Dhallywood struggles to attract audiences
The audience crisis in Bangladesh’s cinemas showed little sign of easing this year. Despite the release of multiple films during Eid, star-studded promotional campaigns and big-budget productions, local films struggled to draw audiences consistently.
Much of the year was marked by a lack of new releases and uncertainty over box-office performance. However, while the domestic market remained disappointing, Bangladeshi films made a strong impression at international film festivals.
The release schedule for the first 10 months of the year reveals an uneven pattern. Ekhane Rajnoitik Alap Joruri and Moynar Char hit theatres in January, followed by Barishailla Pori in February.
Five films-Bonolota Express, Domm, Prince, Pressure Cooker and Rakkhosh-were released during Eid-ul-Fitr in March. No local films were released in April, while May saw 13 releases, including eight during Eid-ul-Azha. The pace of releases remained inconsistent in the months that followed.
During Eid-ul-Fitr, Tanim Noor’s Bonolota Express emerged as the frontrunner in terms of audience response and box-office performance. Based on a novel by Humayun Ahmed, the film continued to draw viewers even after its initial release.
Domm, Prince and Raihan Rafi’s Pressure Cooker also generated considerable buzz. However, the eight films released during Eid-ul-Azha failed to deliver the expected box-office results.
Shakib Khan’s Rockstar generated considerable pre-release excitement, but that interest failed to translate into strong cinema attendance. Although Roid and Bonolota Sen performed relatively well, most of the other releases fell short of commercial expectations.
While local films struggled to attract moviegoers, foreign productions found a more receptive audience. This year, Project Hail Mary, Michael, Obsession, The Odyssey and Spider-Man: Brand New Day drew crowds to cinemas in Bangladesh. Demand for tickets to The Odyssey was particularly high.
Spider-Man: Brand New Day received more than 60 screenings a day and recorded significant box-office earnings. In contrast, Chirkut, Sneher Bandhan and Cut-Piece, released during Durga Puja, failed to make an impression at the box office.
Despite the limited commercial success, the year saw some notable films in terms of storytelling and thematic diversity.
Akash Hossain’s The University of Chankharpul explored residential hall culture, student politics and ragging at public universities. Prasoon Rahman’s Shekor presented Bangladesh’s culture and a father’s homeland through the eyes of a child growing up abroad. Meanwhile, Onnopata, a film centred on university students, received a positive response from audiences.
Bangladeshi cinema, however, had a much stronger showing on the international stage. Rubaiyat Hossain’s The Difficult Bride was selected for the Orizzonti section of the Venice Film Festival and went on to win the Premio Bisato d’Oro award.
Rezaur Rahman Sumit’s Master earned several accolades, including the Big Screen Award at the International Film Festival Rotterdam. Sand City, Roid, Annie and Delupi also received recognition at various international festivals.
Towards the end of the year, Raihan Rafi’s Andhar, Shakib Khan’s Soldier and Surongo 2 raised expectations among moviegoers.
However, their release schedules remain uncertain. The release of Andhar has been pushed back to March 26 next year. Shooting for Soldier is still underway, while no new confirmed information is available about Surongo 2.
Overall, this year has been a mix of disappointment and promise for Dhallywood. While local cinemas continued to struggle to bring audiences back, the recognition earned by Bangladeshi films at international festivals offered a reason for optimism.
The industry’s biggest challenge now is to produce quality films that can not only earn critical acclaim but also bring moviegoers back to theatres.