The frameworks of portrayals of gender-based violence in our local productions have been birthed from the need to give voice to the oppressed Biranganas (war heroines)—as portrayed through several films or dramas throughout the years.
The arduous journey of Tamzid Islam Zarir, an ardent Shah Rukh Khan fan, reached its culmination this year during the SRK Day event on November 2. His story, as the current organising secretary of the devoted SRK fan club SRK Bangladesh CFC, gained significant attention earlier this month when he met the Bollywood icon alongside 400 to 450 other fans on the occasion of King Khan’s birthday.
As I stepped into the Central Shaheed Minar late in the afternoon, I was greeted with the jovial and embracing atmosphere of feminists from all corners of the city— and perhaps even beyond. Most were decked out in orange and red sarees, seemingly in line with a theme for the day. Some were even in work mode, going live on social media platforms to share updates on behalf of their organisations.
The intrinsically intricate nooks and crevices of the realities of living with mental health disorders can very well be deemed as being only ever harsher than those represented in media. Even the churning and voicing of these complexities via books or writing can only do so much to make people perceive mental health disorders for what they are. However, when push comes to shove, representations of psychological disorders in any form can mean a further step taken to bring awareness to them — and Bangladeshi projects seem to have touched upon two rather specific ways to represent them.
In all honesty, the filming of the hazed-up and sluggish diplopia, magnified mercilessly by the strong presence of hallucinatory colours resembling questionable club joints and sounds that first seep in vaguely until the individual under the influence, begins hearing properly — has become trite. The fact that an aware audience is easily able to predict the cueing in of an unnecessary drug-addled montage in a project that does not even necessitate such an addition has also become dulling — so much so that I instantly and almost mindlessly give way to a bout of onomatopoeia of disdain.
The feeling of exultation seems to be ripely dense in the air for Ryan Reynolds, who leaves no stone unturned to get back at 21st Century Fox in “Deadpool & Wolverine”, despite having fought for and won the desired final products in the form of the first two “Deadpool” films under its banner. The movie simultaneously and more importantly pays an almost necessary homage to its pre-existing and thriving Marvel heroes and franchises before the launch of the MCU (Marvel Cinematic Universe). Since Disney’s acquisition of 21st Century Fox in 2019, I bet Reynolds had just been itching to finally spill his guts which he does in this more successfully done fan servicing movie after “Spider-Man: No Way Home”.
Born and brought up in a family that practices and appreciates the art of music, Debosrie Antara officially debuted in Dhallywood with “Laage Ura Dhura” from the upcoming Shakib Khan starrer film “Toofan”. The song, composed by Pritom Hasan, has now become the party anthem of the season.
The film gets going with Hirayama (played by Koji Yakusho) awakening in the still-numbing, navy-bluish time of the morning — ahead of the break of dawn, to initially infuse a sense of hurried alarm. However, the picture becomes clearer when he gears himself in his ‘The Tokyo Toilet’ overall uniform to head out during the still-dulling hours of the day. The janitor doesn’t forget to pay attention to his plants prior to leaving home, gently smiling up at the sky whilst admiring it for a few good seconds, then moving to pick out a ready-made coffee can from a vending machine near his outwardly dilapidated home. He eventually gets in his car, picks out a cassette tape, and drives to work.
The frameworks of portrayals of gender-based violence in our local productions have been birthed from the need to give voice to the oppressed Biranganas (war heroines)—as portrayed through several films or dramas throughout the years.
The arduous journey of Tamzid Islam Zarir, an ardent Shah Rukh Khan fan, reached its culmination this year during the SRK Day event on November 2. His story, as the current organising secretary of the devoted SRK fan club SRK Bangladesh CFC, gained significant attention earlier this month when he met the Bollywood icon alongside 400 to 450 other fans on the occasion of King Khan’s birthday.
As I stepped into the Central Shaheed Minar late in the afternoon, I was greeted with the jovial and embracing atmosphere of feminists from all corners of the city— and perhaps even beyond. Most were decked out in orange and red sarees, seemingly in line with a theme for the day. Some were even in work mode, going live on social media platforms to share updates on behalf of their organisations.
The intrinsically intricate nooks and crevices of the realities of living with mental health disorders can very well be deemed as being only ever harsher than those represented in media. Even the churning and voicing of these complexities via books or writing can only do so much to make people perceive mental health disorders for what they are. However, when push comes to shove, representations of psychological disorders in any form can mean a further step taken to bring awareness to them — and Bangladeshi projects seem to have touched upon two rather specific ways to represent them.
In all honesty, the filming of the hazed-up and sluggish diplopia, magnified mercilessly by the strong presence of hallucinatory colours resembling questionable club joints and sounds that first seep in vaguely until the individual under the influence, begins hearing properly — has become trite. The fact that an aware audience is easily able to predict the cueing in of an unnecessary drug-addled montage in a project that does not even necessitate such an addition has also become dulling — so much so that I instantly and almost mindlessly give way to a bout of onomatopoeia of disdain.
The feeling of exultation seems to be ripely dense in the air for Ryan Reynolds, who leaves no stone unturned to get back at 21st Century Fox in “Deadpool & Wolverine”, despite having fought for and won the desired final products in the form of the first two “Deadpool” films under its banner. The movie simultaneously and more importantly pays an almost necessary homage to its pre-existing and thriving Marvel heroes and franchises before the launch of the MCU (Marvel Cinematic Universe). Since Disney’s acquisition of 21st Century Fox in 2019, I bet Reynolds had just been itching to finally spill his guts which he does in this more successfully done fan servicing movie after “Spider-Man: No Way Home”.
Born and brought up in a family that practices and appreciates the art of music, Debosrie Antara officially debuted in Dhallywood with “Laage Ura Dhura” from the upcoming Shakib Khan starrer film “Toofan”. The song, composed by Pritom Hasan, has now become the party anthem of the season.
The film gets going with Hirayama (played by Koji Yakusho) awakening in the still-numbing, navy-bluish time of the morning — ahead of the break of dawn, to initially infuse a sense of hurried alarm. However, the picture becomes clearer when he gears himself in his ‘The Tokyo Toilet’ overall uniform to head out during the still-dulling hours of the day. The janitor doesn’t forget to pay attention to his plants prior to leaving home, gently smiling up at the sky whilst admiring it for a few good seconds, then moving to pick out a ready-made coffee can from a vending machine near his outwardly dilapidated home. He eventually gets in his car, picks out a cassette tape, and drives to work.
The vivacious songstress with the honeyed voice has had a rather bustling month this year — as divulged by Dilshad Nahar Kona herself. Not only did her latest collaboration with Muza, “Daane Baame”, drop this ongoing month but Kona has been touring and performing in around 17 scheduled concerts across Bangladesh, on top of also accumulating praise for singing a romantic rendition of the Rabindra Sangeet “Bhalobeshe Sokhi” on Pavel Areen's “Living Room Session”. Additionally, the versatile musician lent her voice to 11 songs for different dramas and films on television this month alone.
Her’s is a story that is one with all– who have had to and are still working hard to make it in an industry that is elusive. Antara Roy Chowdhury, also known by her stage name Debosrie Antara, hence grew up harbouring a penchant for the ability of music, with the dream of one day becoming a singer. Her younger school-going self was even prepared to sacrifice her drift toward a more substantial career for the love of music.
