assignment bangla film

‘My goal is to make films that are an emotional experience’: Bangladeshi filmmaker Maksud Hossain

Bangladeshi filmmaker Maksud Hossain’s debut feature film Saba is an emotional deep dive into an atypical mother-daughter relationship that is factious and compassionate in equal measure. It is also a poignant exploration of the essential reciprocity and trust underlying a patient-caregiver bond.

Young Saba (Mehazabien Chowdhury) is the nurse, guardian and provider for her ailing, bedridden mother Shirin (Rokeya Prachy). Often annoyed, exasperated, and angry, they are also united in their affection, care and concern for each other.

Hossain is non-judgmental and empathetic in framing his characters as creatures of their limiting circumstances and interminable struggles, but who still dare to dream of changing their fate while enjoying the little joys of life.

There is also a larger moral arc of betrayal, guilt, forgiveness and deliverance that is subtly implicit in the film, as is the evocation of the economic tenuousness plaguing Bangladesh. Hossain also vividly brings the sights and sounds of Dhaka to life.

The human drama rides on memorable performances, especially Mehazabien Chowdhury in the titular role. A universal, relatable tale of the parent-child bond, Saba has an Indian connection. It was one of the South Asian projects featured in the Co-Production Market in the National Film Development Corporation’s Film Bazaar in 2021, and Leena Khobragade, formerly with the NFDC, is one of its co-producers.

Also, the sound designer, Neeraj Gera, is from Mumbai. Hossain was born and brought up in Abu Dhabi, studied in the USA and made hundreds of commercials before moving to Bangladesh to make feature films.

You have dedicated the film to two ladies. Is it inspired by a real-life story?

My wife, Trilora Khan, who is also the co-writer, and her mother were in a near-fatal car accident, almost 25 years ago. Ever since then my mother-in-law had been a paraplegic, and she depended on my wife. It’s then that we started thinking together about telling the story of a young woman, Saba, who lives in lower middle-class Bangladesh and must take care of her paraplegic mother without having any help around. What would Saba do in a situation like this to keep her mother alive at any cost? Though the inspiration is from a real story, the characters are completely fictional. So, I have dedicated the film to my wife and her mother.

The film is about people stuck in certain situations and how they respond to them…

As a filmmaker, my goal is to make films that are an emotional experience. I’m more interested in the characters than the plot. I am very interested in culture, in the country, and in politics. I don’t make an outright political statement, but you can feel it. I’m interested in the emotional truth. That’s what keeps me up at night.

The subcontinental cinema largely idealizes the mother figure and the parent-child relationship. But you have shown a complex bond…

That’s how I love to direct. I feel that human relationships are very complex. I also love to tell stories from a female perspective. Trilora helps me with that part—is it feeling authentic? Would a woman do that? The mother-daughter dynamic is inspired by Trilora and her mother.

But, the perspective of your film is that of the daughter Saba…

It was by design from the point of view of Saba. She is in every scene. Wherever the camera is, Saba is there. The camera can’t go anywhere where Saba is not. Those were my rules. That’s what I was interested in because I felt that I knew Trilora’s story from a kind of bias, from her perspective. I wanted to give that feeling to the audience as well. Also, to highlight that more, I decided to shoot the entire film with a single lens, only a 50-millimeter lens, so that there is no shift in perspective.

There is a moral dimension to the story as well, in her growing interest in her office colleague Ankur and the betrayal...

I am very interested in moral dilemmas where you don’t know which choice is the right one or the better one because there is none. And that’s the case in life when it comes to crucial decisions. I knew a friend whose father was dying from cancer. She knew that his end was near and didn’t want to be next to him at that moment. So, she went out of the house, circling it for 15 minutes waiting for him to die. But when she came back her father was still alive and passed away in her arms. I remembered that. I was thinking, would I do the same if I was in a similar situation? Was what she did morally right? These kinds of conflicts interest me.

You make great use of the city spaces and the sound—the traffic, azaan, old film songs…

I worked with Neeraj Gera, who is a very talented sound designer from Mumbai. I was very lucky to have worked with him. I worked with a lot of people from Mumbai in the post-production. They were very gracious with their time. I wanted the sound to represent Dhaka. I recorded hours and hours of sounds from Bangladesh. As far as the locations are concerned, I wanted the audience to feel claustrophobic for Saba because she’s stuck. She has to let go to be free.

Which brings me to the fantastic performance from Mehazabien Chowdhury as Saba and all the other actors as well.

It was Trilora who recommended Mehazabien. She is one of the biggest TV stars in Bangladesh. She has been working in television for the last 14 years. She has over 5 million followers in Bangladesh. I’ve worked with her on commercials before. She had been waiting to do her first feature film. I gave her the script, and she got back to me in two days. She agreed to the six months of rehearsals with the entire cast. And after that, I cast the others depending on how they would fit with her. It has been an absolutely wonderful experience working with them.

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Bhooth Bangla: Akshay joined by OG trinity of Paresh Rawal, Rajpal Yadav, Asrani

‘priyadarshan’s ‘bhooth bangla’: akshay kumar joined by og trinity of paresh rawal, rajpal yadav, asrani, lauded for their comic timing..

Statesman Web | September 12, 2024 2:40 pm

The ace actor-director pairing of Akshay Kumar and Priyadarshan is back to create a stir at the box office. They have collaborated to deliver several hit films, including ‘Hera Pheri.’ As the duo gears up for their next project, ‘Bhooth Bangla,’ they are joined by the original trio of impeccable comic timing—Paresh Rawal, Rajpal Yadav, and Asrani. All five are known for their epic collaboration in the cult classic horror-comedy, ‘Bhool Bhulaiyaa.’

According to a report by Pinkvilla, a source close to the publication stated, “It’s the return of the team that has brought smiles to cinema-going audiences across generations. Bhooth Bangla is a perfect script that warrants their reunion, as every character has a trait that will evoke laughter. The idea is to create a unique comic experience with undertones of horror in the backdrop.”

  Advertisement --> setTimeout(function() { (adsbygoogle = window.adsbygoogle || []).push({}); }, 2000); View this post on Instagram   A post shared by Akshay Kumar (@akshaykumar)

Moreover, the source added, “Akshay Kumar announced the film on his birthday because he was aware of the excitement among fans for this reunion. He is confident that the script will do complete justice to the legacy of his collaboration with Priyan. The addition of Paresh Rawal, Rajpal Yadav, and Asrani to the cast has made the film even more exciting. Akshay plays a quintessential Priyadarshan hero who gets entangled in a hilarious comedy of errors.”

The film, backed by Ekta Kapoor, was announced in 2023. Since, fans have been waiting patiently for the reunion of the actor-director duo. The filming of ‘Bhooth Bangla’ is expected to begin in 2025.  Moreover, it is expected to release at end of next year. In addition to the mentioned actors, the film’s casting is underway, as they plan to bring in three female actors as well. The source assured the publication, “The casting and pre-production work are going on in full swing.”

Also Read: Akshay Kumar reunites with Priyadarshan for ‘Bhooth Bangla’ after 14 years

Meanwhile, Akshay Kumar’s last film was the comedy ‘Khel Khel Mein.’ His recent films have been performing poorly at the box office. With ‘Bhooth Bangla,’ fans expect that the Khiladi of Bollywood will make a strong comeback. Moreover, it is also being speculated that Akshay will star in the third installment of the blockbuster horror-comedy ‘Stree,’ given his cameo and post-credits scene in ‘Stree 2.’

Notably, ‘Bhooth Bangla’ marks the seventh collaboration between Akshay Kumar and Priyadarshan. Previously, they have worked together on ‘Hera Pheri,’ ‘Bhagam Bhaag,’ ‘Garam Masala,’ ‘Bhool Bhulaiyaa,’ ‘De Dana Dan,’ and ‘Khatta Meetha.’

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Bangladeshi Helmer Maksud Hossain Brings Emotional Debut ‘Saba’ to Toronto

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Bangladeshi filmmaker Maksud Hossain is set to unveil his feature directorial debut “ Saba ” at the Toronto Film Festival . The film tells the story of a young woman who is the sole caregiver for her paraplegic mother in Dhaka.

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The filming process was emotionally charged, particularly during the shooting of a pivotal scene. Hossain recounted, “I would see the crew crying between takes, and I was just holding my tears somehow, trying to manage.” The director encouraged Chowdhury to tap into deep emotions, resulting in a series of intense takes that left the actress visibly shaken.

Hossain cites the Dardenne brothers, Ritwik Ghatak and Satyajit Ray as influences, praising their ability to achieve emotional truth and simplicity. He hopes “Saba” will provide audiences an emotional experience about the difficulty of letting go of a loved one.

“Saba” marks a significant moment for Hossain, who has dreamed of making feature films since his youth in Abu Dhabi and a stint in the U.S. He previously directed 15 short films, including the Student Academy Award-winning “Three Beauties.” He moved back to Bangladesh to realize his dream of directing feature films.

Hossain sees “Saba” as part of a resurgence in Bangladeshi cinema, citing recent festival successes like Abdullah Mohammad Saad’s Cannes-bowing “Rehana” and crediting increased access to world cinema as inspiration for a new generation of filmmakers. The director is already developing his next project, a loose trilogy on the lines of Lars von Trier’s Golden Heart trilogy.

Bangladesh is going through an epochal period with the government being overthrown after a period of mass youth protests. “I hope the worst is behind us and we are moving towards a better future. My heart goes out to all the people, all the students who lost their lives and their family and families and their friends, that’s such a tragic part that’s going to be part of our history forever. But I hope all the lives that have been sacrificed, it means something where it creates a more meaningful and better future for us Bangladeshis,” Hossain said.

Producers on “Saba” include Uri Singer (“White Noise”), Arifur Rahman, Tamim Abdul Majid, Hossain, Khan, Chowdhury and DoP Barkat Hossain Polash. Co-producers include Leena Khobragade, Kowsheek, Juan J. Lazo Jr., Humair Sabir and Nafis Uddin.

The next stop for “Saba” is the Busan International Film Festival.

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HIS 101-Bangladesh: Culture and Heritage Assignment Topic: Cinema of Bangladesh Submitted to

Cinema, or motion picture, is the art of moving images; a visual medium that tells stories and exposes reality. Cinema is the world’s most recent art form and so far, the world’s most complex, collaborative, and costly artistic expression. Nowadays, cinema can be defined as the art of colorful moving images enhanced by voices, sounds, and music. It is also telling stories and entertaining human. Cinema is the greatest media of a country which can easily portray a country, its population, ideas, philosophy and cultures. In this modern era one does not need to watch cinema in cinema hall as it can also be available at home. Film has a uniquely powerful ubiquity within human culture. Cinema has become a powerful vehicle for culture, education, leisure and propaganda. Contemporary research has also revealed more profound aspects to film’s impact on society. In a 2005 a paper by S C Noah Uhrig says ‘Cinema is good for you: The Effects of Cinema Attendance on Self-Reported Anxiety or Depression and ‘Happiness'. Film is a reflection of society, both present and past. Film and its innovations sometimes have to catch up to society but sometimes it leads society too. Movies are stories; movies are people who come out with ideas about something they want to say something they want to tell someone. Movies are a form of communication.

Related Papers

Shilpakala Annual Journal 2014

Fahmida Akhter

This paper aims to outline the historical and regional context of Bangladeshi cinema, exploring its different integral aspects, such as production value, style, cultural content, representation, nation state policies, distribution and exhibition practices, transnational connections and other industrial factors. At the same time, this paper examines the role of film in the formation of Bangladeshi national culture and the analytical approaches and complexities revolving around the concept of national cinema in Bangladesh. The concept of ‘national cinema’ has been commonly linked to the sociological thinking of the nation and its national identity, and it is also rooted within the geopolitical and cultural boundaries of a nation state. Again the idea of national cinema is not perennial like the idea of nation. National cinema has been a negotiated and changing concept, shaped by both the inward contemporary cultural specificity of a nation state and the outward cultural influence gained through its transnational encounter. Therefore, in order to study the concept of national cinema of Bangladesh in this paper, I address and discuss a series of issues: the concept of Bangladeshi nationalism, its relation to Bangladeshi film culture, a brief context and the conditions of contemporary film industry, the transnational affects and effects of rapidly changing mediascape on Bangladeshi film culture.

BioScope: South Asian Screen Studies

Muhammad Shajjad Ahsan

The objective of this study is to understand how the integration of digital technology (DT) in the Bangladesh Film industry has been responded to by its production, distribution and exhibition related organisations. Since no research on digital integration has been considered in a developing country context, and specifically within the area of concentrating on the industry rather than the films themselves, this research therefore addresses the gaps within the knowledge field. The Bangladesh Film Industry (BFI) used to be a centre for film production, distribution and exhibition, but this traditional industry has been in decline for decades. In response to the decline, the government started an integration process of DT in 2003, yet eight years after the launch only a fraction of the project has been completed. Apart from its partial adoption in the film production sector, distribution and exhibition have appeared to resist the adoption of new technology. This thesis therefore sets out to explore the causes of partial integration of DT in the film industry in Bangladesh through a study of the workforce, business owners, practitioners, scholars, government officials and executives functioning in and outside the industry. With the mixed method approach and emphasis on qualitative engagement (two case studies and 38 interviews), this thesis explores current attitudes and beliefs and identifies potential barriers to effective integration. In particular this dissertation examines five areas: technology integration, training for workforce development, production, distribution and exhibition capabilities, and argues that the political factor was the most important driver in integrating DT, while knowledge integration, training, and development of digital production, distribution and exhibition compatibility at individual and organisational levels were ignored. Moreover, the greatest concern of losing a job or business within the industry community due to inadequate knowledge, skills and finance is impeding the possibility of full completion of the integration process within the industry. Overall, two important contributions of this research include 1) an exploration of factors that impeded progress of the film industry in responding to the DT and 2) a formulation of some suitable recommendations to overcome the challenges in order to completely realise the integration of DT within the Bangladesh Film Industry. However, further research is recommended to investigate whether completion of the integration process will save the industry from decline or not.

South Asian History and Culture

spandan bhattacharya

In this article, I attempt to understand the emergence of a new form of masculinity, class character and gendered bodies of Bengali film heroes during the 1980s and 1990s. The article reads the industrial, technological and aesthetic determinants of this figuration of action heroes in the 1980s–1990s and demonstrates how through this figuration, the representations of class in popular Bengali cinema attained a complex phase.

Md. Hasan Ashik Rahman

This thesis represents a qualitative research done on the film viewing habit of Dhaka University students. Along with students opinion regarding different film related issues, the research tried to find out different socio-economic factors contributing significantly behind students' opinion formation.

Journal of the Moving Image

Ravi Vasudevan

This article seeks to identify coordinates for Indian cinema beyond the territorial nation, from so-called `empire films' of the 1920s and regional film circuits which went beyond the territorial nation, and also considers how the formation of nation-states constrained the terms of film culture in the subcontinet. It is pitted against nationalist assumptions and the framework of national cinema studies.

Rochona Majumdar

This paper offers a history of the creation and development of film

Acta Orientalia Vilnensia

Anugyan Nag

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Chhutir Ghonta (1980)

Director: Azizur Rahman Screenplay: Azizur Rahman Cast: Abdur Razzak, Shabana, Sujata, Shumon, Shawkat Akbar, ATM Shamsuzzaman Runtime: 213min Rating: 9.5/10

Plot: Based on a true story, a beloved 12-year old schoolboy from Niligiri mistakenly gets locked in the school's washroom by the caretaker. During the 11 days of Eid-ul-Adha holiday, he starves himself to death while the whole town keeps looking for him elsewhere. His death not only comes as a shock for his widowed mother but leads the caretaker to become a patient of a mental asylum.

For all latest news, follow The Daily Star's Google News channel.

Review: Stories like "Chhutir Ghonta" can never grow rust in the history of Bangladeshi Movies. It's an intriguing piece of art which has the perfect blend of everything required to make the greatest movie of the era. This black and white wonder should open the eyes of the youths of realize that Bangladeshi films are in no degree inferior in quality to international films. Starting from direction, acting, cinematography to music, the film was remarkably flawless. The movie starts when Razzak is in remorse at an asylum, with the story advancing further, stating how it all happened. The plot followed a pace of a drama and unlike the modern Bengali movies, director Azizur Rahman did not lose his track. Shabana's role is one of the most memorable ones in the movie with an essence of comedy, mostly because of her accent. Razzak's dramatic performance gave a powerful molding to the overall theme. The brilliant performance played by Shumon as a child artist is what leaves the audience truly emotional.

Throughout the runtime the foreshadowing was always there, whether in the dialogues, song lyrics or even in one of the scenes where the Islamic history of Eid-ul-Adha is focused upon. All these make considerable sense in the end. The story was mainly emphasized on the teachings of life rather than portraying itself as a movie for only entertainment. Nevertheless, it can surely leave a youth of the 21st century in awe, due to a 3.5 decades old movie having A-class plot development compared to the modern movies. This movie is a must watch for everyone, no matter how ancient it may look.

Reviewed by Sumaiya Akhter Nitu

ত্বকী হত্যা: ন্যায়বিচারের ব্যাপারে আশাবাদী পরিবার

ত্বকী হত্যায় ওসমান পরিবারের সম্পৃক্ততা থাকায় তাদের বাঁচাতে সাবেক প্রধানমন্ত্রী শেখ হাসিনার ‘নির্দেশে’ এই তদন্ত আটকে ছিল বলে বরাবরই অভিযোগ করেছেন ত্বকীর পরিবার।

শহীদদের তালিকা চূড়ান্ত হওয়ার পর স্মরণ সভা হবে: নাহিদ ইসলাম

20 Best Bengali Movies of the 21st Century

The Bengali film industry is known through some of the greatest directors in the Indian film industry, if not the world. But Satyajit Ray and Ritwik Ghatak are not the be all and end all of Bengali cinema. This industry is survived by many more brilliant directors who discover the simple, yet meaningful lives of humans. It is in simplicity that the industry has found greatness, and if you think low-budget is any barrier to making brilliant movies, they all prove you wrong.

With a small industry, the faces of directors and actors are all familiar like a community, and it is beautiful to see how connected the industry is, where the directors help each other out for the sake of the art, and it is not uncommon to see them becoming actors themselves for each others’ films. Former actors who have worked closely with the likes of Ray, Mrinal Sen, Ghatak carry the legacy forward to create timeless art. With that said, here is the list of top Bengali movies ever since 2000.

20. Chalo Let’s Go

Four misfits come together to form a travel agency. On their first trip through the scenic hills of North Bengal with nine passengers, a young girl Ria joins them. A light-hearted film about the four friends and their ten passengers is a fun watch, especially when the characters are discovered so thoroughly, and Anjan Dutt brings in his own music with his beautiful screenplay.

19. Muktodhaara

When the new Inspector General of the correctional cells of West Bengal calls former dancer Niharika to help organise an event with the inmates, Niharika wishes to stage Tagore’s Valmiki-Pratibha. Niharika takes up the challenge to soften the hearts of the inmates and help them open their hearts out through art, even that of Yusuf Mohammad, a dangerous murderer who is not ready to coordinate. The journey of broken men discovering themselves through theatre is a heart-warming experience, especially when the tough exterior of Yusuf shatters to pieces as he picks up courage to hold the lead position in the drama.

18. Baishe Srabon

In the gripping psychological thriller, Chief detective Abhijit and ex-cop Prabir try to track a serial killer who leaves Bengali poetry verses with every murder. As they get more and more involved in the case, their relationships with people close to them falters, and Abhijit’s journalist girlfriend gets involved in the case while investigating. Al though the film is inspired by the De Niro and Al Pacino starrer, Righteous Kill, similarities between Baishe Srabon and Fincher’s Se7en  is apparent. This however only adds to the quality of the movie, and I would consider it as one of the most compelling thrillers in the recent Bengali film industry.

17. Ranjana Ami Ar Ashbona

When a successful band consisting of four men in their 50s go for a show in North Bengal, they are enthralled by Ranjana who opens for their band. Member Anjan decides to open a way for her career in music and invites her to meet him in Kolkata. The music film follows the ever-changing relationship of Anjan and Ranjana in their attempts to turn Ranjana into a star. Anjan Dutt’s direction and his music to go with the film creates an intoxicating experience, one that shouldn’t go overlooked.

16. Anuranan

Two couples meet in a resort in Sikkim, and as the bond between Rahul, the husband of Nandita, and Preeti, Amit’s wife grows strong, through their loneliness, their loyalties are brought to question, and the misunderstanding soon involves the society, burying the two individuals under staunch stigma and suspicion from their own spouses.  The film explores themes of loneliness and grief, with compelling characters that resonate with ourselves.

15. Abohoman

Abohoman is the story of Aniket, one of the finest film-makers of Bengal’s turbulent mind as it finds a muse in his lead actress, in place of his former muse who is his wife. With the young girl becoming more and more like Deepti, Aniket soon starts calling her Sreemoti, a name he had given his wife. He is mesmerized by Sreemoti, and as relationships are torn into shreds, and the audience comes to a tempestuous revelation.

14. Arekti Premer Golpo

When transgender documentary filmmaker Abhiroop decides to capture the life of legendary jatra actor Chapal Bhaduri, he finds himself drowning in his role as his own emotions starting falling in parallel to those Chapal’s. The film that breaks boundaries and stigma attached to transgenders, starring Rituparno Ghosh, touches you to the very core, and portrays the trauma inflicted on them by the men they loved.

13. Autograph

Srijit Mukherjee’s debut is a heartbreaking film revolving around the painful loneliness of a director, his girlfriend, and a famous Bengali actor. Miscommunications, aspirations and ego comes in between when Shuvobarata casts renowned actor Arun Chatterjee for his adaptation of Ray’s classic Nayak, alongside his girlfriend Shrin. The realistic take on the estrangement of relationships is heart wrenching, and Autograph is sure to stay with you for a long long time.

12. Antaheen

Antaheen, means endless. It is a love story that is bound by an endless waiting between two individuals who have seemingly never met in real life. Abhik, the diligent IPS Officer who is skeptical about love, and Brinda, a dynamic journalist meet online anonymously. With a not-so-perfect first meeting, and the crimes outside weighing the two down with their own responsibilities, it is difficult to fit a love-life in. Despite the barriers, their hearts ache, with endless promises to keep in a never-ending spell of loneliness, and an endless wait. Even if you are not a romantic at heart, Antaheen is sure to make its way through.

11. The Japanese Wife

A beautiful film that weaves the story of Snehmoy and his Japanese pen pal who he has fallen in love with. Never having met before, they come to marry through letters. The uniqueness of the distant love story and strength of Snehmoy’s love for Miyage despite his closeness to Sandhya, a young widow will melt hearts. However, the lingering pain of distance and helpnessness never leaves the audience.

10. Bishorjon

During the strenuous relations between the two Bengals after the Partition, Padma, a Hindu widow saves Naseer, a Muslim from West Bengal as she finds him unconscious at the shore of Ichamati river after Durga immersion. As Naseer takes refuge in Padma’s home stealthily till his wounds heal, the two develop feelings for each other. Despite the social stigma and troubles Padma has to go through to help Naseer, the lonely woman finds some solace in the foreigner, and makes sacrifices that help her find a sense empowerment.

9. Bela Sheshe

Bela Sheshe is a film about rekindling love that was seemingly lost. Fifty into their marriage, and four successfully raised children later, Biswanath seems to have lost touch with his marriage, and asks his wife Aarti for a divorce. Aarti, the simpleton who is blindly devoted to her husband is left in turmoil and pain, only to be helped by her children who come together to help their parents rediscover love, and in turn rediscover themselves.

8. Noukadubi

An adaptation of Tagore’s novel by the same name, Noukadubi is a story about two couples estranged by a fateful boat wreck. Their lives float apart and as they start to rediscover love in a new way, thousand questions arise, and the definition of true love is blurred betwwn the lines.

7. Moner Manush

The biographical musical by Goutam Ghose follows the life of folk singer and spiritual leader Lalon Fakir. An enchanting experience from the beginning to the end, Moner Manush is set in the heart of orthodox colonial India, where Lalon Fakir and his followers transcended societal boundaries, rising with the Bengali Renaissance. Breaking through the resistance of staunch orthodoxy to propagate ideas about love and equality.

6. Chotushkone

Joyobroto, a dynamic director, new to the industry brings together three directors, estranged by their past, to collaborate on an film. Each director contributes their own story to the anthology with a common theme: Death. As their past swiftly catches up to them through strained communications, the darkness of the haunting film creeps into the story, and gruesome revelations are made.

5. Praktan

A story about love lost and growing up, this movie delves into the depth of the turmoil that couples go through when love is just not enough to solve their problems. It a journey on a train with multiple characters who fit harmoniously, coming out as a more matured version of themselves by the time they reach their destination. Praktan will fill you with sorrow, pain, elation, and calm all throughout the journey with the stories of all its characters even though the film is primarily the story of Sudipa who gains a different perspective about her divorce through her conversations with Malini, a gleeful housewife, and finds the answers she is looking for.

4. Bhooter Bhobishyot

When an ad director visits a mansion to see the site for his new ad, he meets Biplab, who tells him a story about a haunted mansion where the ghosts team up to chase away the millionaire who wants to take the house down for a new shopping mall.  This comedy about the resident ghosts of the mansion is sure to leave you in laughs and giggles as you discover the comic personalities of the different ghosts and their histories. The comedy has a pure heart, and a strong story to support it. If you’re looking for genuine comedy with brilliant characters, and little scares to go with it, Bhooter Bhobishyot is your film.

3. Cinemawala

This one is for cinephiles who are lost in the longing for those times where a theatre was a place of worship, and the operators were artists. Cinemawala is a story of changing times where Pranabendu Bose struggles to keep his relevance as the owner of a cinema hall named Kamalini, with his assistant Hari. As someone who considers the art of cinema sacred, his own son deals in selling illegal CDs and DVDs. As Prakash, his son, gains popularity in the village through means that are considered sacrilege by Prababendu, he is left helpless at the face of the losses faced by his own hall. A story about the slow, painful death of traditional cinema, and the capitalization of cinema as a commodity, this film is another moving creation by Kaushik Ganguly.

2. Goynar Baksho

It is hard to fit Goynar Baksho into a particular genre: is it comedy, or drama, or horror? The multi-layered period film follows three generations of women through changing times and changing status in the society through a single connection: a jewellery box. The box was owned by the widowed head of the household of a sophisticated family in colonial India. After her family moves to India during the Partition, losing all of her possessions apart from the box, she grows paranoid about the safety of her jewels, and remains that way even after her death. She haunts the new bride of the house, coaxing her to protect the box, and eventually, her grandniece. The film is an in-depth tale about the lives of people affected by the Partition, and the overall effect of colonisation on Indians. This film is Aparna Sen’s masterpiece, and is a must-watch for lovers of good Indian films.

1. Shabdo

A film that is one of a kind, Shabdo is the story of Tarak, a foley artist of popular Bengali films, drowning in his obsession with the nuances of sound. The movie is a unique experience in itself, where a psychological disorder is treated with utmost tenderness yet with severity. Tarak struggles to accept his own illness and treatment for the same with his wife’s support. As with most Bengali films, the supporting characters are beautifully written. The film dissolves the boundaries between reality and dreams, and seamlessly flows into surrealism. There is no background score for the film. It relies solely on foleys to make the audience experience Tarak’s maddening mind.

Read More: Best Satyajit Ray Movies

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Meeka Hossain and Jeffrey Klein’s Creative Los Angeles Wedding Blended Bengali and Jewish Traditions

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Content creator Meeka Hossain and talent manager Jeffrey Klein had their meet-cute in Barneys’ shoe department in Beverly Hills during the summer of 2018. “Our first date went so well that it ended up lasting nearly 24 hours,” says Meeka. Three and a half years later, on New Year’s Day, the couple would take the next step in their relationship. “After an early breakfast on the Malibu pier, we went for a hike in the Santa Monica Mountains,” remembers Meeka. “When Jeff felt we were far enough into our hike, he paused in the middle of a secluded canyon to propose. He wanted the moment to be just for us—without any photographers—so we could own that memory completely.”

One special touch of the engagement? Meeka’s sister, jewelry designer Stella Simona of Haati Chai , designed the ring together with Jeff. “I hadn’t seen my engagement ring before the proposal, nor did I give any hints about what I wanted,” says Meeka. “Jeff wanted a design with a vintage feel inspired by my heritage, and Stella nailed it, bringing his vision to life.”

The couple admits that wedding planning was “more stressful than we ever imagined.” After touring venues in Mexico and India, as well as interviewing 10 wedding planners, neither felt a connection to their potential options. “Ultimately, our real-estate agent—who also found us our house—suggested the stunning Paramour Estate ,” says Meeka. With a date available six months away, Jeff and Meeka would need to quickly start planning to achieve a wedding that blended both their style and cultures.

“I decided to take it on myself and teamed up with my friend  Misha Sumitra , the events and marketing manager at Saie ,” Meeka says. “Neither of us had planned a wedding before, but I love and trust her expertise and creativity. Every idea I brought to her was met with a resource or a solution. Together, we came up with outrageous ideas like transforming the valet parking lot at the Paramour into our dinner setup. Despite having hosted so many weddings, we were told that ours achieved a lot of ‘firsts’ for the venue.”

As planning kicked into high gear, Meeka and Jeff began looking for a wardrobe befitting the scale of their wedding celebrations. The first night would take place at a Case Study House in Silver Lake with the couple’s family and wedding party. The rehearsal dinner also doubled as a birthday party for Jeff, who wore a Sandro suit and Bottega Veneta slippers for the event. Meeka decided to wear a custom two-piece set by  Wiederhoeft  from  Loho Bride that night. “I fell in love with the corset details and intricate hand-beading done in India, which made it perfect for my fusion wedding,” she shares. “I added length to the skirt and designed a tulle neck scarf inspired by a traditional Indian dupatta.”

For the ceremony, Meeka chose a classic strapless Vera Wang gown. “Funny enough, the first wedding dress I tried on was it ,” she says. “I decided on Vera Wang and never looked back. I knew I wanted something timeless and with a long train. The drop waist and simplicity of the dress gave it a slightly edgy, understated feel that perfectly matched my personal style, while the veil added that delicate touch to tie the whole look together.” She paired the ensemble with Jimmy Choo heels and pearl studs for a minimalist touch. Jeff wore a suit by his favorite designer, Alexander McQueen , to say his vows. Meeka adds, “A sheer  Acne Studios shirt provided a soft contrast, and he accessorized with heirloom pieces—his grandfather’s gold pocket watch and gold diamond ring.”

As a nod to Meeka’s heritage, both the bride and groom wore custom Sabyasachi at the reception. “After meeting the designer in New York, I knew I wanted to be a Sabya bride, so we traveled to India for the perfect piece,” shares Meeka. “My red lehenga, from the Heritage collection, honored my culture and paid tribute to the women of Calcutta, where my mother is from.” She also wore a gold choker with rubies, emeralds, and pearls; a pearl and emerald nose ring; and bangles by the designer to complete the ensemble. As a sentimental touch, the bride re-created her mother’s wedding-day henna design on her hands and feet. For his look, Jeff wore a cream sherwani with a gold kurta underneath and slippers he purchased from a street vendor in Jaipur. “He accessorized with a custom  Haati Chai  earring, inspired by our family vacation at an elephant sanctuary in Jaipur. The hint of red in his earring, combined with his McQueen suit, hinted at the vibrant colors that would be revealed later in the night,” says Meeka.

The wedding party looks were thoughtfully curated as well, with the bridesmaids in saris and the groomsmen in kurtas. “The girls brought in the vibrant colors, while the guys balanced it out with neutrals,” shares the bride. “I personally selected each sari during my trip to India in March, choosing different jewel tones to complement my red lehenga.” Meeka called on her friend designer  Sam Adair to create the sari tops. “My sister and I gathered inspiration from our favorite Bollywood movies, which Sam brought to life with beautiful sketches,” she says.

On August 9, Jeff and Meeka, along with their bridesmaids and groomsmen, checked into the storied Chateau Marmont to celebrate the wedding all weekend long. The rehearsal dinner at the Case Study House owned by the couple’s friend Gina Correll also doubled as their own take on a Gaye holud. “In Bengali culture, the holud is one of the key prewedding rituals, where everyone wears yellow and orange and you put turmeric on the bride and groom,” explains Meeka. “So even without a full holud ceremony, I had my bridesmaids wear yellow to celebrate my culture.”

When the wedding day arrived, Meeka and her bridal party spent the morning getting ready together. “ Chanel  exclusively handled my wedding-day makeup, with artist  Kate Lee  creating my looks,” says the bride. “After a trial with Kate, I instantly loved her natural, soft glam approach. For my Vera Wang look, I aimed to look like myself, just enhanced.” Hairstylist Nicolas Flores created a sleek, slicked-back bun she would wear the entire evening. The couple decided to do a first look and took portraits in a vintage Mercedes.

Guests gathered on the grounds of the Paramour Estate before the ceremony began. The band Freedom Fry , who is managed by Jeff, played a few songs for the crowd before the procession began. “For our ceremony, we stayed away from the traditional arch or chuppah, and instead used soft, airy botanicals from the ground up, creating a more grounded feel with the garden and our surroundings,” shares Meeka of the scene. “Jeff described the ceremony as déjà vu because it was exactly what we envisioned from the start. From the sitar player composing our walk-down-the-aisle song to the canvas-draped benches filled with our closest friends and family, everything felt perfect as we exchanged our vows.” The couple also nodded to both their heritages in the ceremony. “We included a variation of the Indian ‘ring game,’” says the bride. “We filled a large bowl with uncooked rice and Jeff’s ring, and whoever found the ring first would be the ruler of the household—naturally, I won! To conclude the ceremony, we followed Jewish tradition by breaking a glass to symbolize our life together and everything that lies ahead.”

After the cocktail hour, the guests made their way to the dinner reception. “Our table was custom-built in the shape of a crescent moon. After the Jewish prayers over challah and wine, we shared a meal of traditional Bengali cuisine,” says Meeka. “We personalized each guest’s place setting with custom curry tins, and their seating assignments were revealed through a spice market–inspired display. After dinner, guests could fill their tins with spices to take home.”

The fun was far from over after the party headed indoors. Meeka and Jeff changed into their Sabyasachi looks and made a grand entrance through marigold garlands curated by floral designer Albasa . Then the newlyweds performed a fully choreographed, five-minute Bollywood routine featuring their wedding party. “The entire routine felt like a scene from a Bollywood film,” recalls the bride. “Both Jeff and I had solos, and my sister joined me to end the performance with a hit song from the Bollywood movie  Devdas . After our performance, we invited all the guests to join us on the dance floor. We had brought Indian slippers from Jaipur for guests to dance in once they got tired of their heels.” The couple even arranged for special Macallan cocktails, a speakeasy room, and a dessert installation that featured a mix of Bengali and Jewish sweets by  Sophie Dalah . While the guests eventually needed to leave the venue, the party continued late into the night back at Chateau Marmont.

Reflecting on the day, the bride shares she feels both happy and relieved. “Despite all the planning, there are always things beyond your control on the wedding day. It’s important to go with the flow and embrace the imperfections,” she says. “Looking at the photos brings back all the best memories and makes it all worth it!”

Ever since we started dating, Jeff and I have been exploring Case Study Houses, so it felt perfect to welcome our closest friends and family to a Schindler house for our rehearsal dinner.

I actually didn’t pick this Wiederhoeft set at first, but Loho Bride thought I might like it. Once I tried on that corset and knew the hand-beading was done in India, I was set on it.

I wore a custom Wiederhoeft two-piece set to our rehearsal dinner and designed a tulle neck scarf inspired by a traditional Indian dupatta. I also wore white satin Jimmy Choo pumps. Jeff put his outfit together the day of and selected a Sandro suit that he paired with Bottega Veneta slippers.

My older sister, Stella, and I are four years apart—just like her two boys, Noah and Liam. This image perfectly captures our sibling dynamic.

The female statue behind me embodied the energy I wanted to channel for the night: angelic, feminine, and bold.