This research Book critically explores the portrayal of women in the cinema of Satyajit Ray, one of India's most celebrated filmmakers. Through a qualitative analysis of eight of Ray’s seminal films—Aparajito (1956), Devi (1960), Teen Kanya (1961), Abhijan (1962), Mahanagar (1963), Charulata (1964), Aranyer Din Ratri (1969), and Ghare Baire (1984)—the study examines the socio-cultural, aesthetic, and ideological representation of female characters. The research employs paradigmatic-syntagmatic analysis and cine-semiotics to understand the narrative roles and cinematic language used to depict women. Contrary to the stereotypical images prevalent in mainstream Indian cinema, Ray’s women emerge as complex, resilient, and morally empowered individuals, often more self-aware and adaptive than their male counterparts. This Book also places Ray’s work in the broader historical and cultural context of postcolonial India, analysing how his women characters reflect the tensions between tradition and modernity, patriarchy and progressivism. Drawing from feminist film theory, the study highlights how Ray created cinematic spaces where female voices, experiences, and agency are foregrounded without turning the narrative into overtly feminist propaganda. Whether through Sarbajaya’s stoic suffering, Arati’s working-class rebellion, or Charulata’s emotional awakening, Ray’s cinema offers nuanced insights into the evolving identity of Indian womanhood. The findings reaffirm Ray’s position not only as a master auteur but also as a subtle yet radical chronicler of women’s inner worlds.