There are several similarities between Ray’s film and Idrissa Oedraogo’s 1989 movie, Yaaba. Oedraogo primarily focuses on the cultural perspective of his native Burkina Faso, which bears a similarity with Ray’s own depiction of the poor Bengali family. Second, Oedraogo uses the film to promote the ethos of cultural tolerance, which Ray describes at length in his film. Third, Yaaba is a popular film because it is based on the natural rural surroundings. For example, Oedraogo reveals tracts of desert and lush rainforests. The natural setting, just like in Ray’s movie, serves as a non-narrative technique. Yaaba is also symbolic of the hardships that the African peasants face in the hostile Sahel region, a fact that Ray constantly portrays in his depiction of the poor Bengali family.
In summary, there is a distinct connection between the Bollywood movie industry and the Italian-based neorealism. In particular, Ray’s film Pather Panchali bears multiple resemblances with other films from the neorealism era. Some of the common characteristics between Ray’s film and Italian neo-realistic productions include lack of commentary, distinct time frames, natural settings, lengthy and uninterrupted scenes, critical approach, open-space shooting, and lack of embellishments. Others salient similarities are similar framing and composition techniques and emphasis through multiple repetitions. Notably, other recent filmmakers have incorporated Ray’s approach to their films. For example, there are distinct similarities between Ray’s Pather Panchali and Idrissa Oedraogo’s Yaaba. Some of the notable similarities include scenery, cultural settings, and circumstances of the main characters