A cinema hall was once more than just a building — it was a gathering place, a communal ritual. Films would premiere in theatres, ride the wave of public interest and only after a year or more make their way to television. That window of theatrical exclusivity gave films time and space to breathe.
Now, with Bangladeshi films appearing on streaming platforms just weeks after their cinema release, an era is quietly fading, replaced by a more fragmented one.
Two months after its theatrical debut, ‘Utshob’ arrived on OTT. ‘Tandob’ did the same. Not long ago, such a move would have been unthinkable. Today, it’s a business model. From directors and streaming platforms to Cineplex executives and cultural critics, views differ — but all agree the film landscape is changing fast.
The shift is not unique to Bangladesh. In India, superstar Aamir Khan recently released ‘Sitare Zameen Par’ directly on YouTube as a pay-per-view for Rs 100 — a bold experiment in accessibility and revenue generation. While such a model is almost impossible in Bangladesh due to weak digital payment infrastructure, it signals a clear disruption in how quickly films reach audiences.
Tanim Noor, director of Utshob, puts the new reality into perspective. “It wasn’t my decision to bring the film to OTT so quickly; that was the producer, Chorki’s. When I needed the budget, they made it a condition that it be released within that timeframe,” he told Times of Bangladesh.
Like many independent directors, Tanim had to compromise in exchange for funding. “Cinema hall and OTT can never go together,” he says. “If I had the opportunity, I would love to make the film solely for the theatre.”
Despite this, he concedes that distribution limitations in Bangladesh make OTT an essential medium. “We have only around 300,000 seats in cinemas nationwide over a three-month period. That restricts reach, especially in rural areas. For many viewers, OTT is the only option.”
He also referenced global experimentation, like Aamir Khan’s YouTube pay-per-view release model, and praised it, saying “It’s brilliant. But in Bangladesh, without strong digital payment systems, we can’t implement it. If we could, the entire industry would benefit from it.”
Veteran filmmaker Gias Uddin Selim offers a more measured take. “When the business of a film ends in a cinema hall, and the hype is still there, if then the film comes to OTT, I think that’s fine,” he said.
For Selim, the two platforms serve different audiences: “Cinephiles who want to experience a film with others on the big screen prefer theatres, while those who enjoy watching from home opt for OTT platforms..”
He also points to economic realities. “Filmmaking is expensive. If cinema turnover is poor, they can’t continue. So whichever platform provides greater possibilities, people will lean into that.”
“Television used to pay well before, but now that revenue has shrunk. OTT is now a necessary alternative. Cinema is simply trying to survive,” the filmmaker added.
Faisal Rahman, Head of Marketing and Growth at Chorki, stresses that release timing is collaborative. “Chorki alone doesn’t decide when a film is released. We work collaboratively with producers. Only when all parties agree, a film moves to OTT,” he said.
For him, accessibility trumps timing debates. “Many areas of Bangladesh don’t have functioning theatres. OTT fills that gap. And the diaspora is hungry for local content. It’s not about rushing; it’s about reaching.”
But for exhibitors like Mesbah Uddin Ahmed, AGM at Star Cineplex, the impact is immediate. “As soon as a film lands on OTT within a month or two, our audience numbers drop to almost zero,” he says. “We rely heavily on the three Eid periods for business. If films leave theatres too early, our survival becomes impossible.”
He also observes a shift in genre preferences among Cineplex audiences. “In Cineplex, unconventional genre films like ‘Aynabaji’, ‘Monpura’ or ‘Debi’ used to do great. After Shakib Khan’s popularity rose sharply, more audiences now come for his action films. That said, Utshob, which is more offbeat, is also doing well.”
To stay afloat, Cineplex imports films from Hollywood, Turkey and Nepal. “Nothing draws audiences like a well-made Bangladeshi film. The problem isn’t just that viewers are going elsewhere; they’re simply not being given the time to come,” he said.
Director Akram Khan echoes this sentiment but adds a deeper, almost philosophical dimension. “Cinema is more than a business. It’s a shared emotional and social experience. Watching a film with others in a cinema strengthens bonds and can be a healthy form of cultural activity for Bangladesh today. We need this kind of peace and entertainment.”
He laments the loss of longevity in theatrical runs. “A 25-week run was once a silver jubilee; 50 weeks was a golden jubilee. Now we don’t hear those words. Films barely last a month in theatres.”
Akram also calls for structural reforms. “We need government support for artistic and educational films — tax breaks, subsidies — anything to encourage creative risk. Piracy is a huge concern. While OTT helps curb it somewhat, it’s not a silver bullet.”
One of his main worries is the concentration of power. “Chorki is dominating the OTT space — creating barriers for young, independent filmmakers. Greater platform diversity is needed to keep the ecosystem healthy.”
Raihan Rafi, director of Tandob, sees it differently. “This isn’t just a local trend. The OTT window is shrinking worldwide,” he notes. “Some films come to streaming quickly; others take time. It depends on the strategy.”
He argues OTT does not necessarily harm theatres. “Most people who want the big-screen experience watch a film within the first six to eight weeks. After that, OTT expands reach, especially for the diaspora.”
So, is OTT the future of Bangladeshi cinema or a fast lane to cultural amnesia?
The answer, like much in film, lies in nuance. The theatrical model can coexist with streaming if given strategy, respect and time. It will require trust between creators and platforms, policies to protect artistic vision, and above all, an understanding that cinema is more than content. It is a communal ritual, a cultural record, and yes, a business that must survive.
Whether on the big screen or a phone screen, the audience is still there. The challenge now is ensuring the stories – and the storytellers – can still reach them.