Shimu, 23, works in a clothing factory in Dhaka, Bangladesh. Faced with difficult conditions at work, she decides to start a union with her co-workers. Despite threats from the management and disapproval of her husband, Shimu is determined to go on. Together the women must fight and find a way to register their union.
On the edge of Bangladesh, between mountains and water, stands a post-office, the only sign of civilization. It has a notorious reputation: its employees disappear. Two men, in love with each other, work there.
During the war in 1971, Meher falls in love with a soldier from the enemy side. When her love is discovered, she is shamed and silenced by her family and society. Today 38 years after the war, Meher has a visitor she cannot turn down.
An Indigenous dreamer invents a new trade in his community for livelihood, but it is ended up even before his unfinished dream!
A one-take observational piece about the microcosm of Islamic practices and class segregation in Bangladesh's capital Dhaka. Multiplicity within a Muslim community and the passage of people through one single frame documents this society's interiors and exteriors.
An uncut shot of a journey taken to discover the various layers of the relationship between man and nature and the different perceptions of reality within two full circles. The short film storytelling technique exploits the strength of non-diegetic sound elements and explores the freedom of framing techniques.
A farewell to the generation who grew up making 35mm movies. We watch a mock attempt to produce the last celluloid film in Bangladesh investigating the emotion and nostalgia for the good old days of celluloid cinema that have faded into obsolescence.
Roya is a middle-class Muslim woman that struggles to find herself in the sprawl of urban Bangladesh. When she discovers that she will be replaced by a younger actor for the role of Nandini —a central character of Rabindranath Tagore’s political play Red Oleanders —she battles to reconstruct the part, reclaiming her identity and sexuality in the process. As she sets the play in a modern day ready-made garment factory in Dhaka, her journey to establish her individuality is juxtaposed with the journey of her housemaid Moyna, who later joins the industrial workforce.
Intersecting stories of a film school graduate, a cinema-projectionist and a home delivery boy who look for individual hope to adopt with the complex power structure in contemporary Dhaka city.
Twenty continuous shots linger over the slums of Dhaka, contrasting a young man's search for moments of stillness and clarity with the megacity's constant onslaught of sound and movement. The young man seeks peace on a series of bridges crossing an open sewer while the noises of modern urban life - from radio advertising to religious sermons - babble on without pause.
The Poison Thorn revolves around the narratives of three rape survivors of Liberation War of Bangladesh and witnesses the expressions of a collective trauma of war and its effects on women.
This film is about a psychological journey of a woman named Rubi; once she loved her husband devotedly but the feeling is long gone. Sitting beside her husband’s dead body, she doesn’t feel any grief or any other emotion whatsoever. She remembers her life with this man, and discovers that her once beloved husband died to her long before his actual demise.
6-year-old Nushaida starts a journey to find her parents, whom she lost while fleeing Myanmar, among refugee camps for Rohingyas in Bangladesh.
