Beyond the stereotype: Bangladeshi films representing women in a men’s world

Since its glorious days, the narratives that dominated the Bangladeshi film scene have always been male-centric. The film industry of our country, without fail, represents and reflects the contemporary state of our society, one which was created by men, for men. 

Historically, the industry has marginalised women by relegating them to secondary roles. These portrayals typically follow a narrow binary: either as objectified romantic interests intended for the male gaze or as selfless, long-suffering maternal figures who embody traditional domestic ideals.

Frustratingly enough, only a handful of films have taken the step to explore and represent women beyond the archetypes and stereotypes to tell the world that women, too, have a story of their own— the story of living in a world for men. On this special occasion of International Women's Day, let's dive into those very few movies that went against the grain of the industry.

We're beginning the list with Leesa Gazi's debut film, 'Barir Naam Shahana', which was also Bangladesh's pick for the Oscars this year. This female-created and female-led film revolves around the story of a woman named Dipa, who is fierce, funny, forthright, and most importantly, a divorcee or menace in a rural area in the 90s Bangladesh. She demanded to live life on her own terms by exercising defiance against a society bound by conventions whose sole beneficiaries were men. 

Dipa's empowering narrative is a cinematic force that exposes the crushing reality of societal norms imposed on women, but also their strength and resilience. A victim of forced marriage and marital abuse, her journey to challenge societal norms and superstitions, whether it's asking for deeper pockets in her Burka like men for greater practicality or standing up for a poverty-stricken, orphaned girl, reveals something greater than what eyes meet. This film is a breath of fresh air, taking a raw chunk from society and showcasing it in a beautiful, poignant manner. 

The next on the list would be 'Rehana Maryam Noor' by Abdullah Mohammad Saad. The film had initially created quite the buzz as it was the first Bangladeshi film to be selected in the  'Un Certain Regard' section in Cannes. 

It is a gripping social drama that revolves around a struggling assistant professor getting caught in a sexual assault case where she knows both the victim and the perpetrator. As she continues to seek justice, her relentless pursuit drives her towards reckless obsession as she navigates a society that has zero mercy for women. 

This tightly woven psychological portrait, with magnetic continuity and an unsettling range of dynamics, powerfully distilled and expertly distributed female rage in the film. The film is dark, unsettling, nuanced, and complex, both in storyline and visuals, but Saad's presentation is art at its peak. It is a product of its time, echoing the notes of '#MeToo' and the anti-rape movement. 

For long films have only been created to showcase male machismo, where women were mostly passive, where narrative reflected nothing of women's actual position, and only revealed society's ignorance. These films serve as a stark reminder that female-centric narratives are not for cheap entertainment but are purposeful reminders of women's existence. 

When talking about female-directed films, Rubaiyet Hossain's 'Made in Bangladesh' must be on the list. The film was based on the life of a garment worker whom Rubaiyet had interviewed for a span of three years. 

Her aspiration to explore women's lived experiences and societal conditions on screen has been beautifully manifested in this movie, and gives us every reason to want more female directors in the industry. 

'Made in Bangladesh' unfolds the story of Shimu, a garment worker who starts a union after facing difficult and unfair conditions at work despite the threats from management and the disapproval of her husband. 

It reveals the struggles of empowered women trying to make a living while fighting both at home and in factories for their rights and dignity. Their resilience outshines the crushing force of patriarchy and capitalism. This film is both socially and culturally relevant. 

Even though the list mostly comprises contemporary films, it will be an injustice not to talk about Amzad Hossain's 'Golapi Ekhon Train e'. This 70s film is the ultimate trademark of progression. The main character, Golapi, is a force of nature herself, with cigarettes dangling in her lips and her smug expression. 

She is the poster for the girl whom society thinks has gone astray. She chooses to work on trains to support her family after her father commits suicide because he was unable to pay a hefty dowry for his daughter's marriage. This gutsy film is one of the earliest to explore a female-centric narrative. 

Films are often seen as a primary source of entertainment, which is their primary role, but they also often serve as a testament to their time and society. For long films have only been created to showcase male machismo, where women were mostly passive, where narrative reflected nothing of women's actual position, and only revealed society's ignorance. These films serve as a stark reminder that female-centric narratives are not for cheap entertainment but are purposeful reminders of women's existence.