Amitabh Reza Chowdhury is no stranger to cinematic brilliance. A story-teller who effortlessly blends social realism with striking visual narratives, he has carved a distinct space in Bangladeshi cinema. From his iconic feature Aynabaji (2016) to his thought-provoking advertisements and series, Chowdhury has consistently pushed the boundaries of story-telling – making him one of the most influential directors of his generation
By Ayman Anika
In Rickshaw Girl, he takes audiences on a vibrant journey into the world of rickshaw painting – an art form that is slowly fading from Dhaka’s streets. The film, based on Mitali Perkins’ novel, showcases his ability to turn everyday Bangladeshi experiences into compelling cinema.
In an exclusive phone interview with MWB, the acclaimed director shares his inspiration behind Rickshaw Girl, the hurdles of independent filmmaking, and his vision for the future of Bangladeshi cinema in an age dominated by streaming platforms.
What inspired you to work with rickshaw and rickshaw painting in Rickshaw Girl?
For as long as I can remember, rickshaws have been an integral part of my life. During my younger years, they were my primary mode of transport. This personal connection with rickshaws and Dhaka city itself played a significant role in inspiring me to work on this project. Beyond that, rickshaw painting is a rich but fading art form, and this was another major driving force behind my decision to bring it to the screen.
I strongly felt that a film should be made about this unique and vibrant art – something that would spark conversation and appreciation. From the very beginning, my vision was clear: to highlight and preserve this tradition through story-telling.
This vision is beautifully reflected in the song “Kon Latai,” which we created as part of the project. It felt necessary to document and celebrate rickshaw painting before it disappears entirely, ensuring that people recognize and value this artistic heritage for generations to come.
The film is based on Mitali Perkins’ novel. What about the book resonated with you and made you want to bring it to the screen?
To be honest, the book itself was not my primary inspiration. The project came to me as an opportunity. It wasn’t an “auteur” film where I was the sole creative force behind it, but rather a collaborative effort. While I respect the book and its story, my motivation was more about the visual and cultural story-telling opportunities it presented rather than a direct personal connection to the novel’s narrative.
What were some of the biggest challenges in bringing this story to life?
Adaptations always come with their own set of challenges. It’s not just about taking a story from a book and transferring it onto the screen. There is a responsibility to decide what works cinematically and what doesn’t. A book is closed after reading, but a film has to leave a lasting impression, engaging the audience in a different way.
Budget constraints were another major challenge. If we had the resources, we could have arranged the screening of the film on a grander level and given audiences, especially children, an immersive experience. But we lacked financial support for such initiatives. Despite these limitations, we worked with what we had to create something visually and emotionally compelling.
Rickshaw Girl has been showcased internationally. How have global audiences responded to the film?
The global response to Rickshaw Girl has been incredibly positive, especially among younger audiences. Children, in particular, have connected deeply with the story, which has been heartening to witness.
In the international film circuit, major productions with big stars like Robert De Niro naturally attract widespread attention, and audiences tend to gravitate towards these large-scale films. However, for independent films like ours, the reception is entirely dependent on how open and willing audiences are to embrace something different.
I am deeply grateful to international children’s film festivals, especially those in Germany and Brussels, where Rickshaw Girl was warmly received. The Bangladeshi embassy played a crucial role in these screenings, taking the initiative to support and promote the film in foreign territories. Their commitment ensured that the film reached a wider audience, allowing it to shine in spaces where it may have otherwise been overlooked.
In this context, I believe that exhibitors hold a great deal of responsibility in shaping the cinematic experience for viewers. The way a film is presented and supported can significantly impact its reach and reception. Fortunately, in this case, the exhibitors embraced that responsibility with immense dedication, ensuring that Rickshaw Girl was given the platform it deserved.
Do you want to further work with rickshaw painting?
If I receive the proper funding and support, I would absolutely love to work further with the concept. At the end of the day, I am a professional filmmaker with big dreams, but turning those dreams into reality requires resources.
The Bangladeshi cinema industry has been undergoing a noteworthy transformation in recent times. How do you see the future of cinema, especially in the age of digital platforms?
That’s the big question, isn’t it? Watching a film has become an experience beyond just story-telling. Say I’m in the US right now and I want to watch a movie in a theater. It’ll cost me 30 dollars, right? Maybe 25. Then there’s transportation – another 20 dollars. So, people think, why not just stay home and watch something online? It’s cheaper. Plus, now, going to the movies is about more than just watching – it’s about taking pictures, sharing on social media, making an event out of it.
There’s a shift happening. Cinema is no longer just about the story – it’s about how the experience is packaged and presented. We need to find ways to keep audiences engaged in theaters while also embracing the changing digital landscape. The future of cinema will depend on how well we balance these two worlds.
Streaming services and independent filmmaking are opening new doors. Right now, our industry has immense potential for more diverse story-telling. The digital landscape is fostering a nonconformist spirit among filmmakers, with new funding sources and story-telling techniques emerging.
The future of Bangladeshi cinema lies in adaptation – those who embrace new mediums, formats, and audiences will thrive.
You have worked across multiple formats – feature films, advertisements, and series. How does your approach change depending on the medium?
The core story-telling principles remain the same, but the approach differs. A feature film allows for deeper character development and world-building. I’ve shifted towards more personal projects – smaller in scale but more intimate. I’m trying new techniques and treating filmmaking almost like maintaining a personal diary. The industry is changing, and I want to explore story-telling in ways that feel authentic to me.
Many filmmakers in Bangladesh are experimenting with genres that were previously unexplored. What genre would you like to see more of in Bangladeshi cinema?
Iwould love to see Bangladeshi cinema experiment more with socio-political themes and avant-garde story-telling. These genres remain largely untapped in our industry, and there’s so much creative space to explore.
Personally, I want to work on migration. I also have a web series, Bohemian Ghora, with Mosharraf Hossain coming up and this project that is completely different from my previous work, exploring themes and styles that I haven’t tackled before.
What advice would you give to young filmmakers?
Watch as many films as possible – especially international films beyond Bollywood or mainstream Hollywood. Observe how emotions are conveyed, how stories are told across different cultures.
Most importantly, just start. Don’t wait for a big budget, a producer, or a celebrity endorsement. Forget about the red carpets and festivals. Make your own story with whatever resources you have. With the rise of digital platforms, even a small film can reach a global audience. The key is authenticity – find your own story-telling style and stick to it.
Filmmaking is not just about telling stories; it’s about navigating constraints, working within limitations, and still creating something meaningful. Every state, every country has its own rules, its own industry challenges. But if you stay true to your vision, you can carve your own path.
Nadia speaks to film director Amitabh Reza about his new film Aynabaji which explores the dark side of Dhaka life through the experiences of a struggling actor called Ayna.Aynabaji interview
The first trailer of the film, "Rickshaw Girl", directed by Amitabh Reza Chowdhury with a screenplay by Naseef Faruque Amin and Sharbari Z Ahmed, was released recently.
Based on the acclaimed novel by Mitali Perkins, "Rickshaw Girl" tells the story of Naima, who longs to earn money for her poor family, but her unrivaled artistic talent is of little use. When her father grows gravely ill, Naima feels that she has no choice but to leave her small village for Dhaka. In the big city, she cleverly disguises herself as a boy and takes the job of a rickshaw puller.
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The cast of the film includes Novera Rahman, Naresh Bhuiyan, Allen Shubhro Gomes, Momena Chowdhury, and Champa.
Binge, an online digital video streaming platform, is launching a five-episode anthology series titled Bagh Bondi Shingho Bondi based on diverse experiences that people have faced during the Covid-19 pandemic.
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The series will explore how people’s livelihood, social status, physical and mental health have been affected during this pandemic through five different stories.
The 30 minute-long episodes have been written by country's five prominent directors. Bagh Bondi Shingho Bondi will stream on Binge's platform from October 1.
Among the stories, a short film titled Arai Mon Swapna, directed by Abu Shahed Emon, highlights the extreme pandemic-induced financial crisis of the lower middle class people of the society, their woes exacerbated by various social anomalies.
Esho Boshey Ekshathey Khai– a series directed by filmmaker Amitabh Reza Chowdhury portrays the emotional roller-coaster ride of a family during the lockdown. The plot is based on the weak family ties that get stronger over time while some get severed for good.
Indoor shooting of Amitabh Reza's series| Courtesy
Mukh Asman, another short film in the series has been made by eminent director Animesh Aich, depicting the struggle of frontline doctors to address the challenges of the crisis.
Jatri, produced by Giasuddin Selim, is about a coronavirus infected patient being socially isolated by everyone except a benevolent stranger.
Nishiddho Bashor, produced by director Nurul Alam Atik, provides a vantage look at crime and relationships going through changes amid the pandemic.
All the short films were produced maintaining social distancing guidelines.
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North South University MBA Club arranged a seminar titled "Follow Your Passion" on May 29, 2016 at the university's Bashundhara campus. The speakers were Zubuyer Kaolin, CEO at Ogniroth, Amitabh Reza Chowdhury, Producer and Director, Half Stop Down, Rubaba Dowla, Chief Service Officer, Airtel Bangladesh Limited and Max Mystel, magician and comedian. The programme started by welcoming the speakers with a speech by Mokhdud Morshed and Mahbubur Rahman, Faculty Advisors of NSU MBA Club.
Zubuyer Kaolin said that he was inspired by science fictios. He emphasised on thoughts and imagination. He also opined, "Learning doesn't have any structured way, you can learn by yourself even if it is by watching TV."
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Prominent director Amitabh Reza shared how he learned a lot from the Feluda series and dreamed to be like the character. His inspirations are legends like Imam Maleki, Ritwik Ghatak and many others. He said, "How to make cinema is a learning matter of two hours, but what you make is the fact, which may need 20-30 years or your whole life."
Rubaba Dowla started with her favourite quote by Henry Ford: "Whatever you think you can or you think you can't you are right". She emphasised on dedication and commitment to one's passion. She said it was her personal goal to learn everyday and to do her best for the people of the country.
Magician and comedian Max Mystel climbed on stage next and took the crowd by storm. He mentioned, "Passion comes a lot of times from parenting, one's sacrificing mentality and one must be patient to follow their passion". With a magic show the seminar concluded and it was a successful event to have ideas on how to nurture one's dreams, even when it may take an entire lifetime.
North South University MBA Club was established in 1997 and has organised different events. Its aim is to create corporate relationship by arranging seminars on corporate grooming and networking workshops to improve managerial skills. The club also hosts dramas and cultural programmes to enhance social knowledge, international business tours as well as local corporate tours, national start-up expo and MBA Night.
Aynabaji, a feature film directed by prominent TVC director Amitabh Reza, was screened at Markoda Grey Three Hall of Cannes Film Festival on Tuesday.
Amitabh Reza, Ziauddin Bablu and Gausul Alam Shaon, producers of the film, also joined the festival with their film.
There is another town inside this town. We do not hear of it anymore. It is not seen even in cinemas and dramas. Ayanabaji is the story of that town.
The milkman still comes in the morning, hawker comes to sell products, kids go to drama classes together, and delinquents mess around, having tea and puri in local restaurants of the area.
Ayna is a resident of that town. Easy and simple, he lives alone there and runs a theater group with small children. In midst of that, suddenly an inherent love comes up. He comes in the new town to earn his livelihood. He has to become someone else to work.
For all those people Ayna works and earn his livelihood and then go back to his little town. Doing this daily he gets trapped into the lost city. He tries a lot to get out of it and be that old Ayna again, but fails.
He cannot change the new colorful identity. Ayna cannot get back to his love which he left behind or the drama school. By loving drama he wants to make the town a stage but it turns into the gallows.
The best actor stands at the end of the defeat by the laugh of the executioner. Like this era’s Spartacus Ayna is standing on the stage of his last drama and waiting for the cannibals.
The film produced by Half Stop Down Limited has starred Chanchal Chowdhury, Lutfur Rahman George, Hira Chowdhury, Shawkat Osman and Gousul Alam Shaon, among others.