Aparajito

Satyajit Ray - 1956
Second part of the Apu trilogy. Certainly more settled than 'Pather Panchali', indeed the direction seems more calm, to jump around less. There is more classical narrative in that dailogue plays a bigger role (their are clear problems with direct recorded sound in 'Pather..' and Apu certainly develops a character.
The images, helped by Shankar's refrain, don't follow systematic patterns, but it would be fair to say that a deep staging, and a willingness to decenter framings, are evident here.
How is Ray 'simple' or 'poetic' here? The lack of dialogue certainly contribute to the latter impression, as does the editing of reaction shots, eyeline matches, and cuts to the usrroundings above strict narrative causality. As for 'simplicity', Ray's stories obviously don't overload, and what actually happens is able, within a limited number of things happening, to open onto greater complexities of feelings and, ultimately, life. One could call this simplicity, or indeed one could call it great depth.