Pather Panchali (Song of the Road, 1955)
Aparajito (The Unvanquished, 1956)
Parash Pathar (The Philosopher’s Stone, 1958)
Jalsaghar (The Music Room, 1958)
Apur Sansar (The World of Apu, 1959)
Devi (The Goddess, 1960)
Teen Kanya (Three Daughters, 1961)
Kanchanjangha (1962)
Mahanagar (The Great City, 1963)
Charulata (The Lonely Wife, 1964)
Nayak (The Hero, 1966)
Chiriyakhana (The Zoo, 1967)
Goopy Gyne Bagha Byne (The Adventures of Goopy & Bagha, 1968)
Hirak Rajar Deshe (The Kingdom of Diamonds, 1980)
Shonar Kella (The Golden Fortress, 1974)
Joi Baba Felunath (The Elephant God, 1979)
Pratidwandi (The Adversary, 1970)
Seemabaddha (A Company Limited, 1971)
Jana Aranya (The Middleman, 1975)
Shatranj Ke Khiladi (The Chess Players, 1977)
Sadgati (The Deliverance, 1981)
Ghare-Baire (Home and the World, 1984)
Ganashatru (An Enemy of the People, 1990)
Shakha-Prasakha (Branches of a Tree, 1992)
Aguntuk (The Stranger, 1992)
kaleidoscope 
(This is the text I wanted to give before the posters…)
I grew up in a godless household. My father had his sombre Physics books and my mother had her ”Gurudev” (his collected works and a marble bust of the bearded sage), while we sisters were left to find our own gods. Didi was inspired by Nataraj from a very early age, while I found myself slowly awakening to a very different god: he was tall brown handsome, wrote with crystal clarity, spoke eloquently, composed songs and elegant fusion music, but most importantly, created unforgettable moving images. I have been his devotee for more than three decades, though my predominant emotion has changed several times – from absolute awe to deep admiration to a kind of fondness. He, for me, is the ultimate artist – hence my god – who created his own universe and lived happily in it. Like all devotees, I have easy access to it; and like all gods, he remains a permanent frame of reference.
Remembering him today through posters….