চিত্রপরিচালক তারেক মাসুদ পরিচালিত ‘মাটির ময়না’ তাঁর প্রথম পূর্ণদৈর্ঘ্যের ছবি। এটি কান চলচ্চিত্র উৎসবে প্রদর্শিত প্রথম বাংলাদেশী ছবি। এটি ২০০২ সালে ডিরেক্টরস ফোর্টনাইট নামক অধ্যায়ে প্রদর্শিত হয়। সিনেমাটি ভূষিত হয় FIPRESCI পুরস্কারে।

Sandip Dhara’s ‘Gonokoborer Deshe’ is a collection of fictional letters that is deeply rooted in harsh reality. There he repeatedly tried to highlight how innocent people who had taken up arms are crushed when two megalomaniac nations collide.

Art, nowadays, is rarely a sadhana. Yet, it is a forceful reminder of every artist’s fundamental element. Bijan Sarkar speaks sincerely about it in an interview with Munem Wasif. To look into this man, who worked with paper negatives in the darkroom, we must adopt in our methodology both the perspectives – from within and without.

Love and romance have never looked as intoxicating as they do in a Wong Kar-wai cinema. The director tells extremely atmospheric stories of restrained desires using dazzling visuals, mesmerizing colours, unconventional narratives and memorable songs. In his neon filled world of Hong Kong, a lonely soul drifts around, desperately trying to make a meaningful connection.

The film begins with a woman(probably a grandma) telling another woman (granddaughter) a tale about a prince searching for a virgin woman to get rid of the fear of blood. The prince says to the woman, “I want every inch of you”. The woman replies, “But I don’t own myself”. The film ends with the grandma saying, “Then, the virgin asked the earth who do I belong to?”

“When filmmaking runs that deep, it never becomes familiar”. Scorsese’s remark on Kurosawa reminds us of how little we understand, not only of cinema but of life itself. Irrespective of all the disciplinary appreciations and criticisms we undertake, none of us can fully decipher an auteur’s philosophical foundation. Cinema, just like other major art forms has developed across continents – in cultures across the globe presents their respective identities. To be able to perceive works of such a vast domain demands…

At the climax of his photographic journey, he becomes intimately personal, dissolving the rigidity of forms and structures. But the journey that took him to that place of an internal investigation is grounded in the revelations that different phases of his career provided him. Born in Calcutta, the genesis of Prabuddha Dasgupta’s career lay in his indulgence with portraits. He has produced both commissioned and personal pieces of work. Almost all of his color photographs belong to commissioned projects. Even then, irrespective of Dasgupta’s expertise,

Modernism in Indian art history developed in conversation with the cultural dilemmas and contradictions during the colonial regime. The ensuing tensions between the Western convention of academic art and the essentialist espousal of an Oriental past eventually led to cultural symbiosis in Indian modernist aesthetics. In the works of artists like K.H. Ara, Ramkinkar Baij, and Sayed Haider Raza, indigenous traditions interacted with modern techniques to address the heterogeneity of caste, religion, gender, and race in the cultural fabric of India. As pertinent studies have shown, unlike the later modernist preoccupation in the West

I happen to stumble on a photograph called Greenwood Mississippi, widely known as The Red Ceiling following an hour badly spent. I had spent the previous hour looking at the ceiling amidst the banal setting of different objects in my home. A few minutes later, the image, I have had stumbled upon, opened an unseen world in me. The image was both formerly beautiful and unsettling, like the creeping unease of a Hitchcock film. In the beginning, the photograph disconcerted me, then caught me and besotted me in the most mundanely beautiful way.

Bohun Lynch in his book A History of Caricature (1926) writes, “…….we may say that caricature is, amongst the other things, the portrayal of an individual, as seen by another, without regard to the rules of drawing. Joseph Conrad, in Nostromo, speaks (and as it happens without any apparent thought of caricature in his mind) of “putting the face of a joke upon the body of truth”, which very neatly serves to describe at least one aspect of the art.”…