Bangladeshi director Mostofa Sarwar Farooki is attending Mumbai Film Festival with feature-length drama Something Like An Autobiography, which is playing in the festival’s Icons: South Asia section after premiering in the Jiseok section at Busan.
The project is the first in a series of 12 films that Farooki is co-producing with Bangladeshi streaming platform Chorki, among which he will direct the first two installments, with other established and newcomer filmmakers from Bangladesh directing the other ten films. Farooki recently wrapped the second film in the series, Last Defenders Of Monogamy, starring Chanchal Chowdhury in the story of married man and father who finds his firm belief in monogamy being tested.
Farooki and his wife, actress Nusrat Imrose Tisha, both star in the first film in the anthology, playing a semi-autobiographical version of themselves – a husband-and-wife filmmaking couple trying for a baby after the wife has endured several years of being...
The project is the first in a series of 12 films that Farooki is co-producing with Bangladeshi streaming platform Chorki, among which he will direct the first two installments, with other established and newcomer filmmakers from Bangladesh directing the other ten films. Farooki recently wrapped the second film in the series, Last Defenders Of Monogamy, starring Chanchal Chowdhury in the story of married man and father who finds his firm belief in monogamy being tested.
Farooki and his wife, actress Nusrat Imrose Tisha, both star in the first film in the anthology, playing a semi-autobiographical version of themselves – a husband-and-wife filmmaking couple trying for a baby after the wife has endured several years of being...
- 11/4/2023
- by Liz Shackleton
- Deadline Film + TV
Bangladesh is a vital presence at the 2023 Busan International Film Festival with three films in competition and a film at the Asian Project Market.
The current wave of Bangladeshi cinema was heralded by Mostofa Sarwar Farooki’s “Television,” which closed Busan in 2012. The festival has subsequently screened almost every major work emerging from the country.
Farooki’s latest effort “Something Like an Autobiography” plays in the festival’s Jiseok competition. Feature debutants Biplob Sarkar’s “The Stranger” and Iqbal H. Chowdhury’s “The Wrestlers” are in the New Currents competition for first or second features. Robiul Alam Robi’s “Suraiya” is selected for the Apm.
Like all cinema that successfully transcends national borders, this latest crop from Bangladesh is rooted in the local ethos but features themes that are universal. “Something Like an Autobiography,” for example, deals with themes of pregnancy alongside societal and political pressures on celebrities. “The Wrestler” marries sport,...
The current wave of Bangladeshi cinema was heralded by Mostofa Sarwar Farooki’s “Television,” which closed Busan in 2012. The festival has subsequently screened almost every major work emerging from the country.
Farooki’s latest effort “Something Like an Autobiography” plays in the festival’s Jiseok competition. Feature debutants Biplob Sarkar’s “The Stranger” and Iqbal H. Chowdhury’s “The Wrestlers” are in the New Currents competition for first or second features. Robiul Alam Robi’s “Suraiya” is selected for the Apm.
Like all cinema that successfully transcends national borders, this latest crop from Bangladesh is rooted in the local ethos but features themes that are universal. “Something Like an Autobiography,” for example, deals with themes of pregnancy alongside societal and political pressures on celebrities. “The Wrestler” marries sport,...
- 10/9/2023
- by Naman Ramachandran
- Variety Film + TV
One of the tiniest lived-in details in Bangladeshi writer-director Biplob Sarkar’s debut feature — which is really a cluster of tiny, lived-in details — is the sheet of adhesive bindis that Kajal (a delightfully natural Ehan Rashid) snaffles from his mother’s dressing table. The bindis, or as they’re known in these parts, teeps, are worn by Banglasdeshi women of all creeds and religions, but along with an orangey-pink lipstick also taken from the dresser, for Kajal they represent more than mere cosmetic adornment. Instead they’re a gateway for Kajal’s inchoate gender expression, the potency of which is belied by the simplicity and smallness of that little red dot between the eyes. “The Stranger” functions in much the same way: a colorful speck of a movie that somehow contains a whole portrait, like a miniature one might find painted on a grain of rice.
Kajal lives in a...
Kajal lives in a...
- 10/7/2023
- by Jessica Kiang
- Variety Film + TV
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