Taandob: A perfect storm of style and substance

Cinema, at its finest, is a reflection of the society it's born from: layered, tense, hopeful, and complex. And few films in recent Bangladeshi memory have captured that sentiment like 'Taandob', directed by Raihan Rafi, released this Eid.

A genre-bending political action thriller with the pulse of a revolution and the soul of a classic noir, 'Taandob' is a brave chapter in the evolving tale of Dhallywood and its attempt to tell the story of a very dreadful time.

What sets the film apart is its fiercely original plot. It is layered, daring, and defies the cookie-cutter formula of political dramas. Set against a backdrop of socio-political unrest, the film moves like a chess game where every piece has its own agenda. The plot blossoms slowly.

This isn't just a "hero vs villain" showdown. It's a story about the system, and how individuals—flawed, passionate, and sometimes dangerous—move within it. You won't find bland black-and-white morality here. Instead, there's a thrilling ambiguity that makes every character compelling.

Shakib Khan is a man in complete control of his craft. His character is complex: ruthless yet principled, fierce yet soft-spoken. Shakib plays him with the precision of a master sculptor. Every glare, every pause, every quiet smirk is measured and magnetic.

Jaya Ahsan was at her best, owning the character of a vigilant journalist to its core. It did not feel like it was Sabila Nur's first commercial film; she was comfortable in her character. Shakib is backed by a stellar ensemble cast, including Afzal Hossain, Shahiduzzaman Selim, Gazi Rakayet, Siam Ahmed, Afran Nisho, FS Nayeem and Rosey Siddiqui.

No character is wasted. Everyone is given room to breathe and burn.

One of Taandob's greatest assets is its razor-sharp script. The dialogues walk a tightrope between subtle satire and gut punching one-liners. There's dark humour, clever jabs at political doublespeak, media manipulation, and public apathy. But what impresses most is how natural the dialogue feels, not performative.

Lines land hard not because they shout, but because they whisper truths we're often afraid to say aloud.

Every frame of 'Taandob' feels like it belongs in a gallery. Shihab Nurun Nabi's cinematography captures Dhaka like you've never seen it before. 

Murky alleyways shimmer with tension, rooftop scenes breathe with longing, and neon nightlife hums with danger. There's a deliberate texture—the kind you feel under your skin.

The use of long takes, dynamic framing, and stark lighting builds a mood that's part noir, part dystopia. Whether it's an intense standoff or a quiet, smoky dialogue over tea, every shot contributes to the film's taut atmosphere.

The editing, while mostly sharp, has a few sluggish transitions, especially in the second act. Still, it's largely cohesive and matches the film's steady build-up and explosive payoff.

Credit where it's due: Arafat Mohsin Nidhi's background score is a character of its own. It doesn't just underscore momentum, it dictates mood, breathes suspense, and elevates emotion. Whether it's a heart-racing chase or a melancholic reunion, the music swells and fades with perfect timing.

The main theme, echoing like a heartbeat through key scenes, stays with you long after the lights come up.

'Taandob' is the country's first cinematic exploration of the multiverse. In doing so, it not only expands storytelling but launches Raihan Rafi's cinematic universe, setting a precedent for serialised, interconnected narratives in Dhallywood. 

It appeals not just to fans of the genre but to wider audiences witnessing local characters in extraordinary scenarios. The film shows that bold storytelling, grounded in local realities, can resonate without sacrificing originality.

Moreover, the launch of the 'Rafiverse' suggests a long-term vision rarely seen in Bangladesh's mainstream film sector. Most films have traditionally been made as standalone projects, often disconnected from one another, with little continuity or cross-title development.

Rafi's multiverse model aims to build a fanbase through recurring motifs, shared storylines, and arcs that extend beyond a single film. This could revive audience interest, especially among younger viewers used to web series and global franchises.

However, 'Taandob' is not flawless.

Some scenes feel overly theatrical, particularly during emotional high notes. Some of the social commentary, while powerful, risks becoming offensive. And a few plot conveniences, though forgivable for pacing, may leave nitpickers raising eyebrows.

The film's biggest flaw is the signature Raihan Rafi twist, often hit or miss. This time, it feels more like a miss due to an overly complicated tone.

But these aren't fatal flaws. They're signs of ambition—risks taken. And in a film industry often accused of playing it safe, ambition alone is worth celebrating. 

In 2025, Dhallywood needed a reminder of what was possible—and Taandob delivered. With a unique plot, unforgettable performances, striking visuals, and a gripping score, it earns its place in the cultural landscape.