In the 70s, the release of ‘Roopban’ stirred up the nation. For the first time, Bengali cinema began to break through the Urdu-Hindi–dominated market. Homegrown stars such as Razzak, Kabori, Shabana and Faruk drew huge crowds, sparking demand for Bangladeshi films. Cinema halls sprang up across the country and by the late 80s, the number had crossed 700.
With the phenomenal success of ‘Beder Meye Josna’, the figures capitulated. According to the Bangladesh Film Exhibitors Association, 1998 saw a record 1,235 cinema halls in operation: the highest in the country’s history.
But the new century told a different story. The numbers began to fall drastically, shrinking to around 150 today, with only 70 operating regularly. Just last week, owners of Jashore’s famed Monihar, Dinajpur’s Modern, Keraniganj’s Lion and Bogura’s Modhuban announced permanent closures. For cinephiles, such an announcement is equivalent to living a nightmare.
Modhuban Cineplex in Bogra, launched in 2021 with 336 seats, at a cost of Tk 4 crore, now sits vacant of both audiences and films. Roknuzzaman Yunus, the owner of Modhuban explained, “There are no films. How long can we keep running at a loss? In the past three months, our electricity bill was Tk 10 lakh, Tk 6 lakh of which is still unpaid.”
Mia Alauddin, acting president of the Exhibitors Association, who oversees multiple halls, described the grim reality. “Yesterday, the two halls under my supervision had only five to seven visitors. It’s not that people don’t watch local films. Look at how Shakib Khan’s movies become blockbusters. The problem is, there are no good films.”
General secretary Awlad Hossain Ujjwal echoed the frustration. “Outside the two Eids, there are no films to screen. On top of that, bureaucratic hurdles prevent the import of Indian or foreign films. Why would an owner keep a hall open under these conditions?”
The industry has also suffered from political unrest. Following the fall of the Awami League government on August 5 last year, over 10 halls were vandalized or set on fire. In Tangail, the screening of a Shakib Khan film was forcibly stopped.
Roots Cine Club in Sirajganj, once a hopeful new venture, has remained closed since it was damaged during mob violence. Chairperson Samina Islam Nila said, “We lost nearly Tk 2 crore from the attack. Even after renovations, without a steady supply of quality films or easier rules for imports, it’s impossible to keep running.”
Family feuds over ownership have also shuttered halls. Dhaka’s Balaka Hall closed in March 2020, reportedly due to disputes among the heirs of its late owner, Ali Imam. Film researcher and producer Mir Shamsul Alam Babu explained, “Most halls sit on prime roadside land that has skyrocketed in value. Some heirs see more profit in commercial development than in running a cinema. Others can’t resolve ownership disputes. Sony Cinema in Mirpur is a classic example.” Even the Exhibitors Association admits this trend, though they insist such cases remain relatively few.
The pandemic accelerated the rise of OTT platforms, a convenient scapegoat, which now often release films online just months after theatrical runs. Some blame OTT for killing halls.
But industry veteran Mia Alauddin disagrees, “Since the sixties, every new technology: TV, VCRs, CDs was said to be the end of cinema halls. Audiences may leave for a while, but they always return. People still want the big-screen experience.”
Hall owners also blame government indifference. Yunus of Modhuban said owners repeatedly sought meetings with policymakers but were ignored.
“The government gives grants to films, but where will they be screened if halls keep closing?” asked Alauddin. “We’ve held countless meetings with the ministry, pushing for simpler rules on joint productions and imports under SAFTA. Nothing has moved. It feels like nobody cares about this industry anymore.”
