Rubaiyat Hossain

Shimu, 23, works in a clothing factory in Dhaka, Bangladesh. Faced with difficult conditions at work, she decides to start a union with her co-workers. Despite threats from the management and disapproval of her husband, Shimu is determined to go on. Together the women must fight and find a way to register their union.

Roya is a middle-class Muslim woman that struggles to find herself in the sprawl of urban Bangladesh. When she discovers that she will be replaced by a younger actor for the role of Nandini —a central character of Rabindranath Tagore’s political play Red Oleanders —she battles to reconstruct the part, reclaiming her identity and sexuality in the process. As she sets the play in a modern day ready-made garment factory in Dhaka, her journey to establish her individuality is juxtaposed with the journey of her housemaid Moyna, who later joins the industrial workforce.

During the war in 1971, Meher falls in love with a soldier from the enemy side. When her love is discovered, she is shamed and silenced by her family and society. Today 38 years after the war, Meher has a visitor she cannot turn down.

Emma and Hasan don’t know each other, but they have much in common. Most importantly, they are both sand thieves. Emma steals it for kitty litter, Hasan for making homemade glass. One day, their lives are disrupted by the discovery of a severed finger, and they learn that the human psyche can shatter as easily as glass…

On the edge of Bangladesh, between mountains and water, stands a post-office, the only sign of civilization. It has a notorious reputation: its employees disappear. Two men, in love with each other, work there.

A one-take observational piece about the microcosm of Islamic practices and class segregation in Bangladesh's capital Dhaka. Multiplicity within a Muslim community and the passage of people through one single frame documents this society's interiors and exteriors.

An uncut shot of a journey taken to discover the various layers of the relationship between man and nature and the different perceptions of reality within two full circles. The short film storytelling technique exploits the strength of non-diegetic sound elements and explores the freedom of framing techniques.

6-year-old Nushaida starts a journey to find her parents, whom she lost while fleeing Myanmar, among refugee camps for Rohingyas in Bangladesh.

The Poison Thorn revolves around the narratives of three rape survivors of Liberation War of Bangladesh and witnesses the expressions of a collective trauma of war and its effects on women.

Intersecting stories of a film school graduate, a cinema-projectionist and a home delivery boy who look for individual hope to adopt with the complex power structure in contemporary Dhaka city.

Novera, a bride-to-be in present-day Dhaka, is in love with her groom and dreams of a fairytale wedding, but secretly struggles with her body’s resistance to wedding rituals. As stress and emotional pain intensify, a mysterious woman with long hair begins appearing in Novera’s imagination.