LIGHTS . MOBILE . ACTION
Contents
Message: Vice Chancellor 02
Message: Pro-Vice Chancellor 03
Message: Prof. Imran Rahman 04
Message: Prof. Jude William Genilo 05
Message: Festival Director 06
Editorial 07
Advisory Panel 08
DIMFF 2020 Executives 09
DIMFF 2020 Campus Ambassadors 11
DIMFF 2020 Volunteers 13
Screening Schedule 14
Program Schedule 16
DIMFF 2020 Jury Board 17
Selected Films of Screening Category 18
Selected Films of One Minute Category 36
Selected Films of Competition Category 38
Lens in the Palm 44
¯^vaxb Pjw”PÎPP©v cv‡i AacZb †VKv‡Z 46
On Healing Power of Cinema 48
FwZ¡‡Ki m‡½ GK Rxeb 49
Mobile Filmmaking: A True Blessing for Indie Filmmakers 50
DIMFF2020 Partners & Sponsors 52
Chief Advisor: Prof. Jude William R. Genilo, PhD, Advisory Editor: Mohammad Shazzad Hossain, Abdul Kabil Khan, PhD, Editor: Fazle Rabbi Shourov, Copy Editor: Syeda Sadia Mehjabin, Editorial Team: Tausif-Ul-Azam Zulfiqur, Mohammed Farhad Hossain Fahad, Rabiul Hoque, Rafi Ahmed, Contributor: Kausar Ahmed Chaudhury, Bidhan Rebeiro, Nandita Tabassum, Wafi Aziz Sattar, Aminul Islam, Cover Design and Illustration: DIMFF Publication Design Team Message Prof. H. M. Jahirul Haque, PhD Vice Chancellor, University of Liberal Arts Bangladesh
I am delighted that the film apprenticeship program, CinemaScope, of the Department of Media Studies and Journalism (MSJ) at ULAB, has been organizing the Dhaka International Mobile Film Festival (DIMFF) for the past 6 years to promote the concept that mobile phones can be a substantial tool for creative pursuits. I congratulate MSJ for continuing this great initiative to give students a global platform where they can be exhibitors while gaining wider cultural exposure around the world.
My sincere thanks to our Chief Guest for kindly consenting to be present at the program. His presence in our midst is a great encouragement to all of us. My sincere appreciation also goes to the distinguished members of the jury who have given us their time and valuable feedback.
Finally, on behalf of ULAB, let me welcome you all to the Dhaka International Mobile Film Festival 2020. I wish this Festival a great success.
Prof. H. M. Jahirul Haque, PhD Vice Chancellor University of Liberal Arts Bangladesh
02 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Message Shamsad Mortuza Pro-Vice Chancellor, University of Liberal Arts Bangladesh
Media studies and journalism is ULAB’s flagship program. Over the last few years it has solidified its niche in the country’s media scene. Curriculum integration, mobile film festival, creative summit are some of the ways the department has demonstrated its commitment to cutting-edge journalistic innovation and media scholarship.
I am glad to hear that there are international jury members for this sixth edition of Dhaka International Mobile Film Festival. Over the next few days, our campus will be vibrant with the presence of filmmakers from different parts of the world, promising filmmakers, and film enthusiasts and critics. I am sure that the exposure to this grand gala will instil creativity and confidence in our students. The event offers an occasion to apply some of the ideas that our students learn in their classrooms as well as to acquire a sense of their own ability while pitting their works against others and showcasing their talents
DIMFF is a celebration that brings minds and souls together. Under the able leadership of the Chief Advisor Prof. Jude William R Genilo this program has become a reality. Mohammad Shazzad Hossain deserves thanks for guiding the promising film enthusiasts. Special thanks are due to our media patron Prothomalo.com for sponsoring the event while the Executive Body of DIMFF for making it happen.
I wish the 6th Dhaka International Mobile Film Festival 2020 a success, and wish everyone concerned a productive stay at ULAB.
Shamsad Mortuza Pro-Vice Chancellor University of Liberal Arts Bangladesh
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 03 Message Prof. Imran Rahman Special Advisor to the Board of Trustees, ULAB
It gives me immense pleasure that the Media Studies and Journalism Department of ULAB is organizing the 6th Dhaka International Mobile Film Festival (DIMFF 2020). The festival is an excellent platform where students from all over the world can demonstrate their artistic mastery in film making using the mobile phone.
DIMFF 2020 will bring together young directors from across the globe. The festival’s agenda is to help the participants hone their creative skills and explore the various global issues and perceive those through the lenses of others. This experience undoubtedly helps young movie lovers to prepare themselves for the future to compete in the broader platform while keeping their individuality in mind.
I congratulate the organizing committee of DIMFF for arranging this fantastic event for the sixth year in a row. I hope everyone who is associated with film will immensely enjoy the two days of screening and networking at this festival. May DIMFF transform from its humble beginning to become a recognized global festival!
Prof. Imran Rahman Special Advisor to the Board of Trustees University of Liberal Arts Bangladesh
04 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Message Prof. Jude William Genilo, PhD Dean, School of Social Science, ULAB
I take great pride in welcoming all the attendees and participants to the Dhaka International Mobile Film Festival 2020. Now on its sixth year, CinemaScope (an apprenticeship program under Media Studies and Journalism Department of University of Liberal Arts Bangladesh) has painstakingly organized this momentous event. From the onset, it has seen the potential of the mobile phone for the purpose of storytelling; seeing the impact it would make in the art of filmmaking.
This year, Cinemascope has received a groundbreaking submission of 202 films from 41 countries. Even better, only 41 of the submissions came from Bangladesh. This creates an atmosphere of being truly global. The festival undeniably creating a mark in the film arena. The festival demonstrates the success of the ULABian belief in active learning wherein gaining knowledge using a practical approach brings out the best in learners and prepares them to succeed in life.
I would like to thank the attendees, participants and organizers for offering your best. Your active participation in using mobile device as a creative tool has opened doors for others to evolve. Your knowledge, expertise and experience will help our future apprentices to set foot on a path which is more known but less walked on. I would also like to thank the ULAB management for their unwavering support to this festival; for sharing our vision and belief in the technology.
The Dhaka International Mobile Film Festival (DIMFF), the first of its kind, has started its journey in 2015 as an outlet for exhibiting class work. In five years, DIMFF has established a reputation from being a home-grown celebration to an international festival.
Warm regards,
Prof. Jude William Genilo PhD Dean, School of Social Science University of Liberal Arts Bangladesh
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 05 Message Riaz Uddin Festival Director, DIMFF 2020
Dhaka International Mobile Film Festival (DIMFF) is stepping into it’s sixth year with two days of screening. I believe DIMFF is a platform which allows young film makers to explore the world of diplomacy through lenses.
This year Dhaka International Mobile Film Festival is promised to be a journey which everyone will remember. As the festival director, it’s my belief that this year's DIMFF will give everyone a different perspective of cinema on the current world.
Organizing an event that promotes liberal thinking and ushers fresh perspectives demands remarkable effort and planning for that I would like to thank my organizing team, all the Advisors and faculty members and staffs for being a part of the 6th Dhaka International Mobile Film Festival 2020.
With the hope of shaping today and challenging tomorrow, I humbly welcome you all to Dhaka International mobile film festival 2020.
Riaz Uddin Festival Director 6th Dhaka International Mobile Film Festival
06 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Editorial
For last five years, ULAB is organizing Dhaka International Mobile Film Festival (DIMFF). This year for the first time, we are presenting this brochure before you. We aim to spread this message among the young generation that it is possible to make a film with your smart phone without any cost. With that goal, we organize the Dhaka International Mobile Film Festival (DIMFF). We can proudly say, this year we have one International Jury and Star Cineplex as our venue partner. We are hoping the readers will love the write-ups and contents.
We, the editorial team of this brochure are in debt to our Advisor Mohammad Shazzad Hossain, authors, executives and all the members who have been supportive of bringing it together. Our special gratitude to our Advising Editor Dr Abdul Kabil Khan for his continuous support. We would also like to thank our Copyeditor Syeda Sadia Mehjabin. Also, our special thanks go to Chief Editor Dr Jude William R. Genillo for supporting us all the time in the form of guidance, motivation and encouragement to continue our journey toward excellence. Last but not least, our heartfelt thanks to our Festival Director Riaz Uddin.
Although we have tried to put our best efforts, errors may still persist. I, as the editor, would like to seek apologies in advance for that. We would be more than happy to receive constructive feedback from you so that we can improve in future.
Fazle Rabbi Shourov Editor
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 07 DIMFF 2020 ADVISORS
Prof. Jude William R. Genilo, PhD Chief Advisor, DIMFF Dean, School of Social Science, ULAB
Mohammad Shazzad Hossain Md. Abdul Kabil Khan, PhD Advisor, DIMFF Advisor, DIMFF Assistant Professor, MSJ-ULAB Assistant Professor, MSJ-ULAB
Syeda Sadia Mehjabin Md. Zahid Hasan Executive Advisor Executive Advisor, DIMFF Dhaka International Mobile Film Festival Instructor, CinemaScope, ULAB
08 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 DIMFF 2020 EXECUTIVES
Riaz Uddin Festival Director
Fazle Rabbi Shourov Tausif-Ul-Azam Zulfiqur AL Arafat Festival Coordinator Submission Manager Event Coordinator
Mohammed Farhad Hossain Afia Zahin Noshin Asadullah Galib Event Supervisor Volunteer Manager Content Manager
Rabiul Hoque Maung Hla Wan Muhammad Ibrahim Mojid Campaign Manager Brand Manager Media Manager
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 09 DIMFF 2020 EXECUTIVES
Rafi Ahmed Sabiha Archi Shrabonti Suchandrima PR Manager Asst. PR Manager Senior Festival Executive
Bidhan Chandra Das Shadman Al Arbi Iatullah Momen Tajkir Festival Executive Creative Manager Production Executive
Mahfuj Bin Alauddin Rizon Subashish Bagchi Anik Akash Islam Production Executive Production Executive Production Executive
10 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 DIMFF 2020 CAMPUS AMBASSADORS
Tiantian Wu Sumaiya Nabila Jobayarul Hasan M Moshahid Ul Islam Kallol The University of Truckee Meadows Help College Of Arts And The City College of New Manchester, England Community College, Technology, Malaysia York, United States United States
Nabeel Rehman Mohim Ahmed Naim Kausar Hamid Jawad Mohammad Jawad Hossain Kohat University of Darmstadt University of University of Dhaka, University of Chittagong, Science and Applied Sciences, Bangladesh Bangladesh Technology, Pakistan Germany
Anupam Hore Sefat Ul Alom Rahul Roy Aviraj Abeer Modak Chittagong University of University of Rajshahi, Jagannath University, Jatiya Kabi Kazi Nazrul Engineering and Bangladesh Banglades Islam University, Technology, Bangladesh Bangladesh
Redowan Ullah Himel Md Salah Uddin Sumon Rubayet Faruki Mohammad Iqbal Hossain Jashore University of Bangabandhu Sheikh Independent University BRAC University, Science and Technology Mujibur Rahaman Science Bangladesh, Bangladesh Bangladesh Bangladesh & Technology University, Bangladesh
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 11 DIMFF 2020 CAMPUS AMBASSADORS
Farhana Haque Chowdhury East West University, Bangladesh
Mirza Md Shakil Mesbah Uddin Shifat Noman Ibne Zahan MD Saber Hossain University of Asia Pacific, United International Canadian University Of Daffodil International Bangladesh University (UIU), Bangladesh, Bangladesh University, Bangladesh Bangladesh
Tanvir Hasan Rizon Chowdhury Mahfuzur Rahman Ajit Kumar Banik Port City International BGMEA University of Fashion International University Of National Institute of Textile University, Bangladesh & Technology, Bangladesh Business Agriculture & Engineering & Research Technology, Bangladesh (NITER), Bangladesh
Aziz Faysal Nayem Ankon Bhattacharjee Nadim Al Mahmud Shaiful Rakib Institute of Science Shaikh Burhanuddin Post Siddheswari College, Ananda Mohan and Technology, Graduate College,Dhaka, Bangladesh University College, Bangladesh Bangladesh Bangladesh
Imtiaz Arefin Mahmudur Rahman Himel Mehraj Rahman Shwapnil Nishat Anjum Saki Mymensingh Engineering Scholars School and Shahajpath High School, Nalonda High School, College, Bangladesh College, Bangladesh Bangladesh Bangladesh
12 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 DIMFF 2020 VOLUNTEERS
Mehedi Hasan Auntor Tasnim Rahman Abdullah Sarowar Alif Atkia Adiba Binti
Md Foysal Sahariar Md Yeasin Arafat Shuvo Mehjabin Kawsar Sarker Pritha Mrittika
Md.Rafatul Islam Sraboni Sultana Srabon Raihan Tanbir Shuvo Md Injamamul Islam
Golam Safayet Sakir Naimul Hasan Saron Sheham Bintha Salim Shihab Uddin Choudhury
Sifat Nusrat Raihan Atique Tazizul Islam Farah Ashrafi Maliha Rahman
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 13 Opening & Featured screening PC1 11:00 am, February 28, 2020 | Auditorium, ULAB Permanent Campus Theme: Gender and LGBT Stealth by Inga Vosk (Russian Federation) SCHEDULE SCREENING
Special talk and Parallel Screening PC2 3:00 pm , February 28, 2020 | Auditorium, ULAB Permanent Campus Theme: Sustainable Development Winged Miracle by Zahra Mirrza (Azerbaijan) Ronaldo by Abdul Hamid Mandgar (Afghanistan) ABC- The Beginning by Anirban Ghosh (India) Dreamsters by Prakash Mohandas (United States) The Adventure of Palalay: A Journey of Rice by Arjanmar Rebeta (Philippines) Elegy by Paul Kelly (United States) Race Against Racism by James Hyams (Australia) Target with Pete by Emily Olmos (United States) Roots by Enrico Mughetti (United Kingdom) Stencil by Mohammad Hasani (Iran) Submerged by Tom F. Pardo (France) The Earth Is Small For Fish by Ramtin Serajpour (Iran)
Parallel Screening A2 3:00 pm, February 28, 2020 | Auditorium, Campus A, ULAB Theme: Human Rights Embrace me by Nemanja Lakić (Montenegro)
Parallel Screening B2 3:00 pm, February 28, 2020 | Screening Room, Campus B, ULAB Theme: Law and Justice Photo by Roman Sinitsyn (Russian Federation) Ana and the Flames by Pauline Moussours (France) Bhopala- A Big Zero by Ravindra Mathadhikari (India) For a Better Life by Reza Golchin (Iran) Fugitives by Frank Benitez (Colombia) Katha, a Conversation by Tamali Ghosh (India) Noise Silence Music by Karishma Choudhury (France) Pulpe Fiction by Janek Tarkowski (France) The New Forbidden City by Viv Li (China) Thought by Rahul Chakraborty (India) Hi, How are you? by Howon Kim (Korea) Bon Appetit (Enjoy Your Meal) by Saman Haghighivand (Iran)
14 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 SCREENING SCHEDULE Special talk and Parallel screening PC3 11:00 am, February 29, 2020 | Auditorium, ULAB Permanent Campus Theme: Mental Health Aquarium by Rohitaswa Mukherjee (India) Aami by Faisal Ahmed (Bangladesh) Antifilm by Eugin (India) Bookshelf by Anton Kononov (Russian Federation) Dante Cafe by Dumitru Grosei (Romania) Firefly (A Day in the Dark) by Gino Rodríguez (Spain) Inferior by Subham Bhattacharjee & Suporteem Mukherjee (India) Voice by Orest Smilyanetz (Ukraine) 9 lb Hammer by Trevor Choi (Hong Kong)
Parallel Screening A3 11:00 am, February 29, 2020 | Auditorium, Campus A, ULAB Theme: Media & Technology You are Not Alone by Haidi Song (China) Cleptoman by Giuseppe Casapulla (Italy) The Mojo Revolution: News from the Palm of Your Hand by James Mahon (UK)
Parallel Screening B3 11:00 am, February 29, 2020 | Screening Room, Campus B, ULAB Theme: Poverty & Basic Rights The Satan's Horn by Mohammad Hadi Ghorbani (Iran)
Closing and Featured screening SC1 3:00 pm, February 29, 2020 | Star Cineplex, Shimanto Shambhar, Dhanmondi 2 Theme: Youth Empowerment All Winners by Meherun Nesa (Bangladesh) Zumbalão by Oficina de Animação Luz Câmera Ação! (Brazil) The Greatest Year of My Life by Abeed Mohaimin (Bangladesh) Flower Bag by Zayba Tahzeeb (Bangladesh) Aanol by Shafin Nur (Bangladesh) Nostalgia by Giacomo Tinti (Italy) Distortion by Raiyan Momen (Bangladesh) Existence by Sajjad Hossain Raju (Bangladesh) City by Ashwyn Goveas (India) 100 Taka by Syed Mortuza Hussain (Bangladesh) Lily by Jingwei Bu (United States) Alive by Abdolreza Salimi (Iran) Color of Sound by Saiyeed Shahjada Al Kareem (Bangladesh) Sharee by Sibasish Bagchi Anik (Bangladesh) The Conundrum by Anupam Hore & Tahsin Ahmed (Bangladesh) Our Fathers' Sins by Gan (Canada) Sealed Deal by Shamim Neha (Bangladesh) In the Pink by Buğra Mert Alkayalar (Turkey)
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 15 PROGRAM SCHEDULE
Opening Session February 28, 2020 (Friday) Auditorium, ULAB Permanent Campus, Mohammadpur
11:00 am Welcome speech by Prof. Jude William R. Genilo, Dean, School of Social Science 11:05 am Introduction of DIMFF by Festival Director, DIMFF 2020 11:10 am Certificates for Mobile Film Making Workshop 11:15 am Feedback from Jury DIMFF 2020 Ms. Sadia Khalid Reeti, Screenwriter & Film Critic 11:20 am Feedback from Jury DIMFF 2020 Ms. Devaki Bista, Filmmaker & Multimedia Journalist 11:25 am Feedback from Jury Chair DIMFF 2020 Mr. Arifur Rahman, Independent Filmmaker & Producer 11:30 am Inauguration speech Prof. H M Jahirul Haque, Vice Chancellor, ULAB 11:35 am Crest handover for campus ambassadors and jury members 11:45 am Featured screening PC1 01:15 pm Vote of thanks by Ms. Syeda Sadia Mehjabin, Executive Adviser DIMFF
Parallel session February 28, 2020 (Friday) Auditorium, ULAB Permanent Campus, Mohammadpur
3:00 pm Special talk 1: The Art of Smartphone Cinematography by Fuaduzzaman Fuad 3:30 pm Parallel screening PC2
Parallel Session February 29, 2020 (Saturday) Auditorium, ULAB Permanent Campus, Mohammadpur
11:00 am Special talk 2: Are Smartphones the Future of Filmmaking by Dr. Abdul Kabil Khan 11:30 am Parallel screening PC3
Closing Session February 29, 2020 (Saturday) Star Cineplex, Shimanto Shambhar, Dhanmondi
3:00 pm Film Screening: Featured screening PC4/SC1 4:10 pm Welcome speech by Mahboob Rahman Ruhel, Chairman, Show Motion Limited (Star Cineplex) 4:15 pm Speech of special guest Kamar Ahmad Simon, Filmmaker 4:25 pm Speech of chief guest Prof. Gitiara Nasreen, Film scholar 4:35 pm Award and certificate handover 4:50 pm Vote of thanks by Dr. Md. Abdul Kabil Khan, Adviser DIMFF 4:55 pm Venue closed
16 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 DIMFF 2020 JURY BOARD
Arifur Rahman Independent film and documentary maker
An Anthropology graduate, Arifur Rahman is an independent filmmaker from Bangladesh. His interest in filmmaking grew while studying at Jahanginagar University. He is one of the pioneers in establishing the proper producing concept in Bangladesh. Recently, he just finished the graduation programme from Busan Asian Film School on Film Producing in 2019. His production expertise has been acclaimed globally. His projects have been featured in numerous International Festivals such as- Berlin, Venice, Busan, Seattle, Rotterdam, Locarno, Singapore, Stockholm, Cinequest, Sheffield and Shanghai International film festival. In 7th Chicago South Asian Film Festival, his first feature “Kingdom of Clay Subjects” received Best Film award in 2016. Besides, narrative fiction films, Arifur Rahman displays his passion for producing documentaries. He has worked in collaboration with BBC, Scottish Documentary Institute, Bangladesh Documentary Council, and NHK TV. His documentary project ‘Beyond the wave: Bangladeshi Surf Girls’ has won the best pitch award in Colors of Asia, Tokyo Docs in 2015. Apart from Fiction and Documentary, his works expand in TV and Online medium as well. 'Riskawala' a factual-reality show, he just completed. Along with his filmmaking partner Bijon, Arifur Rahman has established a global filmmaking platform named ‘Goopy Bagha Productions Limited’.
Sadia Khalid Reeti Screenwriter and Film Critic
Sadia Khalid is a screenwriter and film critic from Bangladesh. She graduates in Screenwriting from the University of California, Los Angeles and works on numerous scripts in Hollywood while working at AMBI Distribution. As an entertainment journalist, Sadia has worked at the Daily Bruin in Los Angeles and the Daily Star in Dhaka. Currently, she is the Cultural Editor of Dhaka Tribune, one of the leading English dailies in Bangladesh and as well as an adjunct lecturer at ULAB. Sadia has served as a jury member at different international film festivals like Religion Today Film Festival in Italy, Siliguri Short and Documentary Film Festival in India, Human Rights Film Festival in Nepal, Global Youth Film Festival and so on. She made her mark as a FIPRESCI (International Federation of Film Critics) jury at Cannes Film Festival this year and Dhaka International Film Festival last year.
Devaki Bista Filmmaker, Multimedia Journalist
Devaki Bista was born and brought up in Far-Western district of Nepal. She chooses to be a journalist; the nine years of her professional life has taught her that practice is the stairs to success and shown her path forward till now. Her documentary film “In Searches of Devaki” on “Deuki custom”, where a family or an individual offer a young lady to the God to fulfil their wish has bagged the national and international award. She was honoured by “Young Creative leader better for all” award from Women Economic Forum, Delhi- 2018, Women Video Maker of the year 2019 by “We Will Rise Foundation” and NFPJ, Harigopal Courageous Photojournalist Award 2019. At the moment, she works with www.breaklink.com as a country head in multimedia Journalist.
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 17 SELECTED FILMS OF Screening Category
Elegy SYNOPSIS A visual elegy, veiled in music, welcomes the viewer to Hemlock Hollow.
DIRECTOR’S BIO
Paul Kelly is a playwright and filmmaker. His published plays have consistently received positive reviews and have been particularly popular with audiences in stage performances at Off-Broadway and Regional Theatres. He has been a member of the Dramatists Guild of America since 1995. Kelly is a founding member of two New York City playwriting groups. His work has made the leap from stage to screen where he directed the SAG-AFTRA SUBMISSION CATEGORY short films, "Fermented" (2010), "My Day" (2013), "Last Words" (2015), "Now" Screening (2016) and "Final Polish" (2017). His films have won several festival and
Film Type / Genre competition awards. Experimental, Short Kelly's super short films include, "Another Visit" (2015), "Who Ate All the Children?" (2016), "MT7" (2016), "Free" (2016), "Bruno, Maya and the Pothole" DURATION (2016), "Rough Road" (2016), "The Unattended" (2018), "Fowl Fury" (2018), 4 Minutes 43 Seconds "Burying Chekhov" (2019), "Origin Story" (2019) and "Elegy" (2019).
DIRECTOR COUNTRY Mobile Phone Model Paul Kelly United States iPhone 7 Plus
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus Race Against Racism SYNOPSIS When refugee Mohammad tries to buy tobacco with a cashless welfare card, Aussie patriot Neil launches a tirade of racist abuse. The bystanders remain silent except for a Vietnam Veteran, Bob, who has something in common with Mohammad - they both spent time in a warzone.
DIRECTOR’S BIO James Hyams is an award winning documentary journalist who is diversifying into fiction film. James is interested in fact-based fiction, true stories, films that push the boundaries of modern cinema as well as films with themes SUBMISSION CATEGORY promoting social justice and citizenship behaviour. Screening
Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Short 6 Minutes James Hyams Australia Samsung Galaxy S9
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus
18 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 ABC -The Beginning
SYNOPSIS
ABC- The beginning, a short silent mobile phone movie, tells a heart touching tale of a street child who finds a new meaning in his life. At the very outset, we find a boy collecting wasted things. He finds a pen and an exercise book and takes them as garbage. But we come to know that all these were scattered intentionally in order to attract the kid to an open school for the underprivileged kids. The boy discovers the utility of pen and he takes it out from his garbage bag. Shoot with a smart phone camera (Lenovo K5 Note), the film talks about the need of elementary education among the underprivileged children.
SUBMISSION CATEGORY Screening
Film Type / Genre Short DURATION DIRECTOR’S BIO 4 Minutes 58 Seconds I, Dr. Anirban Ghosh, a veterinarian by profession, have a keen interest in DIRECTOR Anirban Ghosh digital filmmaking since a few years. 'Iichhe Nadir Galpo' was my debut film. 'Kite'& ‘ DIARY ’ another short films, have been screened in several national COUNTRY and international film festivals & got awards. I deal with various social, India environmental and other issues in my films. Despite the lack of funding and Mobile Phone Model professional film making equipment, I have been making films in my own way Lenovo k5 note and creativity.
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus The Adventure of Palalay: A Journey of Rice SYNOPSIS A dream of every rice grain is to be planted again so that their breed will continue, except for one special rice grain named “Palalay” who has a different dream. Her only dream is to be served in a meal for a human, because for her, to be eaten by a human is the essence of a rice grain. This comedy short film will follow the adventure of a rice grain in achieving her dream. The journey starts from the harvest at the farm, to rice mill, to marketplace, to family’s dining table until the very last moment in a life of a rice grain - Palalay.
SUBMISSION CATEGORY Screening DIRECTOR’S BIO Film Type / Genre Animation, Short, Web / Arjanmar H. Rebeta is a Filipino photographer & filmmaker. He is a recipient of New Media "Harvest of Honors" Award for Cinema by the National Commission for Culture and the Arts, Film Ambassador by Film Development Council of the DURATION Philippines & Gawad CCP para sa Alternatibong Pelikula at Video by Cultural 8 Minutes 42 Seconds Center of the Philippines, and Indie Bravo Award by Inquirer Philippines. DIRECTOR He made short films such as Palabas, Viral Kids, At Home, A Boxing Country, Arjanmar Rebeta The Complicated Dance to the Wheel of Life, Mr. Whistle, among others. COUNTRY His films have been selected & awarded in different film festivals in the Philippines Philippines and around the world such as Signs of the Night (France), InterFilm Mobile Phone Model Berlin (Germany), Ismailia (Egypt), Belize (Belize), Szczecin (Poland), Soria iPhone 6s (Spain), and many more. 3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 19 #STEALTH SYNOPSIS Cucumber (Vasya) arrives in St Petersburg in search of his brother, Alec. Picked up by Alec's girl, Alla, he is carted around the city, encountering different characters, on a day that will affect all their lives.
DIRECTOR’S BIO
My name is Inga Vosk and I am a filmmaker from St Petersburg, Russia currently living in Los Angeles. I am a graduate from the St Petersburg High School of Screenwriters and Directors (2012), - from the New York Film Academy, Los Angeles (2015), - from UCLA Screenwriting Professional SUBMISSION CATEGORY Program (2017). Since 2017 I have been a member of Writers Guild of Screening America, West and The Animation Writers Caucus. I am fond of cinematography in general and in animation particularly. I write scripts, plays Film Type / Genre and animation serials. My scripts made the short and long lists of the most Experimental, Feature prestigious contest for young writers in Russia. Two of my scripts were shot as DURATION short movies. Other scripts of mine have been highly regarded, for example, 1 Hour 30 Minutes my script “Leo, The Hero” (animation feature about the Hermitage cats) was DIRECTOR in the top 10% of Best Scripts in the BlueCat Screenplay Contest. In the Inga Vosk nomination “Best International” I am the only Russian. Now “Leo, The Hero” is on the shortlist of the BlueCat Screenplay Contest. For the last four years I have COUNTRY been involved in animation projects where I have taken part as a writer and Russian Federation director: “PingiKroki – Lessons and Karaoke” are educational cartoons for kids, Mobile Phone Model the first Russian animation brand for kids 0-3 years, has become popular on iPhone X, iPhone 6 YouTube. It’s now being broadcast on Smart-TV channels and on cable TV.
11:00 am, 28 February 2020 | Auditorium, ULAB Permanent Campus
Winged Miracle SYNOPSIS Azerbaijan, 1937. A poet for Panturkish ideological ideas was arrested. The girl comes to the prison to visit her father. The girl, who brought the picture to her father, faces the guard. Qardian does not allow the image to be imported. Because in the picture, a bird in a cage (like irony) is depicted. The girl regrets. A few days later he comes to visit his father with a new painting. Gardian looks at the picture and tears it. This time, the girl only took a picture of a bird. (symbolizes freedom). He needed a lot of time to draw a new one. And that's when it came. The girl takes her picture and goes to visit her father. Little girl's big fight is starting again. Gardian looks at the picture of the tree and calls his chief for permission. The chief is letting the girl meet her father. The girl goes to her father and hugs her. Father looking at the picture and say It's a beautiful tree. The tree has fruit. asks what the fruit is. The girl whispered that they were actually birds. She hid the birds behind the leaves and
SUBMISSION CATEGORY took them to his father. Screening
Film Type / Genre Feature, Music Video Short, Student, Other DURATION DIRECTOR’S BIO 7 Minutes 35 Seconds
DIRECTOR I was born in Azerbaijan In Baku in 1998.I was study Gymnasium of Arts scool.I Zahra Mirrza am studing Film Director at Azerbaijan State University of Culture and Arts COUNTRY now. Winged miracle is my first film.I participated in more than 30 festivals with Azerbaijan this film. And I was awarded with Grand Prix.
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus
20 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Ronaldo SYNOPSIS The children are cluping for Ali to encourage him to play with ball at the end we see that Ali is defective.
DIRECTOR’S BIO
Afghan filmmaker he award winning from human rights film festival of Bangladesh and awarded the best Director from herat international film festival he directed 5 short film all of his film about woman and children in Afghanistan. Film Type / Genre Experimental, Feature, Short, Other
SUBMISSION CATEGORY DURATION DIRECTOR COUNTRY Mobile Phone Model Screening 60 Seconds Abdul Hamid Mandgar Afghanistan Samsung Galaxy s7
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus Dreamsters SYNOPSIS Music film about Kids plan to party in a new club in town goes unexpected.
DIRECTOR’S BIO
iPhone, GoPro, Drone Filmmaker - Weddings, Corporate Videos, Short Films, Music Videos, Engagement Proposal Videos Location : Austin, Texas, United States
Film Type / Genre Mobile Phone Model Music Video, Short iPhone 7 Plus, iPhone 6S plus, iPhone 6
SUBMISSION CATEGORY DURATION DIRECTOR COUNTRY Screening 5 Minutes 26 Seconds Prakash Mohandas United States
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus The Earth Is Small For Fish SYNOPSIS Mina and Daniel get to know each other during an accident and are interested in each other ...
DIRECTOR’S BIO
Born 21 july 1987 in Tehran. Master Of TV Producer IRIB University
Film Type / Genre Mobile Phone Model Short iPhone 7 Plus, iPhone 6S plus, iPhone 6
SUBMISSION CATEGORY DURATION DIRECTOR COUNTRY Screening 19 Minutes Ramtin Serajpour Islamic Republic of Iran
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 21 Submerged SYNOPSIS Submerged by the noise of the city, a young woman finds refuge into a world of silence.
DIRECTOR’S BIO
Tom F. Pardo is a French film director, screenwriter, editor and photographer. Pardo has loved motion picture for as long as he can remember. Shooting SUBMISSION CATEGORY Screening short films with friends by the age of 12, and cutting videos throughout his teenage years, his first aspiration was to become a copywriter in an Film Type / Genre advertising agency. Experimental, Short After a master degree in Communication & Media at the Paris School of DURATION Business and a dual-degree in the US, Tom landed a few student jobs from 4 Minutes 44 Seconds video editor in Los Angeles to PA in New York, and junior producer in his native DIRECTOR Paris. He then moved to London, where he worked for nearly three years as Tom F. Pardo an assistant editor in a movie trailer house based in Soho. His first short film, COUNTRY Submerged, won the Grand Jury Prize and the Public’s Choice Award at the France PLUG Film Festival in Nice in september 2019, and is about to start a festival run
Mobile Phone Model around the world. Alongside this project, Tom is also working on two short films, iPhone 8 including one animated film, along with his first live-action feature, Riviera.
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus
Embrace Me SYNOPSIS Mirko is a successful writer, but a very sad man. He marries 25 years younger woman after a meaningless romance. Couple weeks after the wedding he wants to commit suicide, so he deliberately causes a car accident. He survives the crash, but remains physically handicapped. After couple of stressful weeks Vesna decides to leave him. Mirko can not take care of himself. He employs a housekeeper, Dragana. At the beginning, their relation is full of tensions, but later they develop friendship. Dragana has a lot of problems with her violent ex husband and she wants to move abroad, but she does not have enough money for this. At the same time, Mirko desperately wants to die. He makes a business proposal - he will give her money she needs, if she kills him.
SUBMISSION CATEGORY Screening
Film Type / Genre Feature DIRECTOR’S BIO DIRECTOR Nemanja Lakić Nemanja Lakić was born in 1991. He graduated from university of Dramatic Art, Cetinje. He directed short movies and experimental documentary The COUNTRY Theory of Everything. Embrace me is his first feature movie. Montenegro
Mobile Phone Model DURATION iPhone X 1 Hour 40 Minutes 28 Seconds
3:00 pm, 28 February 2020 | Auditorium, Campus A, ULAB
22 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Target with Pete SYNOPSIS With the right person, errands don’t feel like chores.
DIRECTOR’S BIO
Born and raised in Southern California, Emily listened to the fireworks of the Anaheim Angel’s Stadium from her mobile home park where she passed her time glued to the TV, writing books, and creating comic books. But after acting in her first commercial, she became exposed to another art form, film. Fascinated by the outlet, she directed her first short, winning “Best PSA” at the SUBMISSION CATEGORY Orange County Film Festival. That same year, she was accepted to USC Screening School of Cinematic Arts. At USC, Emily was introduced to analog Film Type / Genre photography, rotoscope technology, and fell in love with directing music Animation, Short videos. Her animated short “Target with Pete” will be on display at El Segundo Museum of Art (ESMoA) as a part of their International Film Festival. Although DIRECTOR COUNTRY Emily Olmos United States she is located in Los Angeles, Emily calls Guatemala her second home. She hopes to share the beauty of the country and its people through her films and DURATION Mobile Phone Model photography. When Em’s not working on her next project, you can find her 31 Seconds iPhone8 writing down her dream from last night, cooking, or swimming at Point Dume.
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus
Roots SYNOPSIS This film shows how pruning can seriously endanger your life!
DIRECTOR’S BIO
I started making short films in my hometown (Ravenna, Italy) to express my evergreen passion about cinema. I explored other video forms SUBMISSION CATEGORY (documentaries, film concerts and spots) made on commission before Screening moving to London, England for my studies. Adapting to the life in a new country can be challenging for many reasons (different culture, language, Film Type / Genre bureaucratic system, financial pressure, etc...). However, the multicultural Short background of London and its rich artistic network gave me a renewed DIRECTOR creative flair and critical perspective when I look back on my work. Enrico Mughetti
DURATION COUNTRY Mobile Phone Model 2 Minutes 6 Seconds United Kingdom Samsung Galaxy S6
3:00 pm, 28 February 2020 | Auditorium, Campus A, ULAB
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 23 Stencil SYNOPSIS About door
DIRECTOR’S BIO
I started film making from 2015 in Iranian Youth Cinema Society. After a year I have accepted in Art university and I studied in Cinema director course and participated in the workshops. 36th Fajr International film festival Talent Campus, Tehran international film festival, 11th Cinema verite, International 100 second Film Festival, 5th International Shahr Film Festival are the festivals and workshops that I compete in. I rewarded in 11th and 12th International 100 Second Film Festivals by my two films named "Here I think of all my
SUBMISSION CATEGORY freedom" and "Stencil". The last film I have just created is an experimental film Screening "Sum of Details"
Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Documentary, Short 1 Minutes 40 Seconds Mohammad Hasani Islamic Republic of Iran Samsung A5
3:00 pm, 28 February 2020 | Auditorium, ULAB Permanent Campus Photo SYNOPSIS The story of one photo and two people.
DIRECTOR’S BIO
Roman Sinitsyn was born in Leningrad ( now Saint -Petersburg ), Russia, September 16, 1983. In 2011 graduated from Russian Academy of Theatre Arts ( GITIS ) in Moscow. Directing department : Directing and Acting, Сourse SUBMISSION CATEGORY Prof. Е. Kamenkovich and D. Krymov. Screening
Mobile Phone Model Film Type / Genre DURATION DIRECTOR COUNTRY Short 1 Minute Roman Sinitsyn Russian Federation iPhone XR
3:00 pm, 28 February 2020 | Screening Room, Campus B, ULAB
For A Better Life SYNOPSIS This film is about an asylum seeker, seeking for a better life.
DIRECTOR’S BIO
I am freelance photographer and filmmaker, live in Iran (Rasht city). I have been working on documentary photography as well as film making. In these years, I was been working in social subjects. I aim to artistically capture SUBMISSION CATEGORY important moments in everyday life rather than merely document. Screening
Mobile Phone Model Film Type / Genre DURATION DIRECTOR COUNTRY Documentary, Experimental 1 Minute Reza Golchin Islamic Republic of Iran iPhone 5
3:00 pm, 28 February 2020 | Screening Room, Campus B, ULAB
24 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Bhopala - a BIG Zero
SYNOPSIS
Vidya, A curious school girl, who has enjoyed a village fair recently, writes an essay about it in her own words.. but she scores a ‘BHOPLAA’ that is BIG ZERO in exam. At the same time another girl Apeksha, who has never experienced a village fair writes an essay by just mugging up the words given by teacher and scores out of marks in same exam. Vidya realises the that our education system is faulty, where mugging up things without clear understanding becomes necessity and marks takes over the knowledge. The system is not emphasizing on making true knowledge seeker but creating duffers.
SUBMISSION CATEGORY Screening
Film Type / Genre Short DURATION DIRECTOR’S BIO 6 Minutes 30 Seconds Ravindra has recognized for many awards. DIRECTOR Ravindra Mathadhikari Officially Selected for AFRICAN SMARTPHONE INTERNATIONAL FILM FESTIVAL (ASIFF 2017), Lagos Nigeria, his film was also nominated for BEST FILM category COUNTRY under mobile shoot section at 5TH MY MUMBAI SHORT FILM FESTIVAL. Along India wih Appreciation Award at 9TH NASHIK INTERNATIONAL FILM FESTIVAL and Mobile Phone Model Officially Selected for 2nd NPS International Children's Film Festival-17. Samsung J7
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
Ana And The Flames
SYNOPSIS Ana cannot remember a thing when she gets back to earth. She meets Rosa in a strange city. “You must not stay” she tells her, “everything will burn soon.”
DIRECTOR’S BIO
Born in 1989. Pauline Moussours studied cinema at the University Paris SUBMISSION CATEGORY Nanterre, where she graduated with a bachelor’s degree and a master’s Screening degree in cinema. Since 2011, she has been working in the production of independent cinema. She wrote a short film script, RACHEL ET TERENCE, Film Type / Genre awarded at the Short Film Festival of Grenoble ; also a feature film script, LES Short OEILLETS ROUGES, for which she was a finalist of The Scenario Prizes. ANA AND DURATION THE FLAMES is her first film, which she wrote, self-produced and directed all 16 Minutes 37 Seconds alone with an iPhone.
DIRECTOR COUNTRY Mobile Phone Model Pauline Moussours France iPhone 6s
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 25 Fugitives SYNOPSIS The wedding couple on the road. She, excited and hysterical, dreams about the married life together forever. He, smiley and absent-minded, maybe does not think the same.
DIRECTOR’S BIO
A graduate of the National University of Colombia Film School with a master degree in scriptwriting. Teacher of filmmaking at El Externado University in Colombia. Founder and director of Planeador Films, producing several award-winning short films since 2010. SUBMISSION CATEGORY Along with Fugitives, he also directed, “Muñeca” (Short) 2012, “I’m scared” Screening (Short) 2012, “Minuto 200” (Short). 2011, “El Pantera”., And two is still in Film Type / Genre production, one is documentary and the other is “Karina’s suit” (Short) Short
DURATION DIRECTOR COUNTRY Mobile Phone Model 6 Minutes 18 Seconds Frank Benitez Colombia iPhone 7
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
Noise Silence Music
SYNOPSIS It's a film about how unknown words creates noises and with a pinch of silence how words gets meaning of love & music.
DIRECTOR’S BIO
SUBMISSION CATEGORY Screening Roaming around in the spiritual land of Bangladesh (South Asia) Karishma Film Type / Genre Choudhury started to express her magical stories in the television advertising Documentary, Experimental industry in Dhaka from fourteen years back starting as a casting director to assistant director. She worked as a fashion films producer too. The thirst of big DURATION screen motivated her to direct and produce fictions and documentaries. 1 Minutes 59 Seconds Eventually, she moved to Paris to study Bachelor of cinema in 2014 In the birth land of cinema, she is capturing moving images as a cinematographer to tell DIRECTOR stories. Karishma Choudhury He directed films have been screened and nominated at various film festivals in Bangladesh, England, France, Australia, USA, and Ireland. As a COUNTRY cinematographer, her film Boiled Eggs won the Best Film Award in Italy at the France MonFilmFest at Casale-Monferrato. Currently, she is working as a Director and Cinematographer in her Mobile Phone Model hometown Dhaka. iPhone
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
26 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Katha, a conversation
SYNOPSIS The film depicts the journey of an elderly couple who meet after 27 years. Just as they find solace in each other, tragedy strikes. The film leaves a touching message that true love never lets a life end.
DIRECTOR’S BIO SUBMISSION CATEGORY Screening Tamali Ghosh is an amateur independent filmmaker who chose this medium
Film Type / Genre of short film to reach a larger audience through digital platform and to Short convey the social messages her films want to convey. Her first two films -" Bondhu" and "Bodhon" had received several laurels and recognition through DURATION short film festivals in and outside India. Belief in simplicity of life and a 7 Minutes 10 Seconds conviction to frame the life around us, Tamali aspires to continue with her DIRECTOR journey in this medium of short films. Tamali Ghosh Mobile Phone Model COUNTRY Redmi note 7 pro, Redmi 5A by Xiaomi India
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
Pulpe Fiction SYNOPSIS Which luscious candidate will pass the casting?
DIRECTOR’S BIO
Janek Tarkowski is a a self-taught screenwriter and film director who is fascinated by the study of how the advancement of technology affects society, and will exponentially continue to do so. A Humanities Postgrad, he first worked as a media consultant before making the big move to work full-time for his lifelong dream : film writing and directing. He became SUBMISSION CATEGORY producer and director working in an audiovisual production company for 5 Screening years whilst developing his own personal projects on the side, before finally becoming a full-time independent filmmaker. Film Type / Genre Animation
DURATION DIRECTOR COUNTRY Mobile Phone Model 1 Minute Janek Tarkowski France Samsung Galaxy S7 Edge
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 27 The New Forbidden City
SYNOPSIS Beijing, the center of one of the most powerful countries at our time, has forbidden many to stay in its town. Is it political? Is it environmental? or is it simply racial? The director spent two months investing into the strict regulations of Beijing's forbidden rules, only to discover a beginning of a start. Entirely shot on an iPhone, the film managed to capture some of the most sensitive moments between the enforcer and the residents.
DIRECTOR’S BIO SUBMISSION CATEGORY Screening Viv Li is an accidental filmmaker that has worked in the UK, Brazil, Colombia, Film Type / Genre China and the Philippines. Born and raised in Beijing, she spent the past 10 Documentary, Short, Student years traveling and exploring her undefined self. The particular voice of her DURATION multi-cultural background has granted her a unique identity. Her works have 3 Minutes 10 Seconds focused on the sensibility and tangibility of moments, relationships, sexuality DIRECTOR and self-awareness. She believes in true emotions and frameworks of sincere Viv Li responses as a filmmaker and often tries to merge the boundaries between COUNTRY documentary and fiction, and uses her words to express further. Currently China living in Europe, she is completing her master degree in Documentary Mobile Phone Model Directing with DocNomads, a joint master in three countries, an obvious iPhone 7 continuation of her love for discovering cultural boundaries.
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B Hi, How are you? SYNOPSIS In the middle of desert with intense sun. A man is down. When He opens his eyes. He realized he is alone with tied. He is trying to get away, but It’s not enough. The only thing with this guy is the lots of thorny cactus. Who tied up this man? And what do they want? What should this man do? How does he doing survive from this hardships? It's the story of human beings.
DIRECTOR’S BIO Ho-won, this time "Hi, how are you?" is the first production of a short film. Before
SUBMISSION CATEGORY of this film directing, As an actor, He has been appeared in various movies, Screening dramas, independent movies, and so on for 10 years. He visited the audience with various characters and acting. Especially, He has a deep affection for Film Type / Genre short films and independent films. To focus on activities and, once looked Short upon as an actor for eyes, director of the view He wants to do about the stories and movies. He started his first step to portray the stories that He DURATION wanted to communicate with. 9 Minutes 44 Seconds
DIRECTOR COUNTRY Mobile Phone Model Howon Kim Republic of Korea iPhone XR
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
28 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Thought SYNOPSIS We always have some predictable thoughts about something good or bad. Sometime in our mind, we judge someone by their outlook. Hence the story presents two persons, who are totally unknown to each other, accidentally come across in the same platform.
DIRECTOR’S BIO SUBMISSION CATEGORY Screening I have passion for making film; i love to give people good message by my work. Now days i'm doing a job. But i always try to touch with my passion. I Film Type / Genre realized that only one thing which gives me the best happiness is my own Short creativity.
DURATION DIRECTOR COUNTRY Mobile Phone Model 4 Minutes 58 Seconds Rahul Chakraborty India OPPO A37
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
Dante Cafeé SYNOPSIS The moment when you reach the end of life and realize your way was wrong, but you can’t change anything.
DIRECTOR’S BIO Dumitru Grosei has been active in the film industry for more than 20 years. He has directed 4 short documentaries, 3 feature documentaries and 10 short fiction films, with many selections and awards at important International Film Festivals, like Premiere Plan (Angers, France), Tallinn Black Nights (Estonia), Drama Film Festival (Greece) and others. Currently, he is the founder and president of ALTERNATIVE CINEMA production company. SUBMISSION CATEGORY Screening
Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Experimental, Short 2 Minutes Dumitru Grosei Romania iPhone 5S
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus You Are Not Alone SYNOPSIS An upset man hides in the bathroom alone to calm his emotions, and everything in private is covered by a woman.
DIRECTOR’S BIO
Song Haidi, a young Chinese female director lives in Beijing, whose film style is delicate and focuses on social reality. Her short film
Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Short 3 Minutes 20 Seconds Haidi Song China iPhone 8S 11:00 am, 29 February 2020 | Auditorium, ULAB Campus A
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 29 Bon Appetit (Enjoy Your Meal)
SYNOPSIS A fancy food unexpectedly goes to a death-condemned man. No country announce the right statistic (exact number) of death-penalty executions of their residents...people can be executed as invisible as possible if there'd be a danger for the authority...Story of history can be faked so easily...welcome to beautiful layer of freedom...
DIRECTOR’S BIO
Saman Haghighivand is an Iranian filmmaker, a master degree in Fine Arts and Cinema. He finished his master studies in Norway NTNU, Faculty of Fine SUBMISSION CATEGORY Arts. He has made several short films, documentaries, video arts and Screening commercial films during the past decade. He has been awarded and nominated in several film& art festivals for different projects. He focuses on alienation, difference, authority, integration, diversity, trauma, refugees and Film Type / Genre other related subjects as the main theme in his movies. Experimental, Short His notable works are, Coin (2010), Gleam (2012), Public Toilet (2013), Amnesia Web / New Media (2015), Not Acceptable (2017), The Giant (2018)
DURATION DIRECTOR COUNTRY Mobile Phone Model 60 Seconds Saman Haghighivand Islamic Republic of Iran Samsung Galaxy S9
3:00 pm, 28 February 2020 | Screening Room, ULAB Campus B
Aquarium SYNOPSIS aquarium is a journey of two lives, a woman and a fish. They both have their own peaceful life with two unseen cages. And what happens when the women finally realizes that her circle of life is also caged her the way she caged the fish in her aquarium.... and the journey starts...!
DIRECTOR’S BIO
Rohitaswa Mukherjee is an alumnus of rabindra bharati university and satyajit ray film and television institute. He received national award for best script, SUBMISSION CATEGORY nominated in CILECT and other prestigious film festivals. During his long Screening association with prime ‘GEC’ television channels in India, he handled multiple on air responsibilities as an OAP professional. at present he is been busy Film Type / Genre sharing his experience of the audio visual media with his fellow students as an Experimental, Short assistant professor at SRFTI, India. Filmography: rohitaswa has started his film making with two shorts in recent DURATION past i.e. MITHAI (2018) and AQUARIUM (2019) and both are travelling around 14 Minutes 50 Seconds the world with various recognition and official selections.
DIRECTOR COUNTRY Mobile Phone Model Rohitaswa Mukherjee India iPhone 6
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
30 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Aami
SYNOPSIS Neglect makes people stubborn. This stubbornness sometimes motivates him to succeed. Sometimes it even destroys. A boy who grew up inadvertently neglected to uncle in his childhood. He becomes addicted to forget the loneliness of life and the pain of failure. Which destroys him day by day. But one time he started to adjust the equation of life. That changed his life. And with that he also changed the lives of many.
DIRECTOR’S BIO SUBMISSION CATEGORY Screening Faisal Ahmad Sirazi is a young filmmaker. He currently lives in Tongi, Gazipur. He is an aspiring filmmaker and he wishes to keep making good films In the Film Type / Genre future. He also intends to make the world around him beautiful and happy. Short He loves to spend time with his family members.
DURATION DIRECTOR COUNTRY Mobile Phone Model 3 Minutes 7 Seconds Faisal Ahmed Bangladesh Samsung s7
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
Antifilm SYNOPSIS A little girl and her family members trust a stranger and fall in to Unexpected problems.
DIRECTOR’S BIO
Even though I was always passionated about filmmaking in my childhood and 20s, cinema chose me at the year of 2013 after the craft course about SUBMISSION CATEGORY filmmaking in a minor institute. then started to experimenting with short films. Screening after few trials my short film LOOSE END got worldwide recognition for it’s editing and narrative techniques. The journey continues with me currently Film Type / Genre preparing my first feature film script. Short
DURATION DIRECTOR COUNTRY Mobile Phone Model 20 Minutes 5 Seconds Eugin India Samsung C9 pro
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 31 Bookshelf SYNOPSIS A guy is trying to find some interesting book in the library, then he notices thought a gap between books a beautiful girl. He feels shy, but decides come up and get to know her. But he can’t find her, she is visible only from the gap between books. It’s a portal to the another world. But then the guy sees himself thought this portal and he realises thats this is not just another world, but the parallel world. He is scared because of this, but then one more portal opens and somebody is looking at him. This is this girl again.
DIRECTOR S BIO SUBMISSION CATEGORY ’ Screening Anton Kononov (24 years old) is an independent filmmaker living in Moscow city. Anton was born in the Yarosavl city where he started his career and then he moved to Moscow to study filmmaking. Anton has made 3 short films and Film Type / Genre about 5 music videos. His last film Bookshelf was shot using IPhone as a Experimental, Short, camera. Others
DURATION DIRECTOR COUNTRY Mobile Phone Model 2 Minutes 13 Seconds Anton Kononov Russian Federation iPhone 8
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
Firefly (A day in the dark)
SYNOPSIS A young woman is displaced by different situations without knowing who she is and why she is there. Little by little her thoughts will shed some light on her dubious existence.
DIRECTOR’S BIO SUBMISSION CATEGORY Screening Gino Rodríguez (Las Palmas de GC, Canary Islands, Spain 1985) began his career as film director, producer and scriptwriter at 2009 in Madrid, where he Film Type / Genre made his first semi- professional film. Short He has directed more than 20 short films, several documentaries and three unofficial experimental feature films. He also has obtained different selections DURATION in festivals around the world for his works. 8 Minutes 1 Seconds
DIRECTOR COUNTRY Mobile Phone Model Gino Rodríguez Spain Huawei P8 Lite
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
32 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Inferior SYNOPSIS The film is itself a mirror of the modern society. It depicts how a normal life of a student is not normal at all. In the age of competition and rivalry, it has become a burden on the student making him take difficult decisions. A student is shown to have the problems of a normal teenager like relationship problem as well as a tug of war between his passion and career. At the climax he tries to take his life but his inner self stopped himself and in this way he came across a new meaning of life as that was not known to him before.
SUBMISSION CATEGORY Screening DIRECTOR’S BIO
Subham Bhattarjee is an aspiring independent filmmaker as well as a student. He was born on 1st September 2000 in Howrah, West Bengal. He completed Film Type / Genre his school education from Howrah Vivekananda Institution and Howrah Zilla Short School. In 2016, with 5 of his friends he started shooting his 1st of his film which got a considerable response in the regional audience of Howrah through youtube. After that, the mobile shortfilm has entered in his very blood, and DURATION with a very inexperienced friends-cum-crew he achieved a remarkable 9 Minutes 18 Seconds support of people. He is now an undergraduate student of B.Com. in University of Calcutta as well as his crew.
DIRECTOR COUNTRY Mobile Phone Model Subham Bhattacharjee, Suporteem Mukherjee India Oppo F7
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
VOICE SYNOPSIS "Hello. My name is David. I can't talk." David is silent. He communicates using a voice recorder. He is very mysterious man.
DIRECTOR’S BIO Award-winner filmmaker from Ukraine; #orestfilm founder; author of short films, music videos, social and commercial projects. His notable productions are Homeless Taras (2011), Day N (2012), Symphony No.40, A Gift for N (2013), SUBMISSION CATEGORY “Cinema and People” pilot launch (Americano, Hug Me, An Insistive Woman, Screening Murchik, What City Is Silent About, Two Days, Kobzar, Bread, A Pill, Unhidden Indifference, Zoo, Abandoned, Self-Belief, 黄雪, Discomfort Town) (2014-2015), Film Type / Genre “Knock” short film (2016), “Cinema and People: Project of Bravery" launched: Short (2017), “Cinema and People” got a winner; “Details” and “Sleep” short films in 2018 and “Voice” and “Max's New Heart” short films; making a feature DURATION “Cinema and People: Project of Bravery" in 2018-2019. 2 Minutes 38 Seconds
DIRECTOR COUNTRY Mobile Phone Model Orest Smilyanetz Ukraine iPhone 7
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 33 9 lb Hammer
SYNOPSIS An unforgettable night of a legislator and a marijuana dealer entirely captured by an iPhone.
DIRECTOR’S BIO
Trevor Choi was born in Montreal, Canada. He studied Science at the University of Waterloo and is currently a Freelance Filmmaker and Screenwriter. He had written and directed on-stage drama productions: Mirror in Mirror (12), Ever After (13) and Conflicted (17); and live action short films: Already in Dead Shape (17), Lamma (18), Ouroboros (18) and 9 lb SUBMISSION CATEGORY Hammer (19). Screening He had also graduated from the MasterClass in Film Directing by the Hong
Film Type / Genre Kong Film Directors' Guild. His latest work is Scarlet Zone (19). Short
DURATION DIRECTOR COUNTRY Mobile Phone Model 10 Minutes 1 Seconds Trevor Choi Hong Kong iPhone XS Max
11:00 am, 29 February 2020 | Auditorium, ULAB Permanent Campus The Mojo Revolution News From The Palm of your Hand SYNOPSIS The World's First Solo Mobile Journalism Made Documentary About Mobile Journalism Across The Globe. In this hour long programme, Irish TV journalist James Mahon journeys across the world investigating how newsrooms are changing due to the influence of mobile technology. From Tennessee to Swizterland, Scotland and India, Mahon spends a week with each newsroom during some of their most challenging news cycles. In Scotland severe weather leaves a sole one man band mobile journalist braving the elements while 900 million Indians vote in the worlds SUBMISSION CATEGORY biggest election covered by NDTV. The technological and education Screening focused documentary explores whether mobile technology or journalism is changing the way reporters find, gather and share news.
Film Type / Genre Documentary, Experimental Feature, Television
DURATION DIRECTOR’S BIO 51 Minutes James Mahon is a TV/Radio Anchor and Reporter, Author, Doctoral Research Student + University Lecturer. The trilingual journalist is a graduate of the DIRECTOR National Training Council of Journalism, The Broadcast Journalism Trainee James Mahon Council, The University of Sheffield England and University of Ireland, Galway. He is currently a journalism lecturer at the University of West Scotland teaching on both the masters in broadcast journalism and bachelors in sports COUNTRY journalism. He is finishing his doctorate in mobile journalism at the same United Kingdom institution and is an active member of his graduate class. His acclaimed book “Through Irish Eyes” is available in all good bookstores and online in summer COUNTRY 2016. He shoots entirely on iPhone and iPod and trained as one of the first iPhone 6 SE wave of Mobile journalists in 2011 at Sheffield University
11:00 am, 29 February 2020 | Auditorium, ULAB Campus A
34 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Cleptoman SYNOPSIS During a terrorist attack, a girl loses her smartphone, which is promptly stolen by a kleptomaniac boy, also on the run. The imprudent act will lead to unexpected consequences.
DIRECTOR’S BIO Giuseppe Casapulla was born on January 7, 1989, in Caserta (Italy). He graduated in DAMS (Disciplines of Arts, Music and Entertainment) and in CITEM (Cinema, Television and Multimedia Production). From 2011 to 2015 he worked as assistant with the independent film production and distribution company EleNfanT FilM (www.elenfant.com), taking part in productions of several short films, documentaries, commercials and music videos. In 2016 he worked for the first time on the set of a feature film as an assistant director of Antonio Pisu for the film "Noble Lies", with Raffaele Pisu,
SUBMISSION CATEGORY Claudia Cardinale, Giancarlo Giannini, Gianni Morandi and many others. With Screening five years' experience in the sector of film distribution for festivals, from February 2017 to February 2018 he collaborated with the Cultural Association Humareels Film Type / Genre (www.humareels.com) as Distribution Manager of short films and Short documentaries for national and international festivals. He is interested in film DURATION direction, but he also work as assistant director, actor or background actor for 5 Minutes 20 Seconds any audiovisual product. "Cleptoman" is his first short film.
DIRECTOR COUNTRY Mobile Phone Model Giuseppe Casapulla Italy iPhone 7
11:00 am, 29 February 2020 | Auditorium, Campus A, ULAB
The Satans Horn
SYNOPSIS Rasoul is a vendor who does not know how to use his Bullhorn. He is separated from his wife but is still under the debt of marriage, in an effort to develop his own business. Rasoul goes every day to a certain alley to find the customer by using his Bullhorn. But the neighbors believe that his voice. is annoying and fight with him every day ...
DIRECTOR’S BIO SUBMISSION CATEGORY Screening Certificate in Master of Sociology. Certificate of Bachelor's Degree in Research in Social Science. Certificate in Polish culture and language Film Type / Genre Screen writer, Movie director, Chief editor & Journalist. Member of Scientific Documentary, Experimental Association of Sociology, Isfahan University, Isfahan, Iran. Student Member of Young Documentarist Association, Isfahan, Iran.The author and DURATION director of a number of short films, such as: A like Ab, Line up, Harmonica, 1 Hour 2 Minutes 4 Seconds Noon & Ghalam, Bumelel.
DIRECTOR COUNTRY Mobile Phone Model Mohammad Hadi Ghorbani Islamic Republic of Iran iPhone 7+
11:00 am, 29 February 2020 | Screening Room, ULAB Campus B
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 35 SELECTED FILMS OF One Minute Category
All Winners SYNOPSIS Now a time all the people are selfish for own wins. We wish all the people of this world will win together someday.
DIRECTOR’S BIO My name is Meherun Nesa. I am student of grade 11 in Dhaka Uddan Government College. My father’s name Md. Ali. My mother’s name Monowara Begum. I have 2 Sisters. I have no Brother. I live in Dhaka. My home District is in Soriotpur. I want to be a filmmaker.
SUBMISSION CATEGORY Film Type / Genre Mobile Phone Model DIRECTOR COUNTRY DURATION One Minute Category Short, Student iPhone 6S Meherun Nesa Bangladesh 1 Minute
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar The Greatest Year of My LIFE *(so far)
SYNOPSIS It was at the end of 2016 that I got my first phone, it was my dads old iphone 6s. As funny as it may seem this was my first full HD camera, I was blown away by the sharpness of the images. I started to film small 10-15 second video clips of anything and everything I found interesting. And before I knew it, it became an impulse. People say how cameras have ruined experiences as we prefer to record events rather than to see them with our own eyes. They are right! But I see it as a way to share my experiences with a greater audience. And this pretty much is the synopsis of my film, It’s me sharing my experiences with a big audience.
DIRECTOR’S BIO
SUBMISSION CATEGORY My name is Abeed Mohaimin, I was born on 30th September 2000, for a very One Minute Category early age I have been fascinated by film and its potential. I am an avid movie watcher, it is from this interest that I have slowly started making my own short videos, until now I have made around 10 videos most of them after 2016. As of DIRECTOR now I am in grade 12 and I am nearing the end of highschool. I hope to Abeed Mohaimin continue on with my passion for film in the years to come.
Film Type / Genre Mobile Phone Model COUNTRY DURATION Vlog iPhone 6S Bangladesh 1 Minute
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar
36 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Zombieballoon SYNOPSIS A fulgaz jornada de um balão.
SUBMISSION CATEGORY Film Type / Genre COUNTRY One Minute Category Animation, Student Brazil DIRECTOR DURATION Mobile Phone Model Oficina de Animação Luz Câmera Ação 31 Seconds Samsung J6
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar Aanol SYNOPSIS The film Aanol portrays a social message that our environment is exposed to some vulnerable effects in this contemporary era. A young school going kid has to become the victim of nature’s deterioration. In a nutshell there’s a dark force behind this. Ultimately, the humans and species has to face some dire consequences via this.
DIRECTOR’S BIO
I am Shafin Nur, a student of Year XI from Scholars School and College. From my early age, I have been passionate about films. Keeping my eyes glued to the screen has been my favourite job over the course of time. Apart from that, I always had a keen interest to know what happens behind the screen. Hardship of the director, producer, actor and the entire crew used to amaze me. Considering all these into account, I decided to pursue my further studies on filmmaking at overseas and cherish to become a remarkable director someday.
SUBMISSION CATEGORY Film Type / Genre Mobile Phone Model DIRECTOR COUNTRY DURATION One Minute Category Short, Student iPhone 7 Shafin Nur Bangladesh 1 Minute
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar Flower Bag SYNOPSIS In a world where the concept of money doesn’t exist, and the only currency we have are just flower petals. In a world where there is no one blindly running towards money but instead running towards happiness.
DIRECTOR’S BIO I am Zayba Tahzeeb, it is my first attempt of making a film. I am a student of grade 9 at Nalonda High School. Making a film is one of my wishes that I have completed now. Film can allot both of my interests, photography and song. I would like to make more films in future.
SUBMISSION CATEGORY Film Type / Genre Mobile Phone Model DIRECTOR COUNTRY DURATION One Minute Category Short, Student iPhone 6S Zayba Tahzeeb Bangladesh 1 Minute
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 37 SELECTED FILMS OF Competition Category
Nostalgia SYNOPSIS A reflection about life, smoking a cigarette.
DIRECTOR’S BIO
Giacomo Tinti was born June 15, 1995 in Verbania (ITALY). He was a member of the drama club for 5 years in high school. He enrolled in 2015 at the University of Milan in Humanities for communication (Scienze Umanisiche per la comunicazione). He is the founder of “Fotogrammi”, a Cinematographic Radio Show for the University Web Radio (Radio Statale). He is working in the SUBMISSION CATEGORY editorial staff of TG5 and IRIS (for Mediaset Company) from more than a year. Competition Category Movies are his life. Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Short, Student 2 Minutes 46 Seconds Giacomo Tinti Italy iPhone 6S
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar
Distortion SYNOPSIS Today’s media industry has become so cheap that anyone can manipulate anything and turn it into something else for their own benefit. ‘Distortion' is a representation of media manipulation, a Mobile Short Film about how media manipulates the truth either intentionally or without even knowing the real story.
DIRECTOR’S BIO Raiyan Mahbubul Momen an undergrad student, currently studying in the department of Media studies and Journalism, in the University of Liberal Arts SUBMISSION CATEGORY Bangladesh. He was born in 1993, in Dhaka and currently lives with his mother Competition Category in Dhanmondi. He always admires his mother for supporting him through everything and he gives all the credit to her for shaping him to be the person Film Type / Genre he is today. Short After his HSC , Raiyan started working with different studios, as an editor and DURATION cinematographer. In 2013, he started working fulltime for Maverick Studios as 2 Minutes their Creative Content Developer. He worked with many companies and organizations in different sectors afterwards. He won two photography DIRECTOR competitions, worked in several university projects, made the official logo of Raiyan Momen the Ulabian News and also designed the main mnemonic for ULAB’s 5th
COUNTRY convocation titled ‘Changemakers of the future’ in the year 2018. Besides Bangladesh working on these projects, Raiyan also worked with several Musical Bands like Artcell, Powersurge etc for their graphic design requirements while studying in COUNTRY ULAB. Raiyan aspires to finish his graduation with a high CGPA and continue Samsung Note 8 learning more about all his fields of interest.
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar
38 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 Existence SYNOPSIS Once they live together, they love each other. Human and nature are friends but now all are going to wrong. Whats happened?
DIRECTOR’S BIO
Sajjad Hossain Raju is currently studying in University of Liberal Arts Bangladesh. He is passionate for filmmaking since his childhood. His recent work is short film myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i “Friday (2019)”. mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK SUBMISSION CATEGORY Film Type / Genre DURATION cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq Competition Category Experimental, Short, Student 2 Minutes 46 Seconds mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi DIRECTOR COUNTRY Mobile Phone Model Sajjad Hossain Raju Bangladesh iPhone 6S hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l City GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q SYNOPSIS bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Dev, a photo-journalist who's given an assignment to write something Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K about his city, undertakes a journey into his city to understand it better. wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? Based on Amrita Pritam's poem, 'Sheher'. DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z DIRECTOR’S BIO n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ Ashwyn Goveas,who’s 22 years old, is an aspiring director from India. With wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e SUBMISSION CATEGORY over 10 short films GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| Competition Category and music videos under his belt as a director, cinematographer and editor, his previous films that include ‘Mission’ , Confined, City and ‘A Second Chance’ Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe have been selected to compete at various international film festivals. He also wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk Film Type / Genre runs two productions houses - Sketch Studios and Ashwyn Fotografia, both of Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi Short which have their channels on Youtube that produce unique and engaging content on a regular basis. Ashwyn began his foray into film-making way n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ back in 2016, as a cinematographer before graduating into direction in 2017. wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b DURATION He’s currently doing his Masters degree in Mass Communication in Symbiosis 3 Minutes 26 Seconds Institute of Media and Communication, Pune, India evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| DIRECTOR COUNTRY Mobile Phone Model Ashwyn Goveas India iPhone 8 evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 39
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
100 Taka SYNOPSIS In today’s era we don’t believe in the lower-class people those are very poor. We don’t trust them. We think that they are poor so they can’t be trusted. In our society poor people are neglected everywhere and they don’t have enough money to buy enough food, clothes and many things. And we often judge them. This is another side of them what we don’t see. In this film, we tried to portrait the actual image of the people who are mistreated in our society yet, they are the best among us. They are the one who are poor yet they have the richest heart. myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK SUBMISSION CATEGORY DIRECTOR’S BIO cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq Competition Category Syed Mortuza Hussain (Sami) an undergrad student, currently studying in the mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi Film Type / Genre department of Media studies and Journalism, in the University of Liberal Arts Music Video, Short Bangladesh. From the very beginning of his childhood, Sami was very hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe passionate about Sports, Music and Photography. He used to spend his leisure ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| DURATION time taking photos, singing and playing cricket. 2 Minutes 34 Seconds In the year 2016, he was admitted to the university that was University of ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v DIRECTOR Liberal Arts Bangladesh the department of Media studies and Journalism. M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb Syed Mortuza Hussain From the beginning of the university he joined ULAB TV and Film Club. During his university he participated in various events such as Bhalobashar cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l COUNTRY Bangladesh and his video got selected top 100 among 9467 videos. It was a Bangladesh GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q huge achievement for him which motivated him to do works further. He also bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Mobile Phone Model achieved many photography awards in various categories. Sami wished to Huawei honor 10 become a film maker after his graduation and wants to travel the world. Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| Color of Sound GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| SYNOPSIS fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb A visually impaired boy conceptualizes everything around him through †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe the different shapes and colors of sounds. The film tries to work in a way evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy which gives the audience the feel of a blind person. †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| DIRECTOR’S BIO Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe Saiyeed Shahjada Al Kareem is a student of the Department of Television, Film wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk and Photography, University of Dhaka, Bangladesh. He has worked as assistant director in several shot and feature length films. Among those Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi Namhin Gotrohin (post production going on) is a government financed n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ feature film. Now, He is working as an assistant director in the film Sobuj Pakhir SUBMISSION CATEGORY Goppo which is financed by Bangladesh Shishu Academy (National wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b Competition Category Academy for Children). Shahjada is enthusiastic in learning through the evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB practical works and trying to make his career in this field. mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ Film Type / Genre Experimental, Student m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb DURATION DIRECTOR COUNTRY Mobile Phone Model 2 Minutes 36 Seconds Saiyeed Shahjada Al Kareem Bangladesh Samsung wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
40 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
The Conundrum SYNOPSIS Nayeem, a university student, who is apparently leading a boring and mundane life, wakes up one morning and discovers that everything seems like yesterday. He goes on with the day, slowly starting to question everything that feels like déjà vu, slowly descending into insanity and giving himself up to the fear of the unknown.
DIRECTOR’S BIO myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i Anupam Hore (born on 17 February, 1997) is a young filmmaker from mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe Chittagong, Bangladesh. Being born and raised in a family of artists and musicians, Anupam was always fascinated about being a writer and a singer. †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK SUBMISSION CATEGORY He eventually grew interest towards art- house film-making. ‘The Conundrum’ cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq Competition Category is the first short film of which he wrote the story and screenplay. He directed the film as well, along with Tahsin Ahmed, a fellow young filmmaker. mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi Tahsin Ahmed (born on 27 February 1998) is a young Bangladeshi film maker. hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe Film Type / Genre He has been passionate about films and film making since the passing of his Short high school. His first film ‘The Conundrum’ is yet to be released which is ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| co-directed with Anupam Hore. He is also very much into photography for ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v last 2 years which also leads him to cinematography and editing stuffs. M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb DURATION Anupam and Tahsin both are currently majoring on Architecture in 9 Minutes 5 Seconds Chittagong University of Engineering and Technology. cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| DIRECTOR COUNTRY Mobile Phone Model Anupam Hore, Tahsin Ahmed Bangladesh xiaomi Redmi note 7 pro, Pocophone f1 Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| Sharee GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| SYNOPSIS fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb Husband steals the money of his wife which was deposited to buy new †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe dresses for puja festival. When wife asks question about the money, evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy husband beat her up. Seeing this, their child, Nitai, wants to bring a ‘Sharee’ for her mother. For this, he plots a plan to steal the ‘Sharee’ which †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z is bought for the sculpture of goddess 'Durga.' n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk DIRECTOR’S BIO Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi I am Sibasish Bagchi Anik, currently studying in University of Liberal Arts n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ Bangladesh. As a student of media studies and journalism, film is an SUBMISSION CATEGORY inseparable part of my academic life. But film is making me feel amazed from wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b Competition Category the very day I watched my first film. ‘Sharee’ is the first short film which I evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB directed. Besides film, listening to music, reading books and playing football Film Type / Genre are my favorite things in life. mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ Short m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B|
DURATION DIRECTOR COUNTRY Mobile Phone Model evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb 3 Minutes 9 Seconds Sibasish Bagchi Anik Bangladesh S10+ & One plus 6 wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 41
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
Our Fathers' Sins SYNOPSIS Our Fathers' Sins is the story of The Boy, a young man whose father's company destroyed the environment. His guilt for his father's actions consume him. We see how he perceives the world that his father ruined and how The Girl enters his life and helps him see the reality of the situation.
DIRECTOR’S BIO Gan is a student studying Computer Science in Canada. He founded myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i SUBMISSION CATEGORY Universe City Productions in order to inspire fellow student filmmakers to come Competition Category together and create films and other multimedia content. mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Short, Student 10 Minutes Gan Canada Samsung Galaxy S8 cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe Lily SYNOPSIS ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| After losing her lover, a 60-year-old prostitute releases herself from her ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v daughter’s judgments and hits the open road. M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| DIRECTOR’S BIO Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? Jingwei Bu is a Chinese filmmaker based in L.A. He majored in acting in Shanghai while participating in many stage plays over the past few years. In DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki 2018, he received an offer from ArtCenter College of Design in Pasadena, †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| CA, to enter the Film MFA program. He works as a writer- director now, telling stories about cultural differences as well as the stories which focus on the GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| SUBMISSION CATEGORY characters who are minorities. Competition Category fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe Film Type / Genre DURATION DIRECTOR COUNTRY Mobile Phone Model Short, Student 10 Minutes 36 Seconds Jingwei Bu United States iPhone XS evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ in the Pink SYNOPSIS wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e Our life consists of our choices. Even the smallest of these preferences can GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| have a big impact. Substance use is also looks like a small choice. It was a small choice for Cem too. But he didn't know about the size of the what Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe will happen to him in future… wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b
SUBMISSION CATEGORY DIRECTOR’S BIO evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB Competition Category In 2017, he did Yok Olu / Deneysel, Kamu Spotu / Kurmaca, . In 2018, he mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ did Seans / Kurmaca, Ayrık / Kurmaca, Çözülme / Deneysel, Kapımızdaki m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| FILM TYPE / GENRE Ziyaretçiler / Belgesel. In 2019, he did Turp Gibi/ Deneysel, Peri/ Kurmaca, Experimental, Short, Student Neden Olmasın? / Kurmaca evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb
DURATION DIRECTOR COUNTRY Mobile Phone Model wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ 6 Minutes Buğra Mert Alkayalar Turkey Xiaomı Mi8 Lite Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| 3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
42 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
Alive SYNOPSIS A man wants to fold two flags but every time that he folds one of them the other one unfolds. Somehow it seems that they are alive and they don’t want to be folded. The man tries to death but he sticks in a vicious cycle.
DIRECTOR’S BIO myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i Born on 28 August 1989, Zanjan, Iran, She did BA in Pant Protection at Zanjan mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe University and MA in Film Studies at Tehran University of art. Currently Studying †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK MA in Business Administration of Art at Iran National Film School and Tehran
SUBMISSION CATEGORY Institute of Technology (Financial Sciences and Business Management cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq Competition Category Department). Notable works are: Did you see? (2011), A Sunrise in The Dark mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi (2011), Mesgar (2012), Chairman (2016), Podium (2017), Cinema & Dance Film Type / Genre (2017), The Unsettled (2018), A Few Angry Students (2018) and Alive (2019) hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe Feature Short, Student ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| DURATION DIRECTOR COUNTRY Mobile Phone Model ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v 4 Minutes 34 Seconds Abdolreza Salimi Islamic Republic of Iran Samsung Galaxy S8 M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Sealed Deal Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K SYNOPSIS wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? A man goes to the market to get himself a suitable wife. DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb DIRECTOR’S BIO †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy Neha Shamim is a director, writer, and actor based on the capital city of †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z Dhaka, Bangladesh. She is currently in her third semester studying Media Studies and Journalism at the University Of Liberal Arts Bangladesh (ULAB). She n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ is the Head of the research department in an apprenticeship program called wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e CinemaScope and currently working as an art director at Equalizer for an upcoming sitcom.This (Sealed Deal) is her first production. Neha aspires to GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| direct psychological thriller and horror movies and movies that challenge the Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe SUBMISSION CATEGORY social norms and says, “ If I don’t end up in some wanted list of someone then Competition Category wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk I am not making art” and is currently building her body of work as a director. Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi Film Type / Genre Experimental, Short, Student, Other, n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b DURATION DIRECTOR COUNTRY Mobile Phone Model evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB 4 Minutes 10 Seconds Shamim Neha Bangladesh iPhone 8+ mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ
3:00 pm, 29 February 2020 | Star Cineplex, Shimanto Shambhar m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 43
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
Lens in the Palm
A lens in the palm-that’s how the audience becomes the new content maker of today. Cinema has altered its myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i boundaries. The buzz words of film making; Sound, Light, Camera, Action have shrunk into one small device. Though the cinematic language has not been compromised by the use of a device, new experiments have mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe made their path in the world of cinema. In 1948, Alexandre Astruc coined the term “camera-stylo” or †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK camera-pen to describe the flexible style of filming. He ended his manifesto “The Camera Stylo” (1948) with this quote, “.. for although we know what we want, we do not know whether, when, and how we will be able to do cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq it”. The time has arrived. The cameras are not only smaller or lighter, but easily affordable for the beginners. mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe Mobile Filmmaking ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| The first films shot with mobile phones appeared between 2005-2006. South African director Aryan Kaganof shot his feature film SMS Sugar Man with Sony Ericsson W900i. Another pioneering film would be New Love Meetings ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v (2006) by Marcello Mencarini and Barbara Seghezzi. New terms began to be coined to justify the revolution of M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb this underground movie making. The Godfather of American Avant-Garde Cinema, Jonas Mekas Supported cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l the ‘grammatical anarchy” of the “audiovisual avant-garde to defend the means that the market does not consider professional. In the 60s the Super8 or 16 mm, abandoned formats of the mainstream production, GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q become the new weapons of the artists who want to create moving images.” That was a time when the low bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| resolution became the new aesthetics. The last decade saw a drastic evolution in mobile phone cameras. That created a platform for filmmakers across the world to speak in a new revolutionary language. With the Apple Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K iPad in April 2010, an even greater array of opportunity launched for the aspiring filmmakers. The Silver Goat wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? (2011) was the first film created for the iPad. Then came #STARVECROW, world’s first selfie movie, mixed smartphone, and CCTV footage to create a personal story of Love and Horror. DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki On the other side of the globe, the world watched the film, This Is Not A Film (2010). The rebel filmmaker Jafar †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| Panahi shot the film partially with his iPhone and a mini DV camera. With his co-director Mojtaba Mirtahmasb, GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| while pursuing his appeal, and confined to his apartment under a valid house arrest, Panahi managed to make this film on a day in his life. The film then smuggled out of the country on a USB stick, hidden in a cake and finally fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb was shown at the 2011 Cannes Film Festival. †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe Steven Soderbergh released his film Unsane in 2018. The American psychological horror, premiered at the Berlin evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy International Film Festival and theatrically released in the United States, was shot entirely on the iPhone 7 plus. Soderbergh claimed that the device, the cellular phone, has revolutionized the way we live. †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ Mobile Film Making Across the Globe wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e Another huge challenge for the new filmmakers is getting the film on a cinema screen. Nevertheless, the advent GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| of new media and several online platforms have made this path a little less complicated for aspiring makers. Smartphone filmmaking festivals are being held all across the globe to encourage, support and help new Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe filmmakers to get exposure. This ought to mention that most of these film festivals are run by passionate wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk volunteers who have minimal industry or financial support. These festivals are organized by sheer passion for Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi cinema, nothing else. One of the pioneers of the smartphone-shot film movement is the Cinephone International Short Film Festival, n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ Spain. Running now for eight years, the festival’s claim that they are “betting on the democratization of film, wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b giving support to the use of smartphones as an alternative way of getting quality ideas and scripts onto the big evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB screen.” One of the biggest festivals dedicated to mobile phone films is the Mobile Film Festival (MFF). It has been going mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ for 14 years since. The festival is based in France and has robust financial support. One of the main focus of the m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| festival is distributing the works of the filmmakers through YouTube. evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb Mobile Innovation Network and Association (MINA) is being held for nine years now. In the upcoming fest, it will present a public screening of smartphone, mobile and pocket films in China, New Zealand and Australia. The wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ motto of the festival is to create “connections between filmmakers, communities and the creative industries”. Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| Moscow has launched the first event of Mobile Filmamer’s International Fest in 2019. The ideology of the fest Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb goes as “ Mobile Filmmaking is a special, modern kind of creativity that opens up uniques possibilities”.
44 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
International Mobile Film Festival, San Diego; Dublin Smartphone Film Festival; Toronto Smartphone Film Festival, Canada; iPhone Film Festival, USA; Milan Mobile Film Festival; New York Mobile Film Festival are some of the significant mobile film festivals all over the globe.
CinemaScope and DIMFF in 2015, an apprenticeship program of University of Liberal Arts Bangladesh, Cinemascope, first organized a mobile film-making competition. The main focus of this competition was to engage the members of CinemaScope. The after years it was open to all ULAB students. The film festival went international in 2017 and renamed as Dhaka International Mobile Film Festival. The year of 2020 brings the 6th edition of DIMFF with the submission of 202 films from 41 countries. Arifur Rahman is the jury chair, who has shared the panel with Sadia Khalid Reeti and Devaki Bist. A tremendous journey to reach here wouldn’t be possible without the team of film enthusiasts. The Executive myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i committee comprises the advisors along with the festival director, festival coordinator and a group of managers and executives. The hard work of several months comes to an end with the execution of the festival. The process mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe began with social media promotions for the film submission. Then the submission management, creating social †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK media contents, screening venue management- it’s a whole load of a job. The team of young organizers have devoted themselves entirely to make the platform accessible to aspiring filmmakers all over the world. cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq The festival runs with compassion towards cinema and to uphold the motto, “New Generation, New Tools, New mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi Communication”. hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| Nandita Tabassum ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v Senior Lecturer, Department of Media Studies and Journalism M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb University of Liberal Arts Bangladesh cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l Reference List GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q Cardidad Botella, 2012, The mobile aesthetics of cell phone made films: from the pixel to the everyday kepes.ucaldas.edu.co/downloads/Revista8_5.pdf bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Kristen M. Daly, 2015, New Mode of Cinema: How Digital Technologies are Changing Aesthetics and Style Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K www.kinephanos.ca/2009/new-mode-of-cinema-how-digital-technologies-are-changing-aesthetics-and-style wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? A Brief History of Movies Shot with Phones DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki filmschoolrejects.com/movies-shot-with-phones †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| The World’s Best Smartphone Film Festivals momofilmfest.com/best-smartphone-film-festivals GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 45
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
¯^vaxb Pjw”PÎPP©v cv‡i AacZb †VKv‡Z myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
46 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R jvwM‡q msNe× n‡Z n‡e| GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z cvi‡e| Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| weavb wi‡eiæ Pjw”PÎ mgv‡jvPK
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ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi On Healing Power of Cinema Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, Written textual words capture our deep human experiences. The words help us to express our thoughts, †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU emotions, feelings, dreams and despair, perceptions of the world, and success and failures. By weaving words, we construct meanings of our life; give meaning to the scattered world around us; make sense of our very ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ existence and identity; and share our experiences of physical and psychological world. The art and craft of the mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi sharing of experience may be called as storytelling. A story is worth a thousand written words. But one picture can tell a story without single word. So, a picture is worth a combination of thousand words. But what about a n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R moving picture? A moving picture is worth a thousand images. Maybe even more than that. Cinema is all about jvwM‡q msNe× n‡Z n‡e| moving pictures and telling stories through images, framing, lights and shades, diverse colors, textures, objects, sounds, movements, shots, angels and point of views. It is a powerful medium of communication and expression GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe through multiple art forms. Any form of art can evoke sensation in humans. However, this article does not deal cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i with the art and craft of storytelling, cinematic techniques and aesthetics. Rather it explores the healing power Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB of storytelling and cinema. Cinema is a powerful tool of storytelling. It tells stories through the combination of various art forms such as ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| literature (fiction, drama, poetry and prose), performing arts (dance and music), and visual arts (drawing, Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv painting, architecture and photography). It plays with viewers’ sensory and emotional world. cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi Story is what we use to explain our world, create identity, and make sense of our lives. No mater, whether we think about our lives in terms of stories or not, stories shape our existence and identity. Because we are immersed †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z in diverse stories. Stories gives us a shareable world, and an opportunity connect with the world of others. It is an †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv indispensable part of what makes us human. It is one of the most powerful tools we have as humans to G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| communicate and motivate. Stories can help us to engage, influence, teach and inspire an individual and society as whole. In the process of ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© healing from illness, stories influence both our social relationships, behavior and mind. It motivates and give IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe reason to life and living. Through stories we can find our own meaning and get connected to our intuitions. Researchers have found that there is a deep relationship between stories and our physical, emotional, and evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv spiritual well-being. The human mental functioning is rooted in story. Our brains become more active when we Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb tell stories, listen stories and watch stories. wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb Researches in the fields of neuroscience show that watching cinema leads to release of oxytocin and cortisol hormones in the brain of the viewers. The two hormones influence our mood, emotional and cognitive †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv processing and social behavior. For example, oxytocin influence our experience of social bonding, trust, wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z empathy positive relationship memories, positive communication and processing of bonding cues. Meanwhile, cvi‡e| cortisol is related to the stress response and emotions relevant to depression and sadness. Researchers have found that viewers’ brain activity varies in relation to cinema’s content, editing, and directing style. Some parts Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq of the brain analyze sound bites, some analyze word context, some the sentence content, music, emotional †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë aspect, color or motion. A cinema does more than entertainment. Images and symbols get into the emotions of viewer at a deep level. w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i It can touch their soul, and change hearts and minds. Sometimes, it helps to escape from reality, mirror to the m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I reality and create empathy. As it is multi-sensory medium, it can influence perceptual, cognitive, and emotional ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv processes and activate areas of the brain associated with reflection, problem solving and empathy. Cinema can be a powerful tool and transformative catalyst in healing from mental illness. Because cinematic GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i texts and content such as story, sound, images, lights, movements, flows of events create a neural synchrony. In cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb most cases, mental illness is not biological dysfunction, rather it is relational dysfunction and disruptions to life. n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, Mental illness negatively affects the self-concept of an individual, and change the dynamics of power-relations in relationships, families and society, alter the stories of life. Cinema allows a viewer to reorganize the stories of fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, his/her life. Human experiences are rooted in stories as our social world is full of stories. Storytelling through AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| cinema can shape our brains and behaviors. Studies indicate that cinema can help to recover from various mental illness like anxiety, addiction, depression, domestic violence, grief, panic disorder, social phobia, body dysmorphic disorder, eating disorders, and trauma-related disorders. weavb wi‡eiæ Storytelling through cinema is going through phenomenal changes. Various technologies, such as Pjw”PÎ mgv‡jvPK mobile-phone, offer unlimited potential to tell stories. Use of cinema in clinical practices and healing process is increasing around the world. Like art therapy and bibliotherapy, cinema therapy is becoming popular gradually. The VR (virtual reality) technology is expanding the horizon of clinical use of cinema. Certainly, the new generation of Bangladeshi cinema makers will tap the potential of use of in clinical practices and the global market. They will tell the stories of healing. They heal the society through cinema and storytelling.
Md. Aminul Islam Adjunct Faculty, Department of Media Studies and Journalism University of Liberal Arts Bangladesh
48 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
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ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Mobile Filmmaking Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, A True Blessing for Indie Filmmakers †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU Let us all face the truth - life was harder when smartphones were still a thing of the future. Not only did we not ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ have instant access to information, but we also had to rely on carrying around our cameras everywhere and taking them out, turning them on and capturing the moment. Point and shoot cameras were the closest things mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi to cellular phones with cameras, and even then, they had a limited battery life, which meant we could not keep n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R them on at all times. In the late 1990s and early 2000s; we had camera phones with VGA cameras the image quality of which could jvwM‡q msNe× n‡Z n‡e| be compared to photographs taken with a potato! Yet, it was a novelty that everyone wanted to own. Why so? GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe Simply because everyone wanted to capture memorable moments without lugging around heavy equipment. cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i The mid-2000s brought a revolution in digital filmmaking as digital single-lens reflex (DSLR) cameras were introduced to the market. The Canon EOS 500D was all the rage back in 2009 as it could film in resolution up to Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB 1080p! However, the drawback as that it shot at only 20 frames per second. The Canon 550D rectified that ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| situation and could shoot at 24 fps and 30 fps which was a blessing. Nikon, Olympus, Sony, Panasonic and Samsung soon followed suit and produced DSLRs that could film between 720p at varied frames per second Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv (depending on the NTSC and PAL market). cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi Yours truly was an independent filmmaker who made gritty, dark and moody urban short films on a tight budget. Yet, to have full control over the depth of field on a budget camera was impossible. This was before DSLRs had †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z video capabilities built-in them. I had to purchase a Canon VIXIA HV40 HD Camcorder which filmed at 1080p †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv and both 30 fps and 24fps. Again, to get control over the depth of field, I had to embark on a whole different G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| adventure. Luckily back then, there were online forums where independent filmmakers would gather to exchange ideas and design products for cameras. I got in touch with Jehu Garcia (owner of Jag35) through the ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© forum and created my own DOF adapter. It was not that strong, so I got in touch with another member of the IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe forum who lived in Italy. He had a terrific DOF adapter with a design motor, and I ended up ordering one from him. As one can imagine, the total cost was massive! I ended up spending 700 USD for the camera which I evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv purchased from BHPhotoVideo in Manhattan, New York, and 300 USD for the adapter which was shipped from Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb Italy. Add to that additional 1,000 USD for old SLR lenses, a good quality shotgun microphone, good quality camera rails, follow focus, shoulder mount, audio amplifier, an audio splitter, headphones, cables monitor screen wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb sun shield and other accessories, and it was out of this world expensive for an undergraduate student. Yet, for the †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv sake of passion, with only a part-time job and some financial support from my father, I purchased it all. wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z Fast forward a decade, now we have access to the latest and greatest smartphones with amazing cameras, lenses, and editing software all built-in into a small device that fits easily into the palm of our hands and rests in our pockets cvi‡e| when not in use. No matter where we go that device is always accessible, practically resides with us. A device like Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq mobile that we can take it out in an instant and almost never fail to capture a moment that we desire to keep. With such a superb solution, what could go wrong? Well, nothing and everything. The challenges in filming with †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë a cellular phone are great. Mainly, I find there are two major challenges – superficial and actual. w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i The superficial challenges or artificial challenges are the challenges that mobile filmmakers have to endure from the artists and subjects being filmed and the clients who hire filmmakers for projects. Often the actors, clients and m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I interviewees can be heard saying smartphone cameras are not “real” cameras. Most of the time, their level of ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv seriousness on set is very low when they discover for shooting director is using smartphone. The clients are often GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i the naysayers who wonder why someone would spend so much time and money behind purchasing so many adapters and lenses for a smartphone when they could have just purchased a “real camera” or at least a DSLR. cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb The actual challenges are truly the greatest challenge for filmmakers, especially if they are switching down to a n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, cellular device from a DSLR or digital movie camera. Obtaining the same quality as an actual camera made for filmmaking, adjusting depth of field and having the option to film with anamorphic lenses, stability, dynamic fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, range, logs, metering, white balance, etc., all of these technical aspects on top of audio quality, battery life and AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| getting actors and clients to accept it as a serious filmmaking tool are the actual challenges a mobile filmmaker must face on a daily basis. Hardware and software being the greatest challenge among all, there are certain workarounds which can help but never truly replicate the actual quality obtained when a film is made using a weavb wi‡eiæ camera made specifically for filmmaking. With such challenges, why bother with mobile filmmaking? There is always a silver lining to everything. Pjw”PÎ mgv‡jvPK To tackle the superficial challenges, one must find the positives in filming with such a small device. Artists tend to like the discrete nature of smaller cameras more as it allows them to act freely without distraction. With better technology, it is easier to shoot with a smaller handheld device that is light even with a stabilizer, than to film with a big rig with an actual camera. Most of the higher-end smartphones have amazing image stabilization to begin with, thus making hand-held filming much easier. To tackle these actual challenges are the reason that smartphone cameras are getting better every year. The smartphones I would have mentioned last year, I would not usually even mention this year as their preceding models have generally outclassed their predecessor. For an example, since phones from 2018 are cheaper than those released in 2019 and will have price drops when 2020 phones come out, let me list a few of the older phones one can get for a bargain which have absolutely amazing cameras and software, despite their small censors, for mobile filmmaking.
50 DHAKA INTERNATIONAL MOBILE FILM FESTIVAL 2020 myD”P ce©‡Zi Dci DV‡j †gNivwk †hgb Zbygb Qyu‡q †h‡Z _v‡K, wVK †Zgwb cÖhyw³i ce©‡Z emevmiZ Avgv‡`i mve©¶wYK Wy‡e _vK‡Z n‡”Q `„k¨gvjvi †fZi| †dmeyK, BDwUDe, wbD wgwWqv, wUwf I eo c`©vq †Zv Pjgvb Qwe †`LwQB cÖwZwbqZ, GgbwK iv¯Ívq †m‡K‡j wej‡ev‡W©i e`‡j GLb wekvjvKvi w¯Œ‡b P‡j weÁvc‡bi wK¬c| ivR‰bwZK cÖPviYv‡ZI Pj”Qwe| gvbyl PvB‡j GLb wb‡R‡`i gyn~Z©‡KI jvBf K‡i w`‡Z cv‡i mvgvwRK †hvMv‡hv‡Mi gva¨‡g| cÖvq mK‡jiB GLb i‡q‡Q wUwf P¨v‡b‡ji g‡Zv wbR¯^ P¨v‡bj| Gme NUvi †cQ‡b eo Ae`vb ivL‡Q nv‡Z _vKv ‡hvMv‡hv‡Mi hš¿wU| hZ w`b hv‡”Q GB h‡š¿ ewm‡q †`qv `ywU K¨v‡givi cÖhyw³ Av‡iv DbœZ n‡”Q| ZvB A‡bKUv Sw° QvovB †QvU Qwe ˆZwi K‡i †djv hv‡”Q ¯^vaxbfv‡e| ¯^vaxbZvi K_v †h‡nZy G‡jv, cÖkœ DV‡Z cv‡i, Kvi KvQ †_‡K ¯^vaxb| Pjw”PÎ wbg©vY I cÖ`k©‡bi †h KvVv‡gv ev e¨e¯’v M‡o D‡V‡Q evwYwR¨Kfv‡e, †mB MÐxi evB‡i †ewi‡q GLb A‡b‡KB wb‡R‡`i g‡Zv K‡i KvR Ki‡Qb| Zviv †Kvb cwiPvjK mwgwZi m`m¨ n‡”Qb bv| †Kv_vI †_‡K K¨v‡giv, jvBU, mvD‡Ûi †jvK fvov wb‡Z n‡”Q bv| ïwUs †k‡l GwWwUs c¨v‡b‡j A‡b¨i Dci wbf©i Ki‡Z n‡”Q bv| GgbwK Qwe gyw³i Rb¨ †cÖ¶vM„n gvwjK‡`i Øv‡i Øv‡iI †h‡Z n‡”Q bv| Av‡iv †hUv ¸iæZ¡c~Y© †mwU n‡jv ivó«xq bRi`vix A_©vr †mÝiwkc‡KI Avg‡j wb‡Z n‡”Q bv| Av‡iv GKwU cÖkœ GLv‡b DÌvwcZ nIqv cÖ‡qvRb| Zv n‡jv, GB †h MZvbyMwZK cÖvwZôvwbK I ivó«xq e¨e¯’v †_‡K wbg©vZviv ¯^vaxb n‡jb, G‡Z wK wbg©v‡Yi †Kvb gvb Dbœqb n‡jv, bv wK Pjw”PÎ †h wZwg‡i wQ‡jv, †mLv‡bB i‡q †M‡jv? DËi n‡jv evsjv‡`‡k †QvU Qwei QovQwo n‡jI, ivR‰bwZKfv‡e AvqwbZ Qwei †`Lv †mfv‡e †g‡j bv| A_P cv‡ki †`k fvi‡Z ¯^vaxb Pjw”PÎ wbg©vZv gv‡bB wZwb ivRbxwZ m‡PZb wkíx Ges Zviv †Kvb †mÝiwk‡ci avi av‡ib bv| GgbwK †mî †mÝiwkc‡KI m‡PZbfv‡e cwinvi K‡ib| GKwU D`vniY †`qv hvK| fvi‡Zi ¯^vaxb cÖvgvY¨wPÎ wbg©vZv mÄq KvK ¯^vaxbfv‡eB mvnmx Pjw”PÎ wbg©vY K‡ib| †m¸‡jv cÖ`k©‡bi Rb¨ wZwb †Kvb wdj¥ mvwU©wd‡KU †RvMvo Kivi ZvwM` †eva K‡ib bv| wb‡Ri mvgvwRK I ivR‰bwZK †PZbvi RvqMv †_‡K Qwe evbvb Ges wewfbœ RvqMvq †m¸‡jv cÖ`k©b K‡ib| Dwb fv‡jv K‡iB Rv‡bb, fvi‡Z Av`‡Z cÖvB‡fU w¯Œwbs e‡j wKQy †bB| Avcwb Qwe †Kv_vI †`Lv‡”Qb gv‡bB †mwU cvewjK w¯Œwbs, Avi GRb¨ Avcbvi †mÝi‡ev‡W©i mvwU©wd‡KU _vK‡Z n‡e| Zvi ciI Dwb wb‡Ri wbg©vY‡K A‡b¨i wePv‡ii nv‡Z †Q‡o w`‡Z bvivR| Avi †h‡nZy †mÝi‡evW© Zvui QvocÎ wenxb cÖ`k©bx‡Z †mfv‡e evav w`‡”Q bv, Kv‡RB wZwb RyRyÕi f‡q Kvey bv n‡q gb Ly‡j Qwe evbv‡”Qb I †`Lv‡”Qb| Z‡e GKevi Zvu‡K QvocÎ wb‡Z n‡qwQj| †mB Kvwnbx mÄq Kv‡Ki wb‡Ri gyL †_‡KB †kvbv| Kvk¥x‡i fviZxq †mbvevwnbxi `gb-cxob wb‡q mÄq GKwU Qwe wbg©vY K‡ib ÔRkb-B-AvRvw`Õ (2007) bv‡g| GB Qwe wZwb QvocÎ QvovB wewfbœ RvqMvq †`wL‡q‡Qb| GKevi ewjDW ZviKv Avwgi Lvb Zvui GB QwewU †`Lvi AvMÖn cÖKvk Ki‡j, Zv cÖ`k©‡bi e¨e¯’v nq| Avwg‡ii mv‡_ Av‡iv A‡bK‡KB `vIqvZ †`Iqv nq| cÖ`k©‡bi `k w`b Av‡M Avwe®‹vi n‡jv GB Qwei †mÝi mvwU©wd‡KU †bB| cy‡iv Av‡qvRb fÐzj nIqvi c‡_| ZLb fvi‡Zi Av‡iK w`Kcvj cÖvgvY¨wPÎ wbg©vZv Avb›` cyZea©b ej‡jb, ÔAv‡e`b K‡i ivLyb, Zvn‡j AšÍZ ejv hv‡e, Av‡e`b Kiv n‡q‡QÕ| mÄq cÖ`k©b evuPv‡bvi Rb¨ Av‡e`b K‡ib Ges cvuPw`‡bi g‡a¨ Zv †c‡qI hvb| ZvB e‡j G NUbv †_‡K GUv fvevi AeKvk †bB mÄq Ab¨ Qwei †¶‡ÎI GKB KvR K‡i‡Qb| bv, wZwb mvwU©wd‡KU QvovB Qwe †`wL‡q _v‡Kb Ges †m¸‡jv ivRbxwZ m‡PZb Qwe| Qwe¸‡jvi e³e¨ iv‡ó«i wbcxobg~jK Kg©Kv‡Ði weiæ‡×B| evsjv‡`‡k wKš‘ GL‡bv ivRbxwZ A‡PZb Qwei QovQwo †`wL| cÖhyw³i Kj¨v‡Y ¯^vaxbZv nv‡Zi gy‡Vvq P‡j G‡jI mÁvb wbg©vZv †Pv‡L c‡o bv| ZiæY‡`i †fZi hviv †gvevBj w`‡q Qwe evbvb, Zviv welq evQvB‡qi †¶‡Î wewPÎ e‡U, wKš‘ Zv‡Z ivR‰bwZK Kɯ^i Abycw¯’Z| GKwU mgv‡R cÖwZev`x I mwµq wbg©vZv _vKv Lye Riæwi| Gi eo Afve evsjv‡`‡k| Av‡iv GKwU wRwb‡mi Afve i‡q‡Q, †mwU n‡jv e¨w³ ch©v‡q w¯Œwbs KvjPvi| A_©vr GKRb wdj¥ wKD‡iU‡ii, whwb
ivR‰bwZKfv‡e m‡PZb n‡eb, whwb ¯^vaxb Pjw”PÎ wbg©vZv‡`i Qwe‡K Avgš¿Y Rvbv‡eb Ges m‡e©vcix fv‡jv Qwe †`Lvi Samsung Galaxy S9 (great white balance), Google Pixel 2 (superior ability to capture shadows and details), iPhone XS (great daylight), Huawei P20 Pro (great in low-light and grey days). All these phones have 12-megapix- Rb¨ mgS`vi `k©K ‰Zwi Ki‡eb| wbw®ŒqZvi Kvj‡K aŸsm K‡i †`‡eb| el cameras with the Huawei P20 Pro being a beast coming I with a 40-megapixel RGB lens with an f/1.8 aperture, ¯^vaxb wbg©vZviv nq †Zv wfwWI Ab wWgvÛ cø¨vUdg©¸‡jv‡Z wb‡R‡`i Qwe gyw³ w`‡Z cv‡ib, Z‡e wm‡bgvi †h a«yc`x PP©v, a 20-megapixel monochrome lens with an f/1.6 aperture and an 8-megapixel telephoto lens with an f/2.4 †h A‡bK¸‡jv gvbyl GK‡Î e‡m GKwU Qwe †`L‡Qb, †mUv †QvU AvKv‡i n‡jI Rvwi ivL‡Z n‡e| G‡Z K‡i KwgDwbwU aperture. Furthermore, there are so many add-ons to help make the quality of mobile filmmaking better. Must one ˆZwi n‡e| G‡Z Av‡L‡i GKwU jvf Av‡Q| †mwU n‡jv GKwU fv‡jv Qwe‡K †K›`ª K‡i mvgvwRKZv ˆZwi n‡e, wew”Qbœ purchase a lot of equipment for mobile filmmaking? The answer depends completely on the quality and type mgv‡Ri †fZi Avev‡iv GK`j gvbyl GKmv‡_ n‡q fve‡Z wkL‡e| A¨vwj‡q‡bkb `~i n‡Z ïiæ Ki‡e| h~_e×Zv ˆZwi of film one wants to shoot. However, if someone wishes to produce films that have a professional look to them and can be used in the mainstream media, there is always the opportunity to make things better by purchasing n‡e| gvbyl cÖvK…wZKfv‡eB mvgvwRK Rxe| †h cÖhyw³ Zv‡`i wew”Qbœ Øx‡ci g‡Zv K‡i w`‡”Q, †mB cÖhyw³‡KB Kv‡R add-ons. One can act based on their needs. There is no need to buy all types of lenses, equipment and jvwM‡q msNe× n‡Z n‡e| accessories. There are enough online reviews which one can watch to get a clear idea of what products to buy and what one really needs. GLb †gvevB‡j †hgb †MvUv Qwe evwb‡q †djv hvq, †Zgwb †gvevB‡ji g‡Zv †QvU cÖ‡R±i w`‡qI †hLv‡b †mLv‡b Qwe For those breaking into the world of mobile filmmaking and wish to start off with a bang or for those who have cÖ‡R± Kiv hvq| enb‡hvM¨ eøyUy_ hy³ w¯úKvi †Zv Av‡QB| Kv‡RB bq `kRb wg‡j GKwU †dviv‡gi g‡Zv ˆZwi K‡i experience but need advice on what to purchase, I am listing below some of the more affordable equipment Qwe †`Lv Ges †mwU wb‡q Avjvc Av‡jvPbv Kiv, wKQy wj‡L †djv, †mUv cÖKvk Kiv, Ab¨‡`i co‡Z †`qv, GgbwK GB and their general market retail price (MRP). Most of these products are available through Amazon, Adorama and BHPhotovideo – all reliable sources for quality product purchases. ms¯‹…wZ‡K †K›`ª K‡i cvov ev gnjøv wfwËK bvbv mvgvwRK Kg©Kv‡Ð Ab¨‡`i hy³ KivI Am¤¢e bq| Avgvi K_v n‡jv, GLb Av‡Mi g‡Zv wekvj fvix K¨v‡giv I m¤úv`bvi †Uwej jv‡M bv Qwe evbv‡Z| Avi jv‡M‡Ri g‡Zv Lenses Audio Moondog albs anamorphic lens adapter (increases Rode VideoMicro Compact On-Camera cÖ‡R±i I weivU c`©vI jv‡M bv Qwe †`Lv‡bvi Rb¨| Zvn‡j Av‡Mi hy‡Mi †P‡q Lvivc Qwe evbv‡ev †Kb Avgiv? Av‡Mi resolution, creates anamorphic flares) – 400 USD Microphone with Rycote Lyre Shock Mount – 80 USD †P‡q Av‡iv aviv‡jv Qwe evbv‡bvi cÖZ¨vkvB †Zv ivLv `iKvi| Z‡e GKwU welq gv_vq ivLv Lye cÖ‡qvRb| Qwe evbv‡Z Olloclip lenses (for filmmakers who like to shoot with Rode smartLav+ Omnidirectional Lavalier †M‡j ïay Qwe‡K eyS‡jB n‡e bv| mgvR, ivRbxwZ I `k©‡bi mv‡_ hw` †evSvcov bv _v‡K Zvn‡j fv‡jv Qwe ˆZwi Kiv a light-weight setup) – 100 USD Microphone for iPhone and Smartphones – 75 USD G‡Kev‡iB Am¤¢e| Ime Rvbv‡evSv Qvov Qwe evbv‡j †mUv n‡e †gav, cÖhyw³, mgq I A‡_©i wecyj AcPq| Sandmarc lenses – 80 USD ¯^vaxb Pjw”PÎ wbg©v‡Yi cÖ_g I cÖv_wgK kZ© n‡jv Pjw”P‡Îi evB‡iI cov‡jLv _vK‡Z n‡e, RMr msmvi m¤ú‡K© Video Editing * Filmora Go (Free) IqvwKenvj _vK‡Z n‡e| ïay GKwU `vgx †gvevBj wb‡q Qwe Zy‡j †djjvg Avi ‡mB ‡gvevB‡jB m¤úv`bv K‡i Qwe Camera Control evwb‡q †Kvb cø¨vUd‡g© Avc K‡i eÜy‡`i wjsK cvwV‡q w`jvg, Ggb n‡j Pj‡e bv| cÖ¯‘wZ I ÁvbPP©vi gva¨‡g fv‡jv FiLMiC Pro: Professional HD Manual Video Camera – PowerDirector (Free) 14.99 USD Qwe evbv‡Z n‡e Ges †QvU †QvU `j evbv‡Z n‡e| hviv wb‡R‡`i evbv‡bv Qwe †`L‡e, †mUv wb‡q ZK©weZK© Ki‡e, bZyb KineMaster (Free) wKQy wPšÍv Ki‡e, co‡e, wjL‡e, Abykxjb Ki‡e| GB PP©v ci¯ú‡ii †fZi msnwZ ˆZwi Ki‡e| G‡Z K‡i mgv‡R GLb This app allows filming in 4K if your device has a 4K camera Quik (Free) †h mš¿vmxiv †ckx kw³ cÖ`k©b K‡i, †mUvi `vcU K‡g hv‡e| Gi KviY ZLb Pjw”PÎ ms¯‹…wZi †fZi _vKv ZiæYiv Bitrate can be increased, which raises the Adobe Premiere Rush (Free) wew”Qbœ †eva Ki‡e bv| Zviv fv‡jv-g‡›`i wePvi †Zv Ki‡Z cvi‡eB, msNe×fv‡e Lvivc wKQyi cÖwZev`I Ki‡Z compression thus allowing the video to be of higher (may have compatibility issues with many devices) cvi‡e| quality thereby enabling better colour correction – just Pjw”PÎ msm` GKmgq wewfbœ †`‡ki fv‡jv fv‡jv Qwe †RvMvo K‡i †`Lv‡Zv| †mmgq hy‡Mi Pvwn`v wQ‡jv IUvB| bq the way logs work in the higher end digital cameras Others Grips and cages are available and more mobile Much greater live adjustment †Zv gvbyl `ywbqvi bvbv cÖv‡šÍi fv‡jv Qwe †Kv_v †_‡K †`L‡e? GLb †mB ev¯ÍeZv cv‡ë wM‡q‡Q| B›Uvi‡bU †mUv cv‡ë than those for their DSLR counterpart, and they can w`‡q‡Q| GLb †hUv n‡Z cv‡i, Zv n‡jv Pjw”PÎ †`Lv bq, Pjw”P·K PP©vi ¯Í‡i DbœxZ Kiv| Pjw”P·K †K›`ª K‡i also mount microphones, LED lights and battery m‡PZb ZiæY mgvR wbg©vY Kiv| Avgiv cÎcwÎKvq hv ïwb M¨vs KvjPvi, gvivgvwi, gv`K Gme †_‡K wK‡kvi I Steadicams packs, so check them out at your own discretion. Steadicam Smoothee – 100 USD ZiæY‡`i †ei K‡i Avbvi Rb¨ bZyb K‡i Pjw”PÎ PP©v Kiv †h‡Z cv‡i| Avi G‡Z GwM‡q Avm‡Z n‡e ZiæY‡`iB| hviv Carry battery power banks to ensure you never GKUy AMÖmi, A_©vr hviv wek¦we`¨vj‡q Pjw”PÎ wb‡q co‡Qb, hviv A¨vw±wf÷ Zv‡`i‡KB GwM‡q Avm‡Z n‡e| wb‡R‡`i KumbaCam 3 Axis Smartphone Stabilizer – 130 USD have to stop filming because of low battery. cvov, gnjøvq wM‡q wb‡R‡KB wdj¥ wKD‡iUi n‡q †h‡Z n‡e| G‡Z K‡i `„k¨gva¨g m¤ú‡K© †jvKRb †hgb Av‡iv m‡PZb * While I prefer editing my videos on my desktop workstation, there are times where I have used these applications for quick video edits. I personally do not recommend them for editing actual films owing to their lack of stability in n‡e, †Zgwb Av‡M †hgbUv ejjvg, mvgvwRKZv evo‡e, wew”QbœZv `~i n‡e, m‡PZbZvI evo‡e| fv‡jv wPšÍv hviv K‡ib, saving and recalling large projects. fv‡jv wKQy Kivi B”Qv hviv aviY K‡ib, cÖwZwµqvkxjZvi weiæ‡× hviv cÖMwZ‡K gkvj Ki‡Z Pvb, Zviv GKÎ n‡j, With all challenges sorted out, anyone breaking into the world of mobile filmmaking must know of one film AacZ‡bi Aemvb NU‡e, ÁvbwfwËK mgv‡Ri K`i cybiæ×vi n‡e| movement from the 1990s that fueled a generation of filmmakers to dare to make unconventional films much like mobile filmmakers do. The Dogma 95 was a filmmaking movement started in 1996 by Danish directors Lars von Trier and Thomas Vinterberg who created the “Dogme 95 Manifesto” and the “Vows of Chastity” (Danish: weavb wi‡eiæ kyskhedsløfter). These were rules to create filmmaking based on the traditional values of story, acting, and thee Pjw”PÎ mgv‡jvPK and excluding the use of elaborate special effects or technology. It was an attempt to take back power for the director as an artist, as opposed to the studio. They were later joined by fellow Danish directors Kristian Levring and Søren Kragh-Jacobsen, forming the Dogme 95 Collective or the Dogme Brethren. While Dogma 95 opposed the use of technology, its core principle is the same as those shared by indie mobile filmmakers. The device may have changed, but the medium remains the same. In conclusion, we know well enough the opportunity to get into mobile filmmaking and prospering in this day and age is endless. There is no need to think twice, everyone already has a device to get start with- Today. There is nothing to hold back anyone anymore, and the possibilities are limitless. Carpe diem!
Wafi Aziz Sattar Lecturer, Department of Media Studies and Journalism University of Liberal Arts Bangladesh
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