It has been a speedy escalation on to the world stage for Abdullah Mohammad Saad, one of many brightest younger filmmakers from Bangladesh, along with his sophomore effort “Rehana” chosen within the Un Certain Regard strand on the Cannes Film Festival.
Saad debuted with the searing “Stay From Dhaka” (2016), a portrayal of a person more and more determined to get out of Bangladesh’s capital metropolis, which gained prime prizes on the Singapore Worldwide Movie Pageant and performed at Rotterdam and Locarno. Like that movie, “Rehana” additionally takes an in depth take a look at up to date Bangladeshi society, warts and all.
The movie follows the titular Rehana (Azmeri Haque Badhon), an assistant professor at a medical faculty whose life adjustments when she witnesses an incident.
“I don’t know if I’m actively attempting to painting my society. I’m very character-driven, so after I tried to look at Sazzad (in “Stay from Dhaka”) and Rehana as deeper as I might, social context turned clearly one of the necessary facets,” Saad informed Selection.
“I can not say for positive the place my pursuits in these themes and narratives originated — maybe it’s as a result of I’ve at all times felt a deep connection to complicated people who find themselves typically judged for the troublesome decisions they made of their lives,” added Saad.
Saad is profoundly influenced by his three elder sisters and likewise seeing his younger nieces and nephews rising up made him take into consideration a number of questions which he raises in “Rehana.” “And naturally, I’ve at all times been very within the relationship between women and men, and the way we deal with one another,” Saad stated.
“Within the very starting, I didn’t have that many thrilling concepts — what stayed with me all through was actually this picture of a cussed girl,” added Saad. “I struggled lots with writing the screenplay and it took me fairly a couple of drafts to lastly perceive the true nature of my curiosity in Rehana and her story.”
The ensuing movie is at Cannes, which Saad described as a “nice inspiration.” He’s on the vanguard of a burgeoning impartial cinema motion in Bangladesh, which is persistently punching above its weight.
“We have now a rising variety of impartial filmmakers who maintain making movies regardless of all of the obstacles and restricted help from state our bodies,” stated Saad. “You will need to word that whereas ‘Rehana’ stands out as the first Bangladeshi movie in Cannes’ official choice, we now have been current recurrently within the worldwide scene during the last decade.”
The final movie from Bangladesh at Cannes was the late Tareque Masud’s Administrators’ Fortnight title “The Clay Hen” in 2002, which gained the FIPRESCI award. In 2012, Mostofa Sarwar Farooki’s “Tv” closed Busan and the nation’s impartial cinema has been persistently lauded internationally since.
Saad is now considering of a personality and taking notes for his subsequent movie.