Cinema has always served as a mirror of society, reflecting the times and realities a nation lives through. Films should ideally capture social change and cultural shifts, whether in the expanding professional roles of women or their resistance to domestic abuse. Internationally, female characters have evolved from decorative figures or passive victims into women of agency, strength and self-respect who challenge injustice and demand dignity.
Unfortunately, women-centric films are becoming increasingly rare in Bangladesh. This was not always the case. From the 1970s to the 1990s, Bangladeshi cinema produced several female-led films that were both critically acclaimed and commercially successful, earning recognition at home and abroad. Who can forget Golapi played by Bobita in ‘Golapi Ekhon Trene’, Jorina portrayed by Shabana in ‘Bhat De’, Nobitun played by Kobori in ‘Sareng Bou’ or Joygun brought to life by Dolly Anwar in ‘Surjo Dighol Bari’? These characters powerfully reflected women’s resilience and struggles in a changing society.
Today, films in which women lead campaigns for social justice or gender equality are rare. Although cinema should reflect social realities and women’s lived experiences, Dhallywood often portrays women as weak and dependent. This narrative urgently needs to change. Women are breaking barriers in real life, and the screen should reflect that progress.
Bangladesh once had directors such as Subhash Datta, Amjad Hossain, Alamgir Kabir, Moshiuddin Shaker and Sheikh Niyamat Ali, who created films centred on strong female characters. Works like ‘Sokhinar Juddho’, ‘Padma Nadir Majhi’ and ‘Alor Michil’ introduced audiences to women such as Sokina, Mala and Alo, who challenged social injustice with courage.
Those days now feel distant.
The future of Bangladeshi cinema is at risk if such stories disappear altogether. Talented actresses still exist, but production houses remain reluctant to invest in women-led narratives. Meanwhile, Bollywood and Tollywood continue to produce impactful films such as ‘Pink’, ‘Piku’, ‘Parineeta’, ‘Dohon’ and ‘Unishe April’. The question is why Bangladesh cannot do the same.
Recent films including ‘Shankhachil’, ‘Meherjaan’, ‘Under Construction’, ‘Debi’ and ‘Rehana Maryam Noor’ have shown promise. Nargis Akter’s ‘Meghla Akash’ and ‘Megher Kole Rod’ were also notable examples of women-driven storytelling. Yet these remain exceptions.
Women-oriented films are essential. They challenge traditional gender roles, highlight women’s struggles and promote equality. Without strong female narratives, cinema fails to represent half of society fairly.
Dhallywood has the talent. What it needs now is vision, commitment and investment.
The question remains. Who will take the lead?
