Bangladeshi commercial films are often associated with shabby camerawork, unprofessional direction, exaggerated acting and of course garish costumes. Recently, however, there has been a wind of change. Young filmmakers, eager to prove that filmmaking in Bangladesh need not be limited to budget, sets and stars, are defying conventions to create something original. These filmmakers don’t let financial constraints and market demands hold them back; their goal is to make creative and aesthetically rich films, and they know the way to go to achieve this goal. the Star spoke to some young, independent filmmakers (shorts, documentaries and features) to understand how independent films can pave a new path for the Bangladeshi film industry.
From Good to Terrible
Seeing the deplorable state of Bangladeshi films since time immemorial, it would not be wrong of the present generation to question the claims of our elders’ assertions of a golden age of films in this region. The truth is that, till the 1980′s, the Bangladeshi film industry was acclaimed for its commercial and alternative ventures that brought forward fresh visions and ideas.
“The days of social realism in celluloid during the ’60s are now gone. Gone are the days of – ‘Titas Ekta Nadir Naam’ (1973). ‘Surjo Dighal Bari’ (1979) was perhaps the last of the Mohicans. In a poor third world country like ours, government being the most potent social organisation, the responsibility of this failure falls much on the government,” filmmaker Tanvir Mokammel has said in his essay ‘Problematics of Alternative Cinema in Bangladesh: An Introspection.’
Unfortunately for cine-lovers in Bangladesh, after a point, commercial filmmakers in Bangladesh began to follow the route laid out by their counterparts in neighbouring India. Crass, mass pleasing films, that were made and shown for the sole purpose of raking in the money, began to rule the roost. Constant development was no longer a priority; business maximisation was the only thing that mattered.“When Hiralal Sen produced the first film of undivided Bengal in 1901, no one instructed him about the story, no one told him that the characters of his film had to be sketched in a particular manner or that there needed to be a set amount of elements in his films. Hiralal made his movies in his own way without feeling constrained by demands and wants of a second party,” says noted filmmaker Manjare Hassin Murad.
Seeing the deplorable state of Bangladeshi films since time immemorial, it would not be wrong of the present generation to question the claims of our elders’ assertions of a golden age of films in this region. The truth is that, till the 1980′s, the Bangladeshi film industry was acclaimed for its commercial and alternative ventures that brought forward fresh visions and ideas.
“The days of social realism in celluloid during the ’60s are now gone. Gone are the days of – ‘Titas Ekta Nadir Naam’ (1973). ‘Surjo Dighal Bari’ (1979) was perhaps the last of the Mohicans. In a poor third world country like ours, government being the most potent social organisation, the responsibility of this failure falls much on the government,” filmmaker Tanvir Mokammel has said in his essay ‘Problematics of Alternative Cinema in Bangladesh: An Introspection.’
Unfortunately for cine-lovers in Bangladesh, after a point, commercial filmmakers in Bangladesh began to follow the route laid out by their counterparts in neighbouring India. Crass, mass pleasing films, that were made and shown for the sole purpose of raking in the money, began to rule the roost. Constant development was no longer a priority; business maximisation was the only thing that mattered.“When Hiralal Sen produced the first film of undivided Bengal in 1901, no one instructed him about the story, no one told him that the characters of his film had to be sketched in a particular manner or that there needed to be a set amount of elements in his films. Hiralal made his movies in his own way without feeling constrained by demands and wants of a second party,” says noted filmmaker Manjare Hassin Murad.
Ironically, while our filmmakers continue to produce the same formulaic films with the same plot of a hero, heroine, villain, some songs and dance sequences often copied from Indian films, the cinematic landscape of our neighbours has undergone a massive change over the last few years. Indian filmmakers have successfully managed to integrate commercialism with intelligent filmmaking, breaking away from the stereotypes that were beginning to define them. While Indian filmmakers are striving to make a mark for themselves globally, commercial filmmakers in Bangladesh hold on adamantly to obsolete techniques of filmmaking.
The Seeds of Independent Filmmaking
The tradition of filmmaking in this region was very independent in nature. Films, in the beginning, were released as an expression of an individual’s creativity, a visual testament of their artistic vision. Over the years, films became a platform for revolution. Filmmakers took to films to narrate the struggles faced by the Bangla speaking population in the hands of then West Pakistan. The cry for liberation was evident in every cultural form, whether it is books, films or music. Filmmakers like Zahir Raihan made optimum use of their films to state their rebellion against the Pakistani regime. By rejecting the conventions and rules set by the regime, filmmakers of that time declared their independence from the oppressive government.
“If we were to look at films that went against the rules prescribed by the government then Zahir Raihan’s documentary ‘Stop Genocide’, released in 1971, would definitely be the first independent film of our country. This documentary was the first political and independent film of our liberated country in every which way, be it in terms of direction, artistic vision, production design, capital or technology. It also forced the expatriate government of Bangladesh staying in India to fund three other documentaries to gather worldwide support against Pakistan,” says Murad.
The tradition of filmmaking in this region was very independent in nature. Films, in the beginning, were released as an expression of an individual’s creativity, a visual testament of their artistic vision. Over the years, films became a platform for revolution. Filmmakers took to films to narrate the struggles faced by the Bangla speaking population in the hands of then West Pakistan. The cry for liberation was evident in every cultural form, whether it is books, films or music. Filmmakers like Zahir Raihan made optimum use of their films to state their rebellion against the Pakistani regime. By rejecting the conventions and rules set by the regime, filmmakers of that time declared their independence from the oppressive government.
“If we were to look at films that went against the rules prescribed by the government then Zahir Raihan’s documentary ‘Stop Genocide’, released in 1971, would definitely be the first independent film of our country. This documentary was the first political and independent film of our liberated country in every which way, be it in terms of direction, artistic vision, production design, capital or technology. It also forced the expatriate government of Bangladesh staying in India to fund three other documentaries to gather worldwide support against Pakistan,” says Murad.
While Zahir Raihan was the pioneer in using film as a medium to gather support for the Liberation War, filmmaker Alamgir Kabir was instrumental in keeping the spirit of independent filmmaking alive with his short films such as ‘Liberation Fighter’, ‘Amara Duijon’ and ‘Ek Shagor Rokter Binimoye’ and feature films like ‘Dhire Bahe Meghna and ‘Surya Kanya’, adds Murad.
The Creative Duo
A chance meeting at an acting workshop led to a fruitful working association for filmmakers Oniket Alam and Sakib Ahmed. Oniket is a well known short film director, with his films ‘The Professionals’, ‘The Wish’ and ‘The Return’ winning laurels at different international film festivals. Sakib, on the other hand, has tried his hand in TV direction with his comedy ‘Sattar Driver’, being a popular hit amongst the masses and drama ‘Ami, Tumi Aar Orpon’, being critically acclaimed for its deft direction and storytelling.
The filmmakers have been working on a feature film from the last two years, with Oniket at the helm as the director and Sakib donning the hat of a producer. The film, tentatively titled ‘Kora Rowd’, deals with the issue of sexual harassment, a subject that both filmmakers feel should be talked about more.
“Being an independent film, we faced a number of constraints in finding the right investors for ‘Kora Rowd.’ We had gone to several NGOs, as we thought that they’d be interested in investing in a movie with such a strong social message. But as we learnt, NGOs rarely give money to these kind of ventures and even if they do, it’s at the end, after the funding process is over,” says Sakib wryly.
While Sakib’s realisation to be a filmmaker was a sudden epiphany, Oniket learnt gradually that filmmaking is the profession that he had to pursue.
“In my village in Shatkhira, there was limited supply of electricity, and so there was no scope of watching TV. Whenever I would hear my grandmother tell me stories, I would spin the related images in my head. And then when I got older, we would watch movies on the national Indian channel, Doordarshan. But I never could watch the whole movie, as I had to complete my studies or run some errands. Even while I was studying, my mind would wander to the film that I had left incomplete. Gradually, I realised that filmmaking was the profession that I wanted to pursue,” says Oniket.
“I had ticked Film as one of my International Baccalaureate courses. So I went to my film class. In the coming weeks, we went to the Film and Television Institute of India to see films at the National Film Archives. Then came the day when we watched Breathless by Jean-Luc Godard. It was a revelation,” says Sakib.
Sakib and Oniket both agree that the landscape of independent filmmaking has changed over the years. Chunk producers are coming in, says Sakib. Bengal Foundation is coming in with huge promise of 20 films a year, channel i is promoting around six young directors. This interest in developing independent films was not present three to four years back, he adds.
The media too has changed over the years, says Oniket. Earlier, people would think that it’s impossible to make a film without releasing it on a 35mm screen but now a film can be made using a mobile phone, he says.
A chance meeting at an acting workshop led to a fruitful working association for filmmakers Oniket Alam and Sakib Ahmed. Oniket is a well known short film director, with his films ‘The Professionals’, ‘The Wish’ and ‘The Return’ winning laurels at different international film festivals. Sakib, on the other hand, has tried his hand in TV direction with his comedy ‘Sattar Driver’, being a popular hit amongst the masses and drama ‘Ami, Tumi Aar Orpon’, being critically acclaimed for its deft direction and storytelling.
The filmmakers have been working on a feature film from the last two years, with Oniket at the helm as the director and Sakib donning the hat of a producer. The film, tentatively titled ‘Kora Rowd’, deals with the issue of sexual harassment, a subject that both filmmakers feel should be talked about more.
“Being an independent film, we faced a number of constraints in finding the right investors for ‘Kora Rowd.’ We had gone to several NGOs, as we thought that they’d be interested in investing in a movie with such a strong social message. But as we learnt, NGOs rarely give money to these kind of ventures and even if they do, it’s at the end, after the funding process is over,” says Sakib wryly.
While Sakib’s realisation to be a filmmaker was a sudden epiphany, Oniket learnt gradually that filmmaking is the profession that he had to pursue.
“In my village in Shatkhira, there was limited supply of electricity, and so there was no scope of watching TV. Whenever I would hear my grandmother tell me stories, I would spin the related images in my head. And then when I got older, we would watch movies on the national Indian channel, Doordarshan. But I never could watch the whole movie, as I had to complete my studies or run some errands. Even while I was studying, my mind would wander to the film that I had left incomplete. Gradually, I realised that filmmaking was the profession that I wanted to pursue,” says Oniket.
“I had ticked Film as one of my International Baccalaureate courses. So I went to my film class. In the coming weeks, we went to the Film and Television Institute of India to see films at the National Film Archives. Then came the day when we watched Breathless by Jean-Luc Godard. It was a revelation,” says Sakib.
Sakib and Oniket both agree that the landscape of independent filmmaking has changed over the years. Chunk producers are coming in, says Sakib. Bengal Foundation is coming in with huge promise of 20 films a year, channel i is promoting around six young directors. This interest in developing independent films was not present three to four years back, he adds.
The media too has changed over the years, says Oniket. Earlier, people would think that it’s impossible to make a film without releasing it on a 35mm screen but now a film can be made using a mobile phone, he says.
From TV to FilmsDespite the changes much needs to be done in order to develop the filmmaking scene of the country, they add. Sakib emphasis on the need for better actors.
“There are around 500 directors but 20 actors. We focused on infrastructure and now we at least have access to technology even if we can’t yet avail the exact price range. Our next focus should be on committed actors who understand the craft,” he says.
Even after developing our independent film market, we won’t be able to reach viewers on a wide scale. It’s like Iranian films, where the films are watched globally but not in Iran, says Oniket.
“We need to make our mainstream industry stronger, as until that happens, the independent film industry won’t be able to stand on its feet. If there’s no mainstream media, there can’t be an alternative media,” he concludes.
“There are around 500 directors but 20 actors. We focused on infrastructure and now we at least have access to technology even if we can’t yet avail the exact price range. Our next focus should be on committed actors who understand the craft,” he says.
Even after developing our independent film market, we won’t be able to reach viewers on a wide scale. It’s like Iranian films, where the films are watched globally but not in Iran, says Oniket.
“We need to make our mainstream industry stronger, as until that happens, the independent film industry won’t be able to stand on its feet. If there’s no mainstream media, there can’t be an alternative media,” he concludes.
Despite being a noted scriptwriter and director, Shibu Kumer Shill decided to foray into the risky territory of independent filmmaking when he realised that television was confining to a set convention and standards. Shill was always interested in filmmaking and thought that the media would be the ideal stepping stone to communicate with the mass.
“Once you start writing scripts and directing dramas for television, you limit yourself to certain norms that you can’t easily break away from. You’ll see that a lot of directors who’ve moved from TV to filmmaking are not able to bring something new for the audience. You won’t notice much of a difference in their TV shows and their films,” says Shill.
Shill has directed an acclaimed documentary titled ‘Khowari’, featuring Humayun Faridee, adapted from a short story by Akhtaruzzama Ilias. He is currently working on another directorial venture that he hopes to finish soon.
The independent film movement has definitely seen growth in recent years but the limitations are many and varied, says Shill. In order for independent films to reach the right audience, there is an urgent need for investors and government support. But that doesn’t mean that the government’s role is limited to solely providing subsidies, he says.
“TV channels in Germany commission documentaries and their government provides subsidies. When we put forward the request for proper subsidy allocation, our government says that they are doing as much as they can. They are offering funding and financial assistance, that’s true but who are the benefactors? Many filmmakers take the money, arrange for fake shooting, wait for the assigned inspector to check their work and then pack up after the inspection is over. The government does not even think of following up on the project,” he complains.
Another problem that the film industry of Bangladesh is currently facing is the lack of professionalism, he says. The cameraman, executive producer, cinematographer, everyone needs to be an expert in their respective fields and be given the freedom to work in an independent manner.
“If we want a more developed film industry, we need to keep the doors open for independent films, as those issues that can’t be shown in commercial films can be properly expressed in independent films. But that doesn’t mean that alternative cinema is the only way to go. Commercial films need to be developed not eliminated. When there are bars set on the creative process of filmmaking, be it from the commercial film industry or the alternative film movement, rest assured, we won’t ever be able to go forward,” he says.
Rastar Gonomadhyom
Shekhar Surjomukhi and Tapto Topu were not supposed to be making films. Shekhar was supposed to pursue a profession in theatre and Topu was to follow the path laid out by his alma mater, Ahsanullah University of Science and Technology. However, they were supported by fate in following their dreams of filmmaking.
“After I completed high school, I visited the Satyajit Ray Film Institute in India. I wanted to know the process of application and admission. I was informed that I needed to have a degree in film graduation before I could apply to the institute. I then applied to Shantinektan and got in. But I couldn’t shake off my enthusiasm toward filmmaking,” says Shekhar. Topu remembers being inspired by Ritwik Ghatak’s ‘Jukti Tokko Golpo.’ After watching more movies by some of the greatest filmmakers of the world, he gradually began to realise that films were a reflection of life and society. Through the works of other filmmakers, Topu began to understand that he needed to change focus to filmmaking.
“Once you start writing scripts and directing dramas for television, you limit yourself to certain norms that you can’t easily break away from. You’ll see that a lot of directors who’ve moved from TV to filmmaking are not able to bring something new for the audience. You won’t notice much of a difference in their TV shows and their films,” says Shill.
Shill has directed an acclaimed documentary titled ‘Khowari’, featuring Humayun Faridee, adapted from a short story by Akhtaruzzama Ilias. He is currently working on another directorial venture that he hopes to finish soon.
The independent film movement has definitely seen growth in recent years but the limitations are many and varied, says Shill. In order for independent films to reach the right audience, there is an urgent need for investors and government support. But that doesn’t mean that the government’s role is limited to solely providing subsidies, he says.
“TV channels in Germany commission documentaries and their government provides subsidies. When we put forward the request for proper subsidy allocation, our government says that they are doing as much as they can. They are offering funding and financial assistance, that’s true but who are the benefactors? Many filmmakers take the money, arrange for fake shooting, wait for the assigned inspector to check their work and then pack up after the inspection is over. The government does not even think of following up on the project,” he complains.
Another problem that the film industry of Bangladesh is currently facing is the lack of professionalism, he says. The cameraman, executive producer, cinematographer, everyone needs to be an expert in their respective fields and be given the freedom to work in an independent manner.
“If we want a more developed film industry, we need to keep the doors open for independent films, as those issues that can’t be shown in commercial films can be properly expressed in independent films. But that doesn’t mean that alternative cinema is the only way to go. Commercial films need to be developed not eliminated. When there are bars set on the creative process of filmmaking, be it from the commercial film industry or the alternative film movement, rest assured, we won’t ever be able to go forward,” he says.
Rastar Gonomadhyom
Shekhar Surjomukhi and Tapto Topu were not supposed to be making films. Shekhar was supposed to pursue a profession in theatre and Topu was to follow the path laid out by his alma mater, Ahsanullah University of Science and Technology. However, they were supported by fate in following their dreams of filmmaking.
“After I completed high school, I visited the Satyajit Ray Film Institute in India. I wanted to know the process of application and admission. I was informed that I needed to have a degree in film graduation before I could apply to the institute. I then applied to Shantinektan and got in. But I couldn’t shake off my enthusiasm toward filmmaking,” says Shekhar. Topu remembers being inspired by Ritwik Ghatak’s ‘Jukti Tokko Golpo.’ After watching more movies by some of the greatest filmmakers of the world, he gradually began to realise that films were a reflection of life and society. Through the works of other filmmakers, Topu began to understand that he needed to change focus to filmmaking.
Along with a group of friends and others interested in filmmaking, writing and music, the two formed a socio-political and cultural group called Rastar Gono Madhyom (RAGMA) with the hopes of creating products that would express their independent thought and style of filmmaking.
“We were inspired by Tareque Masud’s vision of ferrying cinema to different parts of the country. RAGMA is a tribute to that vision, as we hope to take our music, writings and films to the people, forcing them to think, to dream, to get those brain cells to work,” says Topu.
The duo will soon release their debut feature film ‘Poton.’ Initially, they thought of approaching TV channels but they were rejected as the channels were not interested in investing in a feature that had no star cast or commercial value. They eventually found a person within RAGMA who was ready to produce the film.
“We were inspired by Tareque Masud’s vision of ferrying cinema to different parts of the country. RAGMA is a tribute to that vision, as we hope to take our music, writings and films to the people, forcing them to think, to dream, to get those brain cells to work,” says Topu.
The duo will soon release their debut feature film ‘Poton.’ Initially, they thought of approaching TV channels but they were rejected as the channels were not interested in investing in a feature that had no star cast or commercial value. They eventually found a person within RAGMA who was ready to produce the film.
The Child Prodigy“Independent filmmaking is like a relay race. The earlier generation of filmmakers passed it onto us and we hope to pass it onto the next generation. Unfortunately, just like our predecessors, we also have to struggle with producing and releasing good work. The state of the film industry is such that there is no way to go but continue with this struggle with the hope of creating something valuable,” says Shekhar with a smile.The film gives an insight into the lives and dreams of youngsters. ‘Poton’ tells the story of every youngster who hopes of making it big quickly.
“We placed more importance on the image and sound production of the picture, as we think that the plot of a story is not as important in a film, as the image or sound. We need to remember that films are an audio-visual media. Thus, maximum attention should be given to these two aspects,” says Shekhar.
Both Shekhar and Topu believe that with independent films have chances of growing if there’s more variation in mainstream cinema. People will be exposed to different styles and techniques in commercial films, and their tastes will develop accordingly. Thus, they will be able to give more space to independent films.
After ‘Poton’, the duo will concentrate on a documentary on the political condition of the region from 1947 to 2013. They are currently busy with research work of this project as well as with the promotion of their debut film.
“We placed more importance on the image and sound production of the picture, as we think that the plot of a story is not as important in a film, as the image or sound. We need to remember that films are an audio-visual media. Thus, maximum attention should be given to these two aspects,” says Shekhar.
Both Shekhar and Topu believe that with independent films have chances of growing if there’s more variation in mainstream cinema. People will be exposed to different styles and techniques in commercial films, and their tastes will develop accordingly. Thus, they will be able to give more space to independent films.
After ‘Poton’, the duo will concentrate on a documentary on the political condition of the region from 1947 to 2013. They are currently busy with research work of this project as well as with the promotion of their debut film.
For Mohammad Abir Ferdous Mukhor, venturing into films was a natural progression; his father, Md Aftab Uddin, was a theatre artist and his uncle, Samsuddin Kayes, who passed away last year, was a noted film actor. Script narrations and rehearsals were a regular feature of Mukhor’s childhood. From a very young age, Mukhor knew that films would not just be a passing hobby for him but his life and living.
“When I was in class 8, I would direct and organise cultural shows. It is then that a friend suggested that we try our hand in actual filmmaking. I participated in the second International Children Film Festival with a film,” he adds.
Mukhor’s film ’3.2.1.0 Action’ won a Special Prize at the fifth International Children Festival in Bangladesh. Another film ‘Endless Waiting’ was shown in a festival organised by Save the Children, while his short film ‘Search of Water’ won the third position at the Viewer’s Choice Category at the We Are Water Film Festival of Spain.
“When I was in class 8, I would direct and organise cultural shows. It is then that a friend suggested that we try our hand in actual filmmaking. I participated in the second International Children Film Festival with a film,” he adds.
Mukhor’s film ’3.2.1.0 Action’ won a Special Prize at the fifth International Children Festival in Bangladesh. Another film ‘Endless Waiting’ was shown in a festival organised by Save the Children, while his short film ‘Search of Water’ won the third position at the Viewer’s Choice Category at the We Are Water Film Festival of Spain.
A Platform for New VoicesMukhor says that filmmaking has become an addiction for him. With a group of his friends, all aspiring filmmakers, he began to spend all his free time directing short films. The young filmmaker, who still has to complete his graduation, has released seven films till date.
“I knew from the beginning that I would be faced with financial constraints if I were to release a film on the big screen. I realised that television would not be the best medium, either, because the aesthetics is very different. Thus, I decided to hit the festival circuits with my films,” says Mukhor.
If there’s a will to make and show good films then financial constraints don’t affect the creative process of a film, says Mukhor.
“There’s more scope now for independent filmmakers to do their work without fearing intervention. Channel 9, for example, is producing a show about independent filmmakers, showcasing their short films and other works. I don’t think financial constraints limit the compass of showcasing your talent,” he says.
Bangladesh has a long way to go before we can be free of professional ineptitude that’s the biggest deterrent in filmmaking. Citing an incident of an editor who was bent on included a picture of the Niagara Falls as a background in one his films, Mukhor says that most people involved with the various aspects of filmmaking are not very interested in developing their craft.
“I clearly remember the said editor proclaiming that this was called editing! People get to see the Niagara Falls in a film set in Bangladesh. What more could they want?” Mukhor laughs.
Mukhor is ambitious about his future. He hopes that his films will contribute in uniting the market for both commercial and art films, thus eliminating the distinction that alienate ‘good’ films from commercial ventures.
“I see my films as my personal canvas. Through my films, I can show what I want to show. The stories are those that I want to narrate, the way I want to narrate them. It’s my show all way through,” he concludes.
“I knew from the beginning that I would be faced with financial constraints if I were to release a film on the big screen. I realised that television would not be the best medium, either, because the aesthetics is very different. Thus, I decided to hit the festival circuits with my films,” says Mukhor.
If there’s a will to make and show good films then financial constraints don’t affect the creative process of a film, says Mukhor.
“There’s more scope now for independent filmmakers to do their work without fearing intervention. Channel 9, for example, is producing a show about independent filmmakers, showcasing their short films and other works. I don’t think financial constraints limit the compass of showcasing your talent,” he says.
Bangladesh has a long way to go before we can be free of professional ineptitude that’s the biggest deterrent in filmmaking. Citing an incident of an editor who was bent on included a picture of the Niagara Falls as a background in one his films, Mukhor says that most people involved with the various aspects of filmmaking are not very interested in developing their craft.
“I clearly remember the said editor proclaiming that this was called editing! People get to see the Niagara Falls in a film set in Bangladesh. What more could they want?” Mukhor laughs.
Mukhor is ambitious about his future. He hopes that his films will contribute in uniting the market for both commercial and art films, thus eliminating the distinction that alienate ‘good’ films from commercial ventures.
“I see my films as my personal canvas. Through my films, I can show what I want to show. The stories are those that I want to narrate, the way I want to narrate them. It’s my show all way through,” he concludes.
Following the tradition set by revolutionary filmmakers like Raihan and Kabir, independent filmmakers of today are interested in making films that allow them to tell their story in their own way. These filmmakers have come out from the prescribed business format that threatens to restraint their vision. They are free to choose their own subject, as they are free from commercial dictation and censorship that would be imposed on them if their films were funded by a studio. Interestingly, in this way, independent filmmakers continue the rebellion started by Zahir Raihan and others more than 40 years ago.
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