Stranger to none, Indian photojournalist and member of the prestigious Magnum Photos, Raghu Rai has been a notable figure in the documentation of the Liberation War of Bangladesh. On May 5 this year, “Rise of Nation”-- an exhibition featuring both released and unreleased photos of the artiste commenced in the capital’s Zainul Gallery, situated at the Faculty of Fine Arts in the University of Dhaka.
An unparalleled and communal feeling of the ‘90s kids staying home during a school day is a joyful look back for many of us. Regardless of whether it was a heavy monsoon day, you were sick, or feigning it, we can all look back at the times we would spend, watching the early runs of our beloved sitcoms on Indian broadcast channels. Some were re-runs of the previous day’s shows or ones that had concluded already, we would follow them religiously. Some even went a bit deeper in their obsession and reiterated the episode for their friends the next day, much like me.
Commencing yesterday at 5 pm, cartoonists and young artists from Dhaka gathered at Drik Gallery with cartoons and installation art, protesting the Israeli occupation and expressing solidarity with the Palestinian people.
Chandler Bing, the witty, sarcastic, and endearingly awkward character, defied the stereotypes of traditional masculinity. In a world where stoicism and emotional detachment were often expected from male characters, Chandler was refreshingly different.
Be it a beloved companion or a fearsome predator of the wild, animals have long been part of the silver screen, since we began using it as a mode of storytelling. The IMDb listings of animal actors have grown much longer since then. The Daily Star sat down for a conversation with our very own local animal actors and (human) directors, about their experiences and insights.
The rise of Artificial Intelligence-rendered artworks has been embroiled in controversies since its inception. From striking artistes to picketing actors, the utilisation of AI has stirred unease within the creative community. Recently, amidst Bangladeshi social media, the reimagining of actors in various styles, eras and contexts has captured headlines, sparking mixed reactions from a diverse audience. What particularly caught my attention was the rendering of images of late artistes, most notably Salman Shah.
Rezaur Rahman is now gearing up for the upcoming Chorki anthology film series, “Ministry of Love”, supervised by Mostofa Sarwar Farooki, where his production “36-24-36” will be featured.
Farhan Akhtar at the time wrote and captured something that would truly become the selling point of the film, catapulting it to the ‘classic’ and ‘beloved’ status it has today.
Kohl lined eyes and a vermillion bindi flanked by arched brows—the gaze of the “Bengali Lolona” has stolen the spotlight in many Bollywood movies. Actresses have long been embodying the flamboyant, yet poised, Bengali female lead for decades now.
Recently, I had the pleasure of attending the 4th edition of the Samabhav Traveling film Festival. The festival was held in celebration of gender diversity and inclusion, featuring films and discussions on gender, sexuality, masculinity and relationships. The event took place in Dhaka from August 21-22, with Sangat- A Feminist Network, One Billion Rising Bangladesh and BRAC James P Grant School of Public Health being the organising partners in Bangladesh.
Most film festivals in Dhaka are international ones, which usually entails that the audience can experience the work of both local independent filmmakers and foreign films simultaneously. Moreover, sometimes the audience is able to interact with the directors and actors too.
