Sayantan Roy

Sayantan Roy’s filmography is kind of wild, honestly. If you’re into Bengali cinema, his name pops up in some pretty unexpected places. Khadaan (2024) is the fresh one on the block, and dang, people are already whispering about it. Apparently, this film dives into some gritty stuff—think family drama with a twist, tangled up with politics, and a dash of mystery. There’s something about the way Roy handles broken relationships and dark secrets, you kind of end up rooting for characters you probably shouldn’t. Now, go back a few years and you’ve got Bidyesh: The Envy (2016). That one’s got more of a psychological vibe. It’s not just some surface-level jealousy story—it pokes at the ugly bits of ambition and how people just unravel when things start slipping through their fingers. The tension? Real. The characters? Actually flawed and messy. It’s one of those where you might catch yourself thinking, “Dang, I totally get this guy, but wow, what a mess.” Then there’s Bilambita Laya (2017). This one’s a little different—more about the slow burn of regret. The pace isn’t for everyone, but if you stick with it, you’re rewarded with this subtle emotional punch. Roy doesn’t just skim the surface, he digs into the way time changes people, sometimes for the worse. There’s music, there’s longing, and, honestly, it sticks with you a bit longer than you’d expect. Roy’s films all have this knack for getting under your skin, making you squirm and think, “Would I have done the same thing?”