In her essay on Satayajit Ray's Pather Panchali (1955), Neepa Majumdar comments on how "visual strategies" can act as a component of "indirect modes of narration" in using these visual techniques to tell stories through actions rather than words. The importance of applying visual techniques requires the viewer to base their interpretation on what is shown to them through the mise-en-scene, allowing them to indirectly see the world from the point of view desired by the director. Majumdar then speaks of "moving framings of individual shots", which in Pather Panchali are seen through speaking characters, but never shown. In conclusion, the “analysis of the events” that occur is presented to viewers through a slightly biased representation of an actual reality. Throughout Pather Panchali, Satyajit Ray uses these visual strategies and indirect modes of storytelling to convey his social analysis of India. In the scene where Abu and Durga first see the train, Ray's social analysis of gender roles in India is best represented by his use of the reverse shot of Abu and Durga. This technique presents a lack of representation of the two characters on screen together, highlighting their own individual actions while maintaining a relationship between them. Abu is seen running out of puddles to blindly follow Durga, who is very careful of her surroundings; this means that women are seen as more analytical, while men are more willing to jump into situations. However, later in the film, the siblings encounter a rainstorm. Ray shows the weather only affecting nature in his opening shots of the scene to build suspense and imply that although nature impacts immediately, the impact on the children is middle of paper..... Although they are approached in different ways to make it a much more Hollywood film, but a work of art nonetheless. It's also more of the kind of film that an audience of my age is used to seeing, so approaching it in an analytical framework was very interesting and meaningful to experience the film in a different way. The weaving between dreams gave the film an essence of the French New Wave with long shots of the film in which the central group's dream is located, but breaking continuity in order to maintain a connection between each member of the group stuck in a phase dream. Additionally, I noticed that as the group progressed through dreams, each dream world became lighter, however, once the groups fell into limbo, the lighting was dark and eerie, creating a mysterious ambiance that makes the film linger with wonder for the viewer. after the conclusion.