He had dropped out of university to see Europe, and he had left home as well. This departure marked the beginning of Lynch's lifelong journey of not returning home. Even at the end of his life, Lynch had to remain homeless. His Southern California neighbourhood had been affected by wildfires, forcing Lynch to live as a displaced person. It was there, in that state of evacuation, that he passed away. Lynch's life itself seems to have started a new journey through death, one as a wanderer without a home
As 2024 draws to a close, it leaves behind a trail of events and milestones, including notable contributions from Bangladesh's OTT platforms (Over-the-Top).
A variety of films have graced the silver screen—some commercially successful, others not quite so. Let’s bid adieu to the year, as we look back at some of its film offerings.
The Liberation War, while emblematic of unparalleled heroism, is equally a tale of immense loss and suffering. Over the years, filmmakers have explored various aspects of this historic conflict through the medium of cinema. Let us revisit some of the most notable films that captured the essence of this epochal event.
Produced by Chabial and released on the OTT platform Chorki as part of the “Ministry of Love” series, “Forget Me Not” is a web-film conceptualised by Mostafa Sarwar Farooki and directed by Robiul Alam Robi. Premiering on September 5, the film delves into the complexities of modern relationships against the backdrop of Dhaka’s evolving urban landscape.
Nithilan Swaminathan's debut film, "Kurangu Bommai", released in 2017, introduced a unique style of storytelling centred around an abandoned bag full of money. Fast forward to 2024, and after seven years, the director presents his second film, "Maharaja". This piece is dedicated to that film. "Maharaja" hit theatres on June 14 and premiered globally on Netflix on July 12.
The story of "Gullak" is essentially a commentary from a piggy bank—a clay one that silently witnesses the everyday lives of the Mishra family. Through Gullak's eyes, we see the events that unfold within the Mishra household. Each family member's crises revolve around real-life issues that any middle-class family can relate to. A two-room house with a small courtyard and narrow terrace sets the scene. Directed by Amit Raj Gupta and written by Nikhil Vijay, "Gullak" paints a vivid picture.
Penned collaboratively by Aditya Sengupta and Hasanat, the plot unfolds with the mysterious death of rising cricket star Apu, who dies under suspicious circumstances after delivering a stellar performance as Man of the Match. Investigating his brother’s death, Topu begins to unravel a series of enigmas, including rumours linking the country’s biggest cricket star to the incident. As he delves deeper, Topu uncovers interconnections in the betting world, leading to a cascade of sensational revelations. The episodes are aptly titled with cricket terms: Powerplay, How's That, Decision Pending, Caught Behind, Inside Out, Strategic Timeout, and Death Over.
"Panchayat" was released during the India Lok Sabha elections. Currently, political instability prevails across India and the subcontinent. In such times, "Panchayat" showcases the true face of grassroots-level politics. The politics of Phulera village is the essence of real politics. These are the root-level voters, easy to manipulate, where mob justice can be swiftly created, and rumours spread with alarming ease; all of which are significant weapons in contemporary politics.
As police officer Jahangir drives home, clutching a small glass bottle, his recent completion of a murder mystery assignment brings him no sense of triumph. Unbeknownst to SI Miraz, he is caught in a time loop, unsure of its destination. Shehzad, with his enigmatic persona, sets the stage, leading the audience seamlessly from a Bangladeshi web series' murder mystery to the realm of science fiction. I'm referring to the recent release of “Kaalpurush” on the OTT platform Chorki, a series quickly gaining acclaim for its adept fusion of murder mystery and sci-fi elements.
The morning dawns, darkness not yet fully dispelled, and the sound of crickets persists. Shailaja (played by Shefali Shah) walks alone, silently, her footsteps echoing through the narrow path that leads to the home she left in Kokan, where her childhood memories lie buried. She stands by the well, the same well where she lost her childhood playmate, her sister. For a brief moment, she stands there, as if preserving her 28-year-old memories. Then, with a heavy heart, she resumes her journey. As the curtains fall on this tragic film, the aforementioned final moment of “Three of Us” embodies a profound transformation, akin to a decree of tragic poetry.
