We need more directors willing to take risks with films like Get Out.
The very first thing we learn in Satyajit Ray's "The Home and the World" is that Bimala, his heroine, has exchanged the home of her parents for the home of her husband, in the inner apartments of his Bengal palace. She lives in purdah, the Hindu custom of cloistering women. Nikhil, the maharaja who is her husband, is the only man she has ever seen. She saw him first on their wedding day. She is content with her life and has no desire to walk down the long corridor, bathed in sunlight falling through stained glass, that leads to the outer apartments and then to the world.
But her husband has other ideas. The year is 1908, and he is a modern Indian who has been educated in England. His wife loves him, but he reasons that her love is meaningless if she cannot compare him with other men. At his wish, she begins to take lessons from an English governess, and after ten years, she takes the momentous walk down that corridor to the outside.
Nikhil wants her to meet his best friend, Sandip, a charismatic nationalist leader who is staying as a guest in the palace. Sandip is leading a boycott against traders who sell imported goods; he is opposed to the British policy of dividing Bengal and setting Hindu against Moslem. He also is something of a fraud who borrows money from Nikhil and soon begins to borrow the affections of his wife.
Bimala is swept away by Sandip. His passion and his politics are a contrast to her quiet, passive husband. His compliments overwhelm her. They do not exactly have an affair, not by Western standards -- their first kiss comes after years of mounting romantic tension -- but it is clear to everyone, even Nikhil, that the two of them are in love.