Dhaka, Jan 23 (UNB) – Ekushey Padak-winning lyricist, composer and music director Ahmed Imtiaz Bulbul who passed away early Tuesday was laid to eternal rest here on Wednesday night.
He was buried at the Martyred Intellectuals' Graveyard in Mirpur around 8:30pm following two namaz-e-janazas.
His first janaza was held at Dhaka University mosque after Zohr prayers while the second one on the Bangladesh Film Development Corporation premises after Asr prayers.
Earlier in the morning, his body was taken to the Central Shaheed Minar where people from all walks of life paid their last tributes to the renowned lyricist, composer and music director.
The body was kept there from around 11am to around 12:30 pm. Bulbul, also a freedom fighter, was given a guard of honour there.
A delegation on behalf of President M Abdul Hamid placed a wreath at his coffin while cultural personality and former minister Asaduzzaman Noor, state minister for cultural affairs KM Khalid paid homage to Imtiaz Bulbul.
Awami League leader Mahbubul Alam Hanif on behalf of the ruling party placed a wreath on the coffin of the noted lyricist.
Bulbul was taken to Ayesha Memorial Hospital at Mohakhali after he suffered a heart attack around 4am on Tuesday. However, doctors at the hospital declared him dead. He was 63.
Bulbul won a number of awards, including Ekushey Padak, National Film Award and the President Award.
He took part in the Liberation War at the age of 15. He started his career as a music director in the film ‘Megh Bijli Badol’. He released music album independently and directed numerous songs for films.
Bulbul won the ‘National Film Award’ as music director for ‘Premer Tajmahal’ and ‘Hazar Bosor Dhore’ films.
His famous works include ‘Shobkota Janala Khule Dao Na’, ‘O Majhi Nao Chaira De’, ‘Shei Railiner Dhare’, ‘Sundar Suborn Tarunno Labonnyo’, ‘Amar Sara Deho Kheo O Go Mati’, ‘Amar Babar Mukhe Prothom Jedin’ and many others.
Dhaka, Jan 23 (UNB) - A five-day showcase of Iranian cinema will be held in the city on February 8-12.
Iran Cultural Centre, Dhaka and Bangladesh National Museum will jointly organize the showcase at the Begum Sufia Kamal Auditorium of the museum.
An inaugural session will held at the main auditorium of the National Museum at 3.30 pm on the opening day.
Information Minister Hasan Mahmud is scheduled to be present as chief guest.
Mohammad Reza Nafar, Ambassador of the Islamic Republic of Iran in Bangladesh and Touqir Ahmed, eminent actor and film director, will be present as special guests.
Rashidul Islam, Executive Editor of online portal Amadershomoy.com, will present the keynote paper while Md. Reaz Ahmed, Director General of Bangladesh National Museum will preside over the program.
The inauguration will be followed by the screening of the first film in the showcase, ‘M for Mother’, directed by Rasoul Mollagholipour.
Los Angeles, Jan 23 (AP/UNB) — "Black Panther" broke through an Oscar category wall for superheroes.
The Marvel blockbuster hit became the first comic book-based film to earn a best picture nomination from the Academy Awards on Tuesday. It was a major step for comic book movies, which had previously been shunned from film's top honor.
The most notable snub was 2008's "The Dark Knight," prompting the academy to expand the best picture category from five to up to 10 nominees.
It took a decade, but "Black Panther" cracked the category after becoming a box-office hit domestically and a cultural phenomenon. The film earned $700 million domestically during its theatrical run.
Overall, "Black Panther" was rewarded a total of seven nominations including Hannah Beachler and Jay Hart's production design, Ruth E. Carter's costume design and Kendrick Lamar and SZA's song "All the Stars." The film was also nominated for best sound editing, sound mixing and original score.
Beachler became the first African-American nominee for production design.
"To break down a wall like that, to be your ancestors' wildest dreams, to show other young women of color and boys and girls that you can do whatever you want no matter what struggles you have in your life — all of that. That's what it means to me," said Beachler, talking by phone from the Cincinnati set of Todd Haynes' latest film.
Ludwig Goransson, who scored the film, gave a lot of credit to the film's overall success to director Ryan Coogler, who was shut out of the directing category.
"He's an exceptional leader," said Goransson of Coogler, who he's known since college. The Grammy-nominated producer said his rapport with the director put together "memorable music" for the film.
"We're not doing anything different than what we did 10 years ago," said Goransson, a longtime producer of Childish Gambino. "I just tried to make the best music as I could to serve Ryan's vision. When working with him, I try to make the best possible music as I can."
Carter said she feels proud to be a part of a film like "Black Panther."
"With this film, I felt like there was a paradigm shift," said Carter, who was previously nominated for her designs for Spike Lee's "Malcolm X" and Steven Spielberg's "Amistad." ''The nominations let me know that not only Marvel fans, people of Africa and African-Americans felt really happy about this film, and loved the costume designs."
New York, Jan 22 (AP/UNB) — The Oscars still don't have a host, but on Tuesday morning, they'll at least have nominees.
The Academy of Motion Pictures Arts and Sciences will unveil nominations to the 91st Oscars on Tuesday morning at 8:20 a.m. EST from the Samuel Goldwyn Theatre in Beverly Hills, California. The nominations, to be announced by Kumail Nanjiani and Tracee Ellis Ross, will be livestreamed globally at Oscars.com , Oscars.org and on the academy's digital platforms like Facebook, YouTube and Twitter.
The lead-up to Tuesday's nominations has been rocky for both the film academy and some of the movies in contention. Shortly after being announced as host, Kevin Hart was forced to withdraw over years-old homophobic tweets that the comedian eventually apologized for. That has left the Oscars, one month before its Feb. 24th ceremony, without an emcee, and likely to stay that way.
Hollywood's awards season has been an especially combustible one, too. Some contenders, like Peter Farrelly's "Green Book" and the Freddie Mercury biopic "Bohemian Rhapsody," have suffered waves upon waves of backlash, even as their awards tallies have mounted. On Saturday, "Green Book" won the top award from the Producers Guild, an honor that has been a reliable Oscar barometer. In the 10 years since the Oscars expanded its best-picture ballot, the PGA winner has gone on to win best picture eight times.
The season's steadiest contender — Bradley Cooper's "A Star Is Born" — looked potentially unbeatable until it got beat. Despite an enviable string of awards and more than $400 million in worldwide box office, Cooper's lauded remake was almost totally ignored at the Golden Globes, winning just best song and losing best picture, drama, to the popular but critically derided "Bohemian Rhapsody," a movie that jettisoned its director (Bryan Singer) mid-production.
Still, "A Star Is Born" (the sole film to land top nominations from every guild award except the Visual Effects Society) may be the lead nomination-getter Tuesday with around 10 nominations including best actress for Lady Gaga and both best director and best actor for Cooper. But other films, including Ryan Coogler's "Black Panther," Alfonso Cuaron's "Roma" and Yorgos Lanthimos' "The Favourite," could be in for big mornings, too.
Here are some of the pressing questions heading into Tuesday's nominations.
HOW MANY WILL THERE BE?
Best picture nominees can fall anywhere from five to ten. Most commonly, we end up with nine nominees, as there was last year when Guillermo del Toro's "The Shape of Water" ultimately prevailed. Most assured of a spot are the films that have fared well consistently with Hollywood's guilds, whose memberships overlap with the 17 branches of the academy.
The five films picked by the strongly predictive Directors Guild — "BlacKkKlansman," ''A Star is Born," ''Roma," ''Green Book" and "Vice" — are probably in. So, too, are "The Favourite" and "Black Panther," leaving films like "Eighth Grade," ''First Man," ''A Quiet Place" and "Bohemian Rhapsody" vying for a place.
CAN NETFLIX MAKE HISTORY?
"Roma," Cuaron's black-and-white memory masterwork, is poised to hand Netflix its first best picture nomination — something the streaming service has dearly sought. Amazon got there first in 2017 with "Manchester by the Sea" but Netflix came close last year with Dee Rees' "Mudbound." This time around, it has gone against its regular policies to release "Roma" in select theaters shortly in advance of arriving on Netflix.
But there's resistance among some academy members to Netflix films at the Oscars since the company typically bypasses movie theaters. Steve Spielberg has said Netflix films are more like TV movies and deserve an Emmy, not an Oscar.
If "Roma," which is Mexico's foreign language submission, were to win best picture, it would become the first foreign language film to ever win in the category. Cuaron, who served as his own director of photography, is expected to be nominated for both best directing and best cinematography. If he were to win best director, he and his "Three Amigos" countrymen — del Toro, Alejandro G. Inarritu — will have won the category five of the last six years.
WILL 'BLACK PANTHER' ROAR?
Coogler's superhero sensation sold more tickets ($700 million worth) than any other film in North America in 2018. It has thus far won some honors here and there, but "Black Panther" may emerge as a major contender Tuesday. Coogler's film could be well represented in the craft categories, including visual effects, production design and costumes, along with Kendrick Lamar's "All the Stars" in the best song category.
The film's director of photography, Rachel Morrison, last year became the first woman to be nominated for best cinematography. This year, she could repeat the feat.
"Black Panther" could make history in one other way, too. A best picture nomination would be Marvel's first.
WILL SPIKE LAND HIS FIRST DIRECTING NOMINATION?
Spike Lee has been nominated twice before, for writing 1989's "Do the Right Thing" and for best documentary (1998's "4 Little Girls"). The 61-year-old filmmaker has even been given an honorary Oscar by the film academy, in 2015. But this year, Lee is favored to earn his first directing nomination for his impassioned white supremacist drama "BlacKkKlansman."
A year after Greta Gerwig became just the fifth woman nominated for best director, all of this year's favorites are men. Whether someone like Debra Granik ("Leave No Trace") can crack the category this year or not, it will be a different academy voting. In the last few years, the academy has considerably increased its membership in an effort to diversify its ranks, which have historically been overwhelmingly white and male. In June, the academy invited a record 928 new members.
AND ABOUT THAT HOST?
The Academy of Motion Pictures is reportedly planning to go host-less following Hart's exit, something it has tried only once before in an infamous 1989 telecast that featured a lengthy musical number with Rob Lowe and Snow White.
The Oscars last year hit a new ratings low, declining 20 percent and averaging 26.5 million viewers. Though ratings for award shows have generally been dropping, the downturn prompted the academy to revamp this year's telecast. Though initial plans for a new popular film category were scuttled, the academy is planning to present some awards off-air and keep the broadcast to three hours.
Dhaka, Jan 21 (UNB) – For award-winning filmmaker and film historian Dr Debjani Halder, films are everything.
Filmmaking is her passion and she says she feels incomplete without it. “Film is the highest medium of the communication,” she told UNB in an interview.
Debjani has authored several monographs and articles and recently, received fellowship from Indian Institute of Advanced Studies Shimla, where she will work on Art Artist and Social Life: A Critical Look at Indian Parallel Cinema (1950s to 1980s).
She has made a number of documentaries on diverse topics and subjects. In 2000, she made a documentary, ‘Darken Lives’, on prostitutes. Six years later, she came up with ‘Transition’, focusing on the political violence in West Bengal. Then, in 2007-8, she made ‘Water sentenced’ on the privatisation of water.
Her other works include ‘Documenting Agony Ritwik’ on neorealist Indian filmmaker Ritwik Ghatak, and ‘The Dark’ (2012-13) on the mining workers in ECL area.
Debjani, an independent filmmaker from Kolkata, presented a paper –
Body is not her own: Patriarchy: Violence and prostitution in Post Nineties none mainstream Cinema: A Critical Feminist Approach Key Words: Body, Sexuality, Violence and Indian Cinema – at the ‘Fifth Dhaka International Conference on Women in Cinema 2019’.
It was held at the Gallery of Alliance Francaise de Dhaka on January 11 and January 12 as part of the Dhaka International Film Festival 2019.
UNB recently interviewed the film director. Following is the excerpt:
Why do you focus deeply on social issues in your films?
I completed my Honours in History but did masters and PhD in films. I love to make films though my academic education was different. It is a plus point for me to think deeply about social problems. I always try to study contemporary social economy and political scenario before making any film.
As my main emphasis is to make parallel cinema, these films are made focusing on social issues. I stressed sociology and history together. So it helps me to think deeply on the issues.
What are the major challenges in making parallel cinema?
Raising fund is one the major challenges for making non-mainstream films. No matter how much realistic films we produce, whenever you ask producers for fund, they first consider the market value of the film and how much they can make from it.
The producers have some expectations. They want money in return and compromise in the scripts. Since I am used to practicing different type of genre in filmmaking and not interested in compromising with philosophy and ideology, I have to wait for government fund and organisations that encourage the way of parallel filmmaking.
So, it is difficult for me to produce documentary every year [but] I believe it is not a problem for me to wait two or three years for producing a good film.
Do various social problems, such as gender discrimination and sexual violence, influence your film scripting?
Filmmakers who initially started depicting social, contemporary and gender issues, sexuality and social crisis in their films faced many problems. Sometimes they were criticised but the situation has recently changed.
Many filmmakers are now focusing on social crisis. Now, feminism has influenced the way of thinking in filmmaking. Some films focus on prostitution, sexuality, and violence. But the producers ultimately want the return of their investment.
This is our success that social crisis and sexuality are at least discussed. Now many spectators also want to think and discuss these issues.
How do you deal with your challenges?
There are many challenges. Two of them are: first, when I start thinking out of the box and approach for finance. I face the second one working as a women director.
Filmmaking is my passion. So I think my life is incomplete without filmmaking. I do not consider film as an entertaining thing; it is the highest medium of communication.
Reading books, newspaper, and stories are not enough to present what problems I want to depict. Film is much more effective way of communicating the issues.
Can you explain the audience reactions and reception of your films?
A stereotypical thought about documentary and short films is that they are not entertaining and that the audience completely refutes these types of realistic films.
These films are not screened in multiplex or halls. When I submitted this at any film festival around the world, I saw the audience taking them very seriously. They can connect themselves with the theme. This is the scenario of a section of the audience.
But when these films were screened for the general people, they could connect with [the work] as I tried to focus on their problem and reality. Our crisis is that we create stereotypes and typical division about the films. We also do not knock at the door of the audience with our films properly.