Cinema of Bangladesh

On 28 December 1895, the Lumière brothers began commercial bioscope shows in Paris, with the first bioscope shows of the Indian subcontinent occurring the following year, including one in Calcutta and another at the Crown Theatre in Dhaka. The Bradford Bioscope Company of Calcutta arranged the show, which featured very short news items and other short features including footage of the jubilee of Queen Victoria, battles between Greek and Turkish forces, and the French underground railway.^{[8]: pages 7, 9} The price of a ticket to the show was an expensive eight anas to three taka. Bioscope shows continued to be shown throughout the region, including in Bhola, Manikganj, Gazipur, Rajbari, and Faridpur.^[6] These became the first films ever to be released in Bangladesh.^{[8]: pages 7, 9}

The first seeds of Bengali cinema were sown by Hiralal Sen, a native of Bogjuri who is considered a stalwart of Victorian era cinema.^[9] Sen founded a company named The Royal Bioscope Company in 1898, producing scenes from the stage productions of a number of popular shows^[9] at the Star Theater, Minerva Theater, and Classic Theater in Kolkata. He pioneered film-making in the Calcutta in 1901, and shot footage in his home region. This was the first filming of what is now the nation of Bangladesh.^{[citation needed]}

At the time when Calcutta-based film production houses were forming, East Bengal cinema halls were showing films produced in Calcutta, Bombay, Madras, Hollywood, and Paris. Sequential bioscope shows were started in Dhaka in 1913–14 in a jute store. It was named Picture House, becoming the first theater to be built in present-day Bangladesh.^[6]

The Madan Theatre started making films in Calcutta in 1916. The first Bengali feature film, Billwamangal, was produced and released in 1919 under the banner of the Madan Theatre. The movie was directed by Rustomji Dhotiwala and produced by Priyonath Ganguli, the son of a nawab estate of Dhaka. A Bengali film organization named the Indo British Film Co was soon formed in Calcutta under the ownership of Dhirendra Nath Ganguly, a relative of Rabindranath Tagore. Ganguly directed and wrote Bilat Ferat in 1921. The film was the first production of the Indo British Film Co. The Madan Theatre production of Jamai Shashthi(1931) was the first Bengali talkie directed by Amar Choudhury.^{[citation needed]}

In 1927–28, the Dhaka nawab family produced a short film named Sukumari (The Good Girl).^[10] The film's producers included Khaza Adil, Khaza Akmol, Khaza Nasirulla, Khaza Azmol, Khaza Zohir, Khaza Azad, Soyod Shahebe Alom, and professor Andalib Shadini. They wanted to make a film with their own actors and without the help of a studio. The male lead was played by Khaza Nosrulla, and the female lead was played by a male actor named Syed Abdus Sobhan owing to laws against the depiction of women in film. Nosrulla went on to become a politician and Sobhan became the first Bengali secretary of the Pakistan Central Civil Service. One still picture of Sukumary is kept in Bangladesh Film Archive.^[6]

After the success of Sukumari, the royal family went for a bigger venture.^[11] To make a full-length silent film, a temporary studio was made in the gardens of the family, and they produced a full-length silent film titled The Last Kiss, released in 1931.^[12][13] The main actor was Khaza Azmol. The physical teacher of Jagannath College, Ambujgupta, directed the film and made the Bengali and English subtitles for it. Professor Andalib Shadani of the Dhaka University made the Urdu subtitles. The Last Kiss was released in the Mukul Hall of Dhaka. Historian Dr. Romesh Chondro Mojumder started the premier show of the film. The print of the film was taken to the Aurora Company of Calcutta for bigger presentation. The developers of the film wanted to make Dhaka unique in art, literature and cinema and named their production house “Dhaka East Bengal Cinematograph Society”. It was the first film-producing organization of Bangladesh.^[6]

By 1947, there were around 80 cinemas in Bangladesh.^{[8]: pages 1, 3}After the partition of India in 1947, there were efforts to turn Dhaka into East Bengal's cultural center, with various individuals like Abbasuddin Ahmed creating short-lived film production companies in the city. In March 1948, when the Governor-General of Pakistan Mohammad Ali Jinnah came to visit East Pakistan, the radio broadcaster and filmmaker Nazir Ahmed was commissioned to create the informational film In Our Midst with the help of Calcutta-based film technicians. It was the first informational film of Bangladesh.^{[citation needed]}

Two years after the creation of the Bengali Language Movement in 1952, the film-making company Co-operative Film Makers, Ltd. was formed in Dhaka under the leadership of Shohidul Alam, Abdul Jabbar Khan, and Kazi Nuruzzaman. The company produced Salamot (1954) under the direction of Nazir Ahmed. The film was commercially successful and allowed the company to grow. In 1955, during the rule of the United Front, Chief Secretary N.M. Khan created a film studio and laboratory in Dhaka's Tejgaon Thana. The first full-length feature film with sound made in East Pakistan was The Face and the Mask,^[7] which was directed by Abdul Jabbar Khan and released on 3 August 1956. Editing, printing and all other film processing for this movie were done in Lahore, Pakistan. Abdul Jabbar directed and starred in the film, which also starred Inam Ahmed, Purnima Sen, and Nazma.^[6][14]

 

"The East Pakistan Film Development Corporation Bill, 1957", establishing a national film development corporation, was introduced by Sheikh Mujibur Rahman, the founding father of Bangladesh. The bill was passed in the East Bengal Provincial Assembly, and Nazir Ahmed was appointed as the first creative director.^{[citation needed]}

Initially, the East Pakistan Film Development Corporation allowed only specific directors to make films. Fateh Lohani directed the rural art film Asiya, the first film produced by the East Pakistan Film Development Corporation, with Nazir Ahmed supervising the production. Asiya received the President Award for best Bangla film in 1961. Other early films released by the East Pakistan Film Development Corporation include Akash Ar Mati (The Sky and The Earth), a song film directed by Fateh Lohani in 1959.^{[citation needed]}

A. J. Kardar directed the Bengali-Urdu film The Day Shall Dawn in 1959, with Zahir Raihan working as the assistant director. The film was based on the 1936 Bengali novel Padma Nadir Majhi (The Boatman on The River Padma) by Bengali novelist Manik Bandopadhyay. It was an internationally acclaimed movie.^[6] The film was submitted as the Pakistani entry for the Academy Award for Best Foreign Language Film at the 32nd Academy Awards, but was not accepted as a nominee.^[15] It was also entered into the 1st Moscow International Film Festival, where it won a Golden Medal.^[16]

The establishment of the East Pakistan Film Development Corporation led to the growth of the East Bengal film industry and gave rise to three prominent studios: the Popular Studio, Bari Studio, and Bengal Studio. Prominent directors Abdul Jabbar Khan, Fateh Lohani, Ehtesham, and Mohiuddin worked with these studios. Notable films from these directors include Matir Pahar (The Clay Hill) (1959) by Mohiuddin and E Desh Tomar Amar (1959) by Ehtesham. The East Pakistan Film Development Corporation's own films sometimes struggled to achieve financial success.^{[citation needed]}

During the late 1960s, 20-35 films were produced every year. Fateh Lohani's Asiya and Ehtesham's Rajdhanir Buke (In the heart of the capital) were both positively reviewed by critics. In addition to directing, Lohani also acted in a number of East Bengali films throughout the 1960s, including Tanha (1964), Agun Niye Khela (1967) and Julekha (1967). Other notable directors of the 1960s include Salahuddin, who made a number of social drama films like Je Nodi Morupothe (1961), and Khan Ataur Rahman, who directed Nawab Sirajuddaula (1967). Rahman was also an actor and a singer, and featured in Kokhono Asheni (Never Came) (1961), Kancher Deyal (Crystal Wall) (1963).

Zahir Raihan was a star director of East Bengali cinema in the 1960s, and directed films like Kokhono Asheni (Never Came) (1961), Shangam (1964) (The first Pakistani colour film), and Jibon Theke Neya. Jibon Theke Neya, a political satire based on the Bengali Language Movement under the rule of Pakistan, is considered a classic of Bangladeshi cinema.^{[citation needed]}

Some notable actors from the 1960s include Rahman, Sumita Devi, Khan Ataur Rahman, Rawshan Jamil, Anwar Hossain, Anwara Begum, Golam Mustafa, Abdur Razzak, Kabori Sarwar, Shabana, Farida Akhter Bobita, Farooque, Shabnam, Shawkat Akbar, Rosy Samad, Baby Zaman, and Kohinoor Akhter Shuchanda. The most well-known Bangladeshi actor to date had been Abdur Razzak, who was deemed the Nayok Raaj Rajjak (King of Heroes) by his fans. He started his career as a side actor in 1965 and became a leading actor in 1967. Abdur Razzak and Kabori Sarwar was the most popular pair from 1967 to the 1970s.

A total of 41 films were released in 1970, including Shorolipi by Nazrul Islam, Taka Ana Paay and the Jibon Theke Neya by Zahir Raihan.

Jibon Theke Neya, considered a milestone film in the history of Bengali cinema, was a political satire based on the Bengali Language Movement under the rule of Pakistan. It stars Shaukat Akbar, Anwar Hossain, Khan Ataur Rahman, Rawshan Jamil, Abdur Razzak, Kohinoor Akhter Shuchanda, Amjad Hossain and Rosy Samad. The film has been described as an example of "national cinema", using discrete local traditions to build a representation of the Bangladeshi national identity.^[17] Other significant works of 1970 were Mishor Kumari of Karigir, Tansen of Rafiqul Bari, Bindu Theke Britto of Rebeka, Binimoy of Subhash Dutta, Kothay Jeno Dekhechi of Nizamul Hoque.

Only 6 Bengali films and two Urdu films made in East Bengal were released in 1971 before the Bangladesh Liberation War. Some notable social drama films include Nacher Putul by Ashok Ghosh, Sritituku Thak by Alamgir Kumkum, and Shukh Dukkho by Khan Ataur Rahman.

Following the outbreak of the Bangladesh Liberation War, Raihan made the documentary Stop Genocide to draw attention to the plight of the people of East Bengal. It was one of the first internationally acclaimed films of Bangladesh.^[18][19]

In December 1971, the East Pakistan Film Development Corporation changed its name to the Bangladesh Film Development Corporation, which had the only major film studio and colour lab of the Bangladeshi film industry until the 2010s. Most Bangladeshi films were produced from this studio. Production quantity continued to increase after Bangladesh gained its independence; by the 1990s, over 90 films per year were released. At that time, the film department was under the leadership of Abdul Jabbar Khan.^[6] The Bangladeshi film industry was successful both critically and commercially through the first half of the 1990s.

Many Bangladeshi movies of the 1970s were about the war. The first full-length feature film of independent Bangladesh was Ora Egaro Jon released in 1972. The movie was directed by Chashi Nazrul Islam. Other filmmakers who made critically acclaimed war films in the 1970s include Alamgir Kabir, Chashi Nazrul Islam, and Subhash Dutta.^[20] Three of Kabir's feature films are featured in the "Top 10 Bangladeshi Films" critics' choice list by the British Film Institute.^[21][22] His films include Dhire Bohe Meghna (1973), Shurjo Konya (1976), Shimana Periye (1977), Rupali Shoykte (1979), Mohona (1982), Porinita (1984) and Mohanayok (1985). Other notable directors in the 1970s include Narayan Ghosh Mita,^[23] Abdullah al Mamun, Johirul Haque, and Amjad Hossain. Haque's Rongbaaj was one of the first commercial action films of Bangladesh.

After independence, one of the first international acclaimed film was A River Called Titas released in 1973, directed by prominent Indian Bengali director Ritwik Ghatak and starring Prabir Mitra in the lead role. Titash Ekti Nadir Naam topped the list of 10 best Bangladeshi films in the audience and critics' polls conducted by the British Film Institute in 2002.^[24] Some other notable films of 1970s include Joy Bangla (1972) of Fakrul Alom; Lalon Fokir (1972) of Syed Hasan Imam; Obhuj Mon (1972) of Kazi Jhohir; Shongram (1974) by Chashi Nazrul Islam, Arunodoyer Agnishakkhi (1972), Bashundhara (1977) by Subhash Dutta; Alor Michil (1974), Lathial (1975) by Narayan Ghosh Mita; Megher Onek Rong (1976) by Harunur Rashid; Golapi Ekhon Traine (1978) by Amjad Hossain; Sareng Bou (1978) by Abdullah al Mamun; Oshikkhito (1978) by Azizur Rahman; The Father (1979) by Kazi Hayat, and Surjo Dighal Bari (1979) by Sheikh Niamat Ali and Moshiuddin Shaker. Surjo Dighal Bari was a critically acclaimed movie and it re-introduced Bangladeshi films to the international audience. The movie was based on a novel of the same name by Abu Ishaque. In 1975, the government started a national film award, as well as a donation fund for creative films.

The 1970s and 1980s were a golden era for Bangladeshi film industry commercially and critically. At this time, a lot of actors and actresses enjoyed popularity, including Abdur Razzak who was the most successful actor commercially during this period, as well as Kabori Sarwar, Shabana, Farida Akhter Bobita, Farooque, Shabnam, Kohinoor Akhter Shuchanda, Alamgir, Sohel Raana, Amol Bose, Bulbul Ahmed, Zafar Iqbal, Wasim, Ilias Kanchan, Jashim, Rozina, Parveen Sultana Diti, Champa and others.

In the 1980s most of the Bangladeshi commercial films were influenced in film-making, style and presentation by Indian movies, mostly Hindi movies from Maharashtra. However many of the films were original or adaptations of literary works. Some notable original and adapted films include Chhutir Ghonta (1980) by Azizur Rahman; Emiler Goenda Bahini (1980) by Badal Rahman; Shokhi Tumi Kar (1980), Akhoni Shomoy (1980) by Abdullah Al Mamun; Lal Shobujer Pala (1980), Obichar (1985) by Syed Hasan Imam; Koshai (1980), Jonmo Theke Jolchi (1981), Bhat De (1984) by Amjad Hossain; Devdas (1982), Chandranath (1984), Shuvoda (1987) by Chashi Nazrul Islam; Smriti Tumi Bedona (1980) by Dilip Shom; Mohona (1982), Porinita (1986) by Alamgir Kabir; Boro Bhalo Lok Chhilo (1982) by Mohammad Mohiuddin; Puroshkar (1983) by C.B Zaman; Maan Shomman (1983) by A.J Mintu; Nazma (1983), Shokal-Shondha (1984), Fulshojja (1986) by Subhash Dutta; Rajbari (1984) by Kazi Hayat; Grihilokkhi (1984) by Kamal Ahmed; Dahan (1986) by Sheikh Niamat Ali; Shot Bhai (1985) by Abdur Razzak; Ramer Shumoti (1985) by Shahidul Amin; Rajlokkhi-Srikanto (1986) by Bulbul Ahmed; Harano Shur (1987) by Narayan Ghosh Mita; Dayi Ke (1987) by Aftab Khan Tulu; Tolpar (1988) by Kabir Anowar and Biraj Bou (1988) by Mohiuddin Faruk.

The parallel cinema movement was officially started from this decade, though many off-track movies were made of different genres from the 60s. However, the 80s movies were strictly commercial influenced by Indian Hindi commercial films, so there was a necessity of a realism and naturalism cinema movement. The movement was started by Alamgir Kabir. From this movement some intellectual filmmakers came such as, Tanvir Mokammel, Tareque Masud and Morshedul Islam.

In the 1990s most of the Bangladeshi movies were dominated by mainstream commercial movies. Many successful films were produced in this time.^[6] In 1990s, definition of Bangla mainstream commercial movies had changed, because most of the movies were very much influenced by commercial Indian Hindi movies and most of them were direct copies from those Indian commercial Hindi films full with action, dance, song and jokes.^[6] In the 1990s some new directors and actors came to the industry. Intellectual Directors such as Tanvir Mokammel, Tareque Masud, Morshedul Islam, Humayun Ahmed, Nasiruddin Yousuff, Akhtaruzzaman and Mustafizur Rahman made some critically and internationally acclaimed films at that time. Two of Tanvir Mokammel's feature films are featured in the "Top 10 Bangladeshi Films" list by British Film Institute's critics choice.^[21][22]

The 1990s marked the debut and dominance of Salman Shah who is referred as the "Prince of Bangladeshi Cinema" and the "First Superstar of Modern Dhallywood".^[25][26] Regarded as one of the most popular and influential actors in the history of Bangladeshi cinema, he starred in some of the most iconic and successful films in Dhallywood's history which include Ontare Ontare, Ei Ghor Ei Songsar, Sujan Sakhi, Mayer Odhikar and Anondo Osru. Additionally three of his films, Shopner Thikana, Sotter Mrittu Nei and Keyamat Theke Keyamat are among the top ten highest-grossing films of all time in the Dhallywood box office.^[27][28] His untimely death at the height of his fame in 1996, is noted to be a tragic event for the nation which evoked unanimous public reactions of grief and brought the film industry to a standstill.^[29]

Other successful male actors during this time were Alamgir, Jashim, Ilias Kanchan, Nayeem, Manna, Riaz, Ferdous Ahmed and Omar Sani among others.

Among successful female actors were Shabana, Champa, Dolly Johur, Suchorita, Shabnaz. Some notable films from this decade include Padma Nadir Majhi by Indian director Goutam Ghose, Padma Meghna Jamuna by Chashi Nazrul Islam, Pita Mata Sontan and Banglar Bodhu by A. J. Mintu, Aguner Poroshmoni and Srabon Megher Din by Humayun Ahmed, Desh Premik by Kazi Hayat, Anya Jibon by Sheikh Niamat Ali, Poka Makorer Ghor Bosoti by Akhtaruzzaman, Dukhai by Morshedul Islam, Hothat Brishti by Indian director Basu Chatterjee and Chitra Nodir Pare by Tanvir Mokammel. In the late 90s, Sohanur Rahman Sohan's Ananta Bhalobasha released in 1999 was the turning point of Bangladeshi cinema by introducing Shakib Khan, who is now one of the biggest superstars in the industry.^[30]

 

During the 2000s, most Bangladeshi films underperformed commercially and Bangladesh produced about 100 low-budget movies a year. Viewership of Bangladeshi films in general dropped, and the industry was criticized for producing low-quality films whose only appeal was that of cheap melodrama.^[31]

After a drastic decline in the 2000s, the Bangladeshi film industry tried to bounce back after 2006–07. With the help of the Bangladeshi Government and the emergence of big production companies, the Bangladeshi film industry started growing slowly.

 

Among the successful films that released in the 2000s are Ammajan, Premer Taj Mahal, Wrong Number, Shasti, Shyamol Chhaya, Hridoyer Kotha, Daruchini Dwip, Monpura, Priya Amar Priya, Koti Takar Kabin, Chacchu, Khairun Sundori, Amar Praner Swami, Pitar Ason, Tumi Swapno Tumi Shadhona, Mone Prane Acho Tumi, Amar Shopno Tumi, Bolbo Kotha Bashor Ghore, among others.^[32] Besides critically acclaimed films like Kittonkhola, Lalsalu, Hason Raja ,Matir Moyna, Bachelor, Joyjatra, Hajar Bachhor Dhore, Ghani and Chandragrohon were produced in this decade. Most of the successful films during this period starred Manna (until his death in 2008) followed by Shakib Khan, Riaz, and Ferdous Ahmed. Leading female actors included Moushumi, Shabnur, Popy and Champa.

Since 2012, Bangladesh has developed several big production and distribution companies, such as Monsoon Films, Jaaz Multimedia and Tiger Media Limited and the films produced by them have been doing better business than others for their large budget and glamorous appearance. Four of the top ten highest grossing Bangladeshi films were released in the 2010s. In 2014 India's Reliance Entertainment Limited had expressed their interest in producing Bangladeshi films. However, the Bangladesh Film Corporation didn't respond due to the ban on Indian films in Bangladesh. Another notable film was released in the year 2010 named " Jaago " directed by one of the prominent and young director named Khijir Hayat Khan. And "Jaago" is the first sports-based film in Bangla Cinema. Top actors during this period included Shakib Khan, as well as Ananta Jalil, Arifin Shuvo, Bappy Chowdhury, Symon Sadik, Jayed Khan.

In 2020s, a new wave of cinema is going through Bangladeshi film industry. Started during the COVID-19 pandemic, OTT consumption increased largely in the country. New Bangladeshi platforms like Chorki and Binge became popular. Films like Poran, Hawa, Operation Sundarbans, Damal, Leader: Amie Bangladesh, In the mid 2023, Priyotoma was released in Bangladesh and all over the world as well, which became the fastest gross figure collection in the history of Bangladeshi Cinema and the highest grossing Bangladeshi film of all time.^[33][34] New wave directors include Abdullah Mohammed Saad, Mejbaur Rahman Sumon, Syed Ahmed Shawki, Ashfaque Nipun, Sanjoy Somadder, Tanim Noor, Robiul Alom Robi, Raihan Rafi, Himel Ashraf and many more.

The government of Bangladesh played a huge role in the re-emergence of Bangladeshi films. The Bangladesh Film Development Corporation was established as an assistance hub for Bangladeshi cinema. The government also spends about $1 million annually for the development of Bangladeshi parallel cinema and art cinema. Bangladesh Awami League, the present government, spent more than $10 million in 2012 and 2014–15 for the modern technical supports in Bangladeshi cinema.

There is debate about the starting point of independent filmmaking in Bangladesh.

One noted film commentator and filmmaker, Manjare Hassin Murad likes to count Stop Genocide (1971), the documentary made by Zahir Raihan, the greatest filmmaker in 1960s as the first independent film in Bangladesh. The film was funded by newly formed Expatriate Government of Bangladesh staying in India while the country was battling with the West Pakistan Army. Some other critics like Zakir Hossain Raju identified Suryo Dighal Bari (The Ominous House, 1979) as the first independent film funded by Bangladesh Government after independence in 1971 and it was made within the production and distribution network by Film Development Corporation (FDC), the only major studio in Bangladesh. The film brought first international success in post liberation era though it experienced different constraints in releasing and screening in theatres at home. But most of the film buffs consider Agami (Time Ahead, 1984) as the starting point of independent filmmaking. Because for critical and commercial success of Agami, independent filmmaking arrives as a movement. The movement was popularly known as ‘short film movement’ and later as ‘alternative film movement’. The movement got the shape after both critical and commercial success of Agami by Morshedul Islam and Hulyia (Wanted, 1984) by Tanvir Mokammel. Agami got the silver peacock in the best director category in Delhi International Film Festival. Hulyia also got admirations of critics and audience.

These films were funded by directors themselves with support of friends and family members and were shown outside cinema theatres: among the friends, local groups, especially among the students of college and universities and cultural activists. The directors were involved in the entire process of the filmmaking: writing scripts, funding, making and screening. These two films were shown together in different corners of the country and these are real examples of independent films: low and independent funds, alternative distribution channels, shot in 16 mm, without any studio involvement and commercial motives and in content, very much related with national culture and politics. With this set standard and format, a lot of young makers came forward later and a movement started. However, while the contemporary mainstream films have failed to achieve any accolades at home or abroad; directors of the independent genre such as, Tareque and Catherine Masud, Tanvir Mokammel, Morshedul Islam and Abu Sayeed have gained national and international recognition. Matir Moina by Tareque Masud is the most famous independent film and also the most prominent film so far from Bangladesh. Some other good independent films of Bangladesh are: Chaka (1993) and Khelaghar (2006) by Morshedul Islam, Chitra Nadir Pare (1999) and Lalsalu (2001) by Tanvir Mokammel, Shankhonaad (2004) and Nirontor (2007) by Abu Sayeed, Muktir Gaan (1995), Ontarjatra (2006) by Tareque Masud and Catherine Masud, Swapnodanai (2007) by Golam Robbani Biplob.

There are more than 100 production houses in the Bangladeshi film industry, but few have managed to be successful in the market. Such production houses and distribution houses have helped Bangladeshi movies to reach a national and international platform, releasing films and distributing them to audiences overseas. Some well-known production houses in the Bangladeshi cinema include Impress Telefilm, Khona Talkies, SK Films, Monsoon Films, Jaaz Multimedia, Tiger Media Limited, The Abhi Pictures, Fatman Films, and Bongo BD.

Internationally acclaimed Bangladeshi films include Zahir Raihan's Stop Genocide (1971);^[18][19] Ritwik Ghatak's A river called Titas (1973); Sheikh Niamat Ali and Moshiuddin Shaker's Surja Dighal Bari (1979); Tanvir Mokammel's Hooliya (1984), Nadir Naam Modhumati (1995) Quiet Flows the River Chitra (1999), Lalsalu (2001) and Lalon (2004); Morshedul Islam's Agami (1984), Chaka (1993), Dipu Number Two (1996), Dukhai (1997), Duratta (2004) and Amar Bondhu Rashed (2011); Tareque Masud's The Inner Strength (1989), Song of Freedom (1995),^[35][36] Story of Freedom (1999) and The Clay Bird (2002); Humayun Ahmed's Aguner Poroshmoni (1994)^[37][38] and Shyamol Chhaya (2004); Abu Sayeed's kittonkhola (2000), Shankhonad (2004), Rupantor (2008); Enamul Karim Nirjhar's Aha! (2007); Golam Rabbany Biplob's On the Wings of Dreams (2007); Mostofa Sarwar Farooki's Bachelor (2003), Third Person Singular Number (2009), Television (2013) and No Bed of Roses; Tauquir Ahmed's Joyjatra (2004) and Oggyatonama (2016); Rubaiyat Hossain's Meherjaan (2011) and Under Construction (2016); Kamar Ahmad Simon's Shunte Ki Pao! (Are You Listening!) (2012); Zahidur Rahim Anjan's Meghmallar (2014); Aung Rakhine's My Bicycle (2015); Bijon Imtiaz's Matir Projar Deshe-Kingdom of Clay Subjects (2016), Amitabh Reza Chowdhury's Aynabaji (2016) etc. These films won many international acclaims introducing Bangladeshi films to a wide international audiences.^[39] The late Tareque Masud is regarded as one of Bangladesh's outstanding directors due to his numerous productions on historical and social issues. Masud was honored by FIPRESCI at the Cannes Film Festival in 2002 for his film The Clay Bird (2002).

• Dhaka International Film Festival
• Bangladesh Short Film Forum
• International Short and Independent Film Festival
• International Children's Film Festival

• Bachsas Film Awards – since 1972
• National Film Awards – since 1975
• Meril Prothom Alo Awards – since 1998
• Babisas Award – since 2004
• Ifad Film Club Award – since 2012
• Lux Channel I Performance Award
• Green Bangla Binodon Bichitra Performance Award

• Bangladesh Cinema and Television Institute - Bangladesh Film And Television Institute^[52]
• International Academy of Film and Media (IAFM),^[53][54][55] partner of the event International Student Award organised by UniFrance^[56]
• Department of Film and Television (under Jagannath University)
• Television and Film Studies^[57] (under University of Dhaka)
• Graphics Design & Multimedia, BA (Hons.) Shanto-Mariam University of Creative Technology (SMUCT)
• Film and Media Studies, BA (Hons.), Film and Media Studies, MA (under Stamford University Bangladesh)
• Multimedia & Creative Technology (under Daffodil International University)
• Department of Film, Television and Digital Media (FTDM) (under Green University of Bangladesh)
• Department of Media and Communication (under Independent University, Bangladesh)
• Bangladesh Film Institute (past) and Bangladesh Film Institute (present)
• Moviyana Film Society
• Bangladesh Film and Television Academy
• Pathshala Cinema Department
• Bangladesh Film School^[58]

• List of Bangladeshi films
• List of highest grossing Bangladeshi films
• List of Bangladeshi film series
• Independent films of Bangladesh
• [[1]]
• Bangladesh National Film Award for Best Film
• List of Bangladeshi submissions for the Academy Award for Best Foreign Language Film
• History of film
• Cinema of the world
• Cinema of West Bengal

• Database of Bangladeshi Films – IMDb https://cinematicket.site/best-cinema-ticket-price-in-2024/(Archived 25 December 2008 at the Wayback Machine)