In the dimly lit gallery, decorated with revolutionary-themed art, Anusheh Anadil spoke about love and revolution. A circle of people gathered to discuss the changes they hoped to see in post-revolution Bangladesh. Outside, raindrops tapped gently, while the sound of the Tanpura filled the air. A cat, wearing a blue bandana, wandered through the audience during the inaugural session of the two-week-long festival “Re-love-ution” or “Premandolon” at Jatra Biroti in Banani.
“We are going to display cinema made about our lives.” No big speeches, no dramatic reveals- the hosts of “Indigenous Screen” wished a steadily increasing crowd, a hearty evening and just the aforesaid one-liner as the films made by indigenous filmmakers began to roll out one after another. Yesterday, on the first day of the two-day event “Indigenous Screen”, five films were screened under the evening sky at the Lalmatia D Block field, an initiative organised by the Indigenous Artists’ Unity.
What defines a thought? Is it a solitary idea or several notions intertwined within themselves? Can a thought exist in isolation? Perhaps, thoughts are hardly innate, rather they are perceived uniquely in a continuous chaotic dialogue within the mind.
One moment it’s gently snowing down outside the beautiful Ubuyashiki mansion, with a surreal atmosphere between a relentlessly powerful demon and a dying human. In the next chilling few seconds, an impeccable spectacle of a nuclear explosion rises from the heart of the mansion, engulfing the beings inside in vivid glimmers of fire.
Amit Raye had an eye for the unaccustomed, Labanya was not going to be limited by customs. With Parambrata Chatterjee’s eyes speaking volumes as Amit, and Dr Sreya Sen in Labanya’s free-spiritedness, Rabindranath Tagore’s characters from “Shesher Kabita” have come alive in the photostory exhibition, titled “Shesher Kobita a photostory by Bowner Dighi”, underway at Bangladesh Shilpakala Academy.
Entering the photo exhibition’s gallery, white curtains gently swayed, displaying cyanotype prints of the portraits of Birangonas (Bangladeshi female freedom fighters), much like how their valiant stories have been hidden behind the curtains for far too long.
The man behind the song, Pankaj Udhas, brought Ghazal to the masses, popularising it and making it accessible to the multitude not only in his country India but also across the globe with his calm and controlled voice that won everybody’s hearts.
It was the first day of the 22nd rendition of "Amar Bhashar Cholochitro 1430", organised by the Dhaka University Film Society (DUFS). Following tradition, the programme venue—TSC at Dhaka University premises—gracefully adorned its annual cinematic ambience with vibrant posters of Bengali classics placed across its expanse. Featuring 20 Bengali-language films from the East and the West, this year's event would run from February 12 to February 16.
In the dimly lit gallery, decorated with revolutionary-themed art, Anusheh Anadil spoke about love and revolution. A circle of people gathered to discuss the changes they hoped to see in post-revolution Bangladesh. Outside, raindrops tapped gently, while the sound of the Tanpura filled the air. A cat, wearing a blue bandana, wandered through the audience during the inaugural session of the two-week-long festival “Re-love-ution” or “Premandolon” at Jatra Biroti in Banani.
“We are going to display cinema made about our lives.” No big speeches, no dramatic reveals- the hosts of “Indigenous Screen” wished a steadily increasing crowd, a hearty evening and just the aforesaid one-liner as the films made by indigenous filmmakers began to roll out one after another. Yesterday, on the first day of the two-day event “Indigenous Screen”, five films were screened under the evening sky at the Lalmatia D Block field, an initiative organised by the Indigenous Artists’ Unity.
What defines a thought? Is it a solitary idea or several notions intertwined within themselves? Can a thought exist in isolation? Perhaps, thoughts are hardly innate, rather they are perceived uniquely in a continuous chaotic dialogue within the mind.
One moment it’s gently snowing down outside the beautiful Ubuyashiki mansion, with a surreal atmosphere between a relentlessly powerful demon and a dying human. In the next chilling few seconds, an impeccable spectacle of a nuclear explosion rises from the heart of the mansion, engulfing the beings inside in vivid glimmers of fire.
Amit Raye had an eye for the unaccustomed, Labanya was not going to be limited by customs. With Parambrata Chatterjee’s eyes speaking volumes as Amit, and Dr Sreya Sen in Labanya’s free-spiritedness, Rabindranath Tagore’s characters from “Shesher Kabita” have come alive in the photostory exhibition, titled “Shesher Kobita a photostory by Bowner Dighi”, underway at Bangladesh Shilpakala Academy.
Entering the photo exhibition’s gallery, white curtains gently swayed, displaying cyanotype prints of the portraits of Birangonas (Bangladeshi female freedom fighters), much like how their valiant stories have been hidden behind the curtains for far too long.
The man behind the song, Pankaj Udhas, brought Ghazal to the masses, popularising it and making it accessible to the multitude not only in his country India but also across the globe with his calm and controlled voice that won everybody’s hearts.
It was the first day of the 22nd rendition of "Amar Bhashar Cholochitro 1430", organised by the Dhaka University Film Society (DUFS). Following tradition, the programme venue—TSC at Dhaka University premises—gracefully adorned its annual cinematic ambience with vibrant posters of Bengali classics placed across its expanse. Featuring 20 Bengali-language films from the East and the West, this year's event would run from February 12 to February 16.
Shonar Bangla Circus took its fans aboard “The Hyena Express” one last time in Dhaka last night by revisiting all the tracks of their debut album, singing songs old and new, amidst performance arts and poetry fused in psychedelic rock.
Anika Roy’s first solo exhibition titled “Window” was inaugurated on September 10, where she answered the aforementioned question through her series of paintings and installations. Using pen, pencil and other colouring mediums, Anika tells the story of her perspectives as she meandered through the lane of her artworks.