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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.