark in Bangladesh. Just weeks earlier, Mamata had urged New Delhi's intervention after a mob vandalised Rabindranath Tagore's ancestral home in Sirajganj, following a dispute over a parking fee. That house, like the Ray mansion, had once served as an intellectual haven—visited often by Tagore and eventually converted into a demolish the Ray house is to overlook its intangible inheritance. This was no ordinary building; it was a crucible of ideas. It was where Bengal's modernity took root—an incubator for values of reason, art, and social reform, fostered through Brahmo Samaj ideals and disseminated through the pages of Sandesh, the children's magazine founded by Upendrakishore and later revived by Ray family was not a passive chronicler of the Bengali experience but one of its architects. Their works are foundational in West Bengal's education system and, despite not being formally prescribed in school syllabi, remain widely read and cherished in Bangladesh. This is a shared inheritance, not merely Indian or that very inheritance now stands in peril. Just as the Rabindra Kachharibari was nearly lost to administrative apathy and public violence, the Ray mansion, too, risks being flattened into oblivion. Once gone, no amount of reconstruction will restore its authenticity or emotional of now, sections of the building have already been demolished. Without urgent intervention, the remainder is likely to follow. India's offer stands, but no formal agreement has yet been reached. Bangladesh's interim government has so far remained unmoved by appeals—diplomatic or is at stake is not simply the fate of a building but the preservation of a transnational cultural identity. In tearing down this house, a generation risks severing its link to the imaginative, reformist spirit that animated the Bengali demolition of Satyajit Ray's ancestral home—whether partial or complete—is not just about heritage lost. It is about memory forsaken. And in a subcontinent where identity so often hinges on remembrance, such losses are not just regrettable; they are to India Today Magazine- Ends
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In a male dominated industry, I'm a shero : Rituparna Sengupta
Rituparna Sengupta reflects on her illustrious career, from battling pay disparity and gender bias to achieving recognition in Tollywood. She acknowledges the challenges of balancing marriage and motherhood while navigating a male-dominated industry. Sengupta expresses gratitude for her journey, highlighting the importance of visionary producers and her passion for cinema, while awaiting a compelling OTT script. Rituparna Sengupta , who is all set to don the director's hat for a documentary on silver screen legend Suchitra Sen, recently took us on a tour of the studio floor where she gave the first shot for her 1992 debut film Shwet Pathorer Thala . Chatting with us during the trip, she reflected on her journey – from facing gender bias and pay disparity to balancing marriage, motherhood, and more. The actress speaks to us about weathering gender bias and pay disparity, balancing home & career, and more. Excerpts: 'Still fighting pay disparity' 'Pay gaps remain, but I've stood firm for myself and others,' Rituparna said, adding, 'Heroes were long seen as the sole box-office draws, but I gradually earned respect and better pay. However, there's still a long road ahead.' Gratitude for the journey Reflecting on her journey, the actress said, 'From arriving at this studio in a white Ambassador with my mother to now entering in a luxury car with security, I feel blessed. Many families depend on me, and my hard work has enabled employment for others. Every failure was a lesson; every success fuelled my hunger.' Rituparna shows us the house in which she spent her formative years Fame: Then vs now 'When I started, no social media existed; fans eagerly awaited magazines and films, creating a slow but magical rise to fame,' she said, adding that fame is instant today, thanks to reels and viral moments. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like An engineer reveals: One simple trick to get internet without a subscription Techno Mag Learn More Undo 'But it's often fleeting. I'm grateful for my steady, meaningful journey and the love from my audience,' she added. OTT roles: Waiting for the right script Asserting that cinema remains her passion, Rituparna said she hasn't found a compelling enough OTT script yet. 'I'm open to roles older than my age – if the story is powerful,' she added. Tollywood's need for visionary producers The veteran actress said Tollywood needs patient, visionary producers, who are willing to invest and take risks. 'The industry's financial backing is weak, which limits creativity. Filmmaking requires time and belief, unlike instant returns in other fields,' she added. This is the window where I gave my first shot in my debut movie,' the actress told us at a city studio Marriage and motherhood: Breaking barriers The actress revealed that marriage brought along its share of challenges, especially in an industry where married actresses were often sidelined. 'I chose to be open about it, returning to work just a month after my wedding. I turned what some saw as a drawback into strength – not just for me but for all women actors. Motherhood was a blessing, and though I faced body shaming, I bounced back stronger every time. I embraced both fully and balanced work with life, which I believe is my true strength. The industry has evolved since then; talent now matters more than body size or marital status,' she added. This is the office which I often used to do my makeup when the makeup room was occupied by seniors,' Rituparna told us A male-dominated industry Revealing that she's seen the male-driven nature of the film industry from close quarters, Rituparna said, 'Heroes always took centre-stage, with stories revolving around their larger-than-life personas. As a female lead, I was often the hero's shadow, yet I was fortunate to play well-written roles. Today, I'm confident I can carry a film on my own.' Rituparna is planning to put together a documentary on Suchitra Sen and other yesteryear icons Quotes: Male stars once dominated sets and decisions. Actresses struggled for basics like makeup rooms. Over time, I earned my voice and priority dates. Today, they call me a 'shero' – a hero in my own right My film Sasurbari Zindabad recently re-released to warm reception. Seeing old classics on the big screen connects generations. Uttam Kumar's films still draw crowds and support veteran artistes I once stopped working with a top star for 14 years, trusting my talent. I stayed focused on my craft and the audience supported me After becoming a mother, there were no fixed hours or luxuries; we worked tirelessly. I was lucky to take breaks when needed, thanks to understanding producers This house on Raja Basanta Roy Road is where I grew up, started shooting, and met my husband Sanjay. Ei bari jane amar prothom sob kichu Pix: Anindya Saha Makeup, hair and styled by: Kaushik-Rajat
