Anika Tahsin Hafsa

The auditorium did not feel like an auditorium anymore. Women descended to a river to collect water. Men cut paddy in the fields. A palki swayed through a wedding procession. For a few hours, a convention hall in Dhaka had become a Bengali village.

In an exclusive interview with The Daily Star, the actor reflects on his layered role in “Bonolota Express”, the struggles behind his success, and why his hunger for great cinema remains far from satisfied.

When these songs are placed side by side, a collective pattern becomes visible. Each party and candidate have chosen a different register of language, a different visual story, and a different emotional tone, but all of them are designed for the same environment: the infinite scroll of social media feeds.

Walking through the exhibition feels like stepping into a world of bold and lively colours. Instead of canvas, many artworks are painted on steel rickshaw backs, staying true to the original form.

“The Catcher in the Rye”, a two-day exhibition held on December 5–6 at Bangladesh Shilpakala Academy, showcasing the artworks of children born and raised in the country’s red-light areas.

Novelist, screenwriter, and director, Humayun Ahmed reshaped the way Bangladeshis see themselves on screen. His films, much like his writings, portrayed simplicity, emotional honesty, humour, and a deep understanding of ordinary life.

As part of the celebration, eminent Nazrul researcher Professor Dr Nashid Kamal and renowned violinist Sunil Chandra Das were honoured for their outstanding contributions to Nazrul Sangeet. Dalia Nausheen presented them with flowers.

In most historical Korean dramas, royal food appears simply as decoration, a way to make period settings feel authentic. “Bon Appétit, Your Majesty” does something different. It makes cooking the central to the story itself.