Bangladesh films take center stage at the 12th Kolkata People’s Film Festival, a cultural showcase that unfolds amid heightened diplomatic tensions between India and Bangladesh. The festival, which opened on January 23, features 39 films, four of which focus on Bangladesh, offering a rare cinematic bridge between the two nations.
Background and Context
India’s recent decision to classify Bangladesh as a “non-family” diplomatic posting has intensified scrutiny over cross-border cultural exchanges. In this climate, the Kolkata People’s Film Festival (KPFF) becomes more than a film event; it is a statement of shared heritage and human connection. The festival’s programming team, led by Kasturi Basu of the People’s Film Collective, emphasizes that cinema can transcend political divides.
“Screening films has always helped audiences connect to common human experience cutting across nationalities and borders,” Basu says. “In these times, it is important to have these screenings, to do away with imagined and imposed demonisation and otherings.” Her words echo the festival’s mission to foster dialogue through storytelling.
Key Developments
Among the four Bangladesh-centric films, three are directed by filmmakers of Bangladeshi origin: Jafar Muhammad’s Pankauri, Shekh Al Mamun’s Drained by Dreams, and the collaborative In Search of Bengali Harlem by Vivek Bald and Allaudin Ullah. The fourth, A Dream Called Khushi (Happiness), is directed by Indian filmmaker Rishabh Raj Jain and premieres on Republic Day.
Pankauri follows Mujibur Rahman, a pebble‑collector who worked for 56 years along the Karatoa River, spotlighting labor exploitation and the fight for dignity. Drained by Dreams chronicles Selim, a Bangladeshi migrant in Korea who, at his family’s behest, remains abroad to work in a furniture factory. In Search of Bengali Harlem documents Allaudin Ullah’s journey from Harlem’s streets to rural Bangladesh, exploring diasporic identity.
Jafar Muhammad explains, “It’s great to be selected in KPFF. I wished to attend this festival but for the political issues between our countries it’s hard to get a visa. So, I couldn’t attend the festival. But through this film I hope our people will connect.”
Rishabh Raj Jain, present in Kolkata for the premiere, remarks, “I believe the most beautiful thing about films is that they don’t have borders. The whole point of telling a story is to bring it out for the world to see and therefore have better understanding of communities, cultures and places they might not get to physically visit.” He adds that the festival’s inclusion of both Indian and Bangladeshi voices signals resilience in cultural ties despite diplomatic strains.
Impact Analysis
For students and young filmmakers, the KPFF offers a platform to showcase work that tackles social issues such as labor rights, migration, and refugee experiences. The festival’s diverse lineup encourages cross‑cultural learning and networking opportunities that can lead to future collaborations.
Moreover, the focus on Bangladesh amid strained relations highlights the role of soft power in diplomacy. Cultural events like KPFF can mitigate misunderstandings, fostering empathy among audiences who might otherwise view the other nation through a politicised lens.
From an industry perspective, the festival’s 39‑film slate demonstrates the growing appetite for regional cinema in India’s metropolitan hubs. The inclusion of Bangladeshi narratives signals a market shift toward more inclusive storytelling, potentially attracting investors and distributors interested in cross‑border projects.
Expert Insights and Practical Guidance
- For filmmakers: Submit your work early to secure a slot. Highlight universal themes—labor, migration, identity—to resonate with diverse audiences.
- For students: Attend Q&A sessions to learn from directors about navigating visa challenges and cultural sensitivities.
- For cultural organisations: Use KPFF as a case study for organising cross‑border festivals. Focus on shared heritage to build goodwill.
- For policymakers: Recognise the value of cultural diplomacy. Support funding for film festivals that promote mutual understanding.
Jafar Muhammad advises, “Even if you can’t attend in person, your film can still bridge gaps. Use digital platforms to reach audiences beyond the festival.” This underscores the importance of online distribution, especially when geopolitical barriers limit physical attendance.
Looking Ahead
The KPFF’s success may pave the way for future festivals that feature more Bangladeshi content, potentially easing diplomatic tensions through cultural engagement. As India and Bangladesh navigate the complexities of the 2026 SIR and Rohingya debates, film festivals can serve as neutral grounds for dialogue.
Industry analysts predict that the next edition of KPFF will expand its international outreach, inviting filmmakers from neighboring countries such as Myanmar and Sri Lanka. This expansion could position Kolkata as a regional hub for South Asian cinema, attracting talent and investment.
For students and aspiring filmmakers, the KPFF offers a blueprint for leveraging cinema as a tool for social commentary and diplomatic soft power. By engaging with stories that reflect shared human experiences, creators can contribute to a more nuanced understanding of regional dynamics.
As the festival concludes, the message remains clear: cinema is a universal language that can bridge divides, even when diplomatic relations are strained. The four Bangladesh films at KPFF exemplify this potential, inviting audiences to look beyond borders and connect through shared narratives.
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