Shonibar Bikel: Yet another captive of the “image” protector
The unrelenting need to protect "the image" and "the peace" of the country has become so important over the years under the current government that any creative effort runs the risk of being censored for not portraying the country in a positive light. Recently, Hero Alom was called up by the Detective Branch of our police for singing Rabindra sangeet out of tune. On top of that, the DB asked him to drop the "Hero" from his name, simply because he does not "look like one." Afterwards, when the international media widely started reporting on the absurdity of the incident, the Bangladeshi authorities got agitated about the criticism. But why is the concern always over the criticism, and not the ridiculous actions that inspire it?
Recently, netizens have found themselves once again having to stand up for Shonibar Bikel, a 2019 Bangladesh-German-Russian co-production directed by Mostofa Sarwar Farooki. The one-shot drama – based on the Holey Artisan Bakery tragedy – had its world premiere at the Moscow International Film Festival 2019. After Moscow and then Sydney, it was screened at London's renowned Barbican Centre and the Munich International Film Festival, competing for the CineCoPro Award and eventually grabbing numerous awards globally.
For all latest news, follow The Daily Star's Google News channel. However, despite these accolades, it is still stuck at the Bangladesh censor board, and no one knows when it might be released in theatres across the country. Over the last three years, Farooki has been unable to get an answer to why his film is not getting the censor certificates for release in Bangladeshi theatres.
Ironically, a film about a horrible captive situation at the hands of terrorists is now being held captive in the hands of the powers that be. In most films, everything comes to an end after a feature-length period. But for Shonibar Bikel, its fate is being written behind closed doors.
Farooki's film is the latest victim of increasing restrictions on freedom of expression, but it will definitely not be the last. This is despite the fact that the film is being embraced globally for its heart-warming appeal and the mastery of the director. This is probably so far the only one-take, feature film made by a Bangladeshi director. People with an interest in film and the Bangladeshi film industry can grasp how audacious this attempt is for any director in Bangladesh. Unsurprisingly, Farooki is being praised internationally for how successful he was in creating tension and holding on to it throughout the story with this technique.
In 2019, Hollywood Reporter reviewed Shonibar Bikel and mentioned how the film is not being released in Bangladesh on the grounds that it could "damage the country's reputation" and incite religious hatred. They further added: "The only thing this Bangladesh-Germany co-prod could do to the country's reputation is, improve it, and its plea for religious tolerance is nothing short of touching." Given the fact that a large portion of Bangladeshi films routinely underperform in critics' eyes, it is a shame that productions that bring something new to the table are being kept away from the public for such absurd reasons. Why are we censoring a director who is introducing Bangladeshi films to places and audiences where Bangladesh has never been seen or heard of?
Undoubtedly, Farooki is a filmmaker who works for socio-political change, since his unique subjects attempt to create wider discourse instead of repeating the same, tired narratives. One might not be a fan of Farooki's work, but we cannot ignore the ideas that his films are bringing into the middle-class' collective consciousness. As a 2012 AFP report stated: "What makes Farooki's work different is its contemporary take on the lives and troubles of young Bangladeshis."
This is reflected in the fact that most of his acclaimed works target social taboos. For this reason, Bachelor (2004), Made in Bangladesh (2007), and Third Person Singular Number (2009) all suffered in the "censor jail" for various years due to the fear that they would "corrupt" the youth. However, when these films eventually were able to hit the theatres, they were all successful critically, in terms of popularity, and in reaching the director's end goal of addressing progressive issues for the masses.
At the very heart of a democratic society rests the freedom to speak, to create, and to choose. When an internationally recognised director is unable to showcase their film in Bangladesh, it is a reflection of a country where people are being silenced every day in various ways. When the Holey Artisan attack took place in 2016, it resulted in stricter immigration rules for foreigners and embarrassing warnings about Bangladesh from various embassies to their citizens. No doubt, that period did not represent our country in a positive light. And now, the blocking of a film inspired by the same event seems even more to display a lack of interest on the part of the authorities to work for a better image for Bangladesh.
Earlier in May, Bangladesh stood 162nd out of 180 countries in the Press Freedom Index, scoring the lowest in South Asia. Given that the government claims to be the caretaker of the country's image, does it make sense for them to censor films that deal with actual events that have darkened the history of our country in the first place? If anything, Shonibar Bikel will give Bangladeshis the space to see haunting events through a critical lens, and guard against the forces that led to such horrific acts of violence. By releasing this film, the government can mend their tarnished image in regards to press freedom and be applauded for encouraging the freedom of expression and art.
It is high time for the responsible authorities to take the necessary steps to release Shonibar Bikel. Ultimately, allowing film, art, and culture to flourish will actually contribute to fighting against the very forces that led to such dark events as the 2016 Holey Artisan attack.
Monorom Polok is a freelance writer, activist and the founder of "Where is Kajol?"
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