Eid films hold strong, but Dhallywood needs year-round hits

Cinema remains the core of Bangladesh's entertainment industry. Despite numerous challenges, it continues to be the primary source of leisure for audiences. However, due to the shortage of theatres and various other issues, Dhallywood stays largely dormant for 90% of the year. 

During this break, theatres often sit empty, even when new releases hit the screens. But during Eid, the remaining cinema halls across the country spring back to life. Producers, too, take this opportunity to release their big-budget, star-studded films. These two weeks of festivities have become a blessing for the film industry.

Yet once Eid ends, darkness descends again. Therefore, the questions remain: Can a big release be spread throughout the year? Would it keep the industry and theatres alive and provide audiences with a steady stream of quality films?

According to the Bangladesh Film Exhibitors and Distributors Association, 180 theatres were active nationwide during Eid. But that number drops to around 50 once Eid ends. With so few options, producers hesitate to release big-budget films at other times of the year, fearing low returns and thin audiences.

As a result, Dhallywood survives on the occasional release and box office success. However, producers and distributors are hopeful this dry spell will soon end. Some believe the industry is already shifting. 

"Since late last year, we've been releasing quality films beyond Eid—like Jole Jwole Tara and Dorod. We're working to offer Eid-level films year-round, aiming for at least one strong release each month. I believe the tough times will soon pass," said Zahid Hasan Abhi, producer.

However, this Eid-ul-Adha, six films were released across Dhaka and the rest of the country: Taandob, Insaaf, Tagar, Neelchokro, Esha Murder,  Kormofol, and Utshob. Like previous Eid seasons, this year also saw high-budget productions with improved technology, diverse locations, and a strong cast. Unsurprisingly, these films have attracted viewers of all ages and professions.

Gone are the days of excessive censorship cuts or vulgarity in Dhallywood films, which has led to an increase in family audiences. As people return from their hometowns to the capital, multiplexes and the few remaining cinemas are still drawing crowds. Taandob had such high demand that its advance tickets sold out a week in advance at Star Cineplex, a clear proof that the Eid buzz continues.

As expected, Taandob, directed by Raihan Rafi and starring Shakib Khan, was the biggest draw. It was released in over 130 theatres—the highest among the Eid releases—and set earnings records. The film is currently running 45 shows in multiplexes and screening in over 100 single-screen theatres. According to producer Shahriar Shakil, the film earned nearly nine crore Tk in its first nine days.

Tanim Noor's Utshob is also performing steadily. Currently showing in 15 multiplex screenings, the film surpassed one crore Tk in earnings in nine days and is expected to continue its run for several more weeks.

Insaaf, directed by Sanjay Samaddar, opened in 20 cinemas and has earned over one crore Tk so far. Producer Khorshed Alam Khosru is optimistic that once Taandob completes its run, more theatres will screen Insaaf, further boosting its earnings.

Neelchokro, directed by Mithu Khan, started strong but later faltered. Its screening numbers and earnings declined. However, the director plans a broader release outside Dhaka and international screenings starting in July, which he believes will improve revenue. So far, it has earned approximately 25 lakh Tk in its first nine days.

Sunny Sanwar's Esha Murder: Kormofol is generating buzz despite a limited release. Theatre numbers and audience turnout are gradually increasing. Sources claim multiplex earnings alone are around 16 lakh Tk, and rights have already been sold at a premium.

Finally, Tagar, directed by Aalok Hasan, began with promise but quickly entered a slump post-Eid. It has earned roughly 14 lakh Tk, with theatre shortages cited as the main barrier to wider success.

Despite varied earnings, all six Eid films were packed with audience-friendly elements. Shakib Khan, often considered Dhallywood's biggest commercial draw, dominated most theatres, especially in rural areas. Had the number of theatres been higher, films like Insaaf and Utshob might have rivalled Taandob at the box office.

Bangladesh once had over a thousand cinema halls; now, that number has dropped into the low hundreds. The main reason is simple: business. Most rural theatres are outdated, lacking modern amenities, making them unattractive to viewers. As a result, losses mount and halls close.

A few years ago, the Bangladesh Bank announced a special loan scheme for modernising cinema halls. But most owners never received support. Some tried and failed, while others never applied, fearing repayment issues.

"If we can't run good films, how will we repay the loan?" asked Iftekhar Uddin Noushad, owner of Madhumita Cinema Hall. "Now that the Eid films are ending their run, we're left wondering what to screen next. We've heard some second-tier films might be released, but those won't bring in revenue or audiences. How can we keep the halls open like this?"

Conversations with key industry figures point to one solution: release quality, star-driven films every month and simultaneously invest in modernising cinema halls. With these two moves, Dhallywood may finally step out of the seasonal shadow of Eid and thrive all year long.