Pori Moni’s last theatrical release in Bangladesh was Kagojer Bou, which hit cinemas in January 2024 before arriving on OTT in February 2025. Her last big-screen appearance came in the Tollywood film Felubakshi, released in India in January 2025.
However, her on-screen career had already been relatively quiet since 2020’s Bishwoshundori, which remains her last notable commercial success.
Despite a handful of subsequent projects, she has yet to land another significant role or hit. Since then, audiences have had little to catch her in on screen, but those following her off-screen life have hardly had time to miss her. The actress seems to have launched a reality show of her own, and business is clearly booming.
A middle-finger gesture, angry chants, a midnight car-attack claim, a journalist’s counter-allegation and a police inspection that found no evidence of vandalism – her latest episode has delivered more twists than a season finale. While her film career awaits its next release, her off-screen saga continues to command the spotlight.
Several films and an OTT project are in the pipeline, but when they will reach audiences remains uncertain. For now, her personal reality show seems to have a far more reliable release schedule than her films.
The Dhallywood actress has once again found herself at the centre of a storm, this time following a showdown at Gulshan Shooting Club in the capital. With courtroom clashes, boycott calls and public spats already filling her controversy file, the latest appearance adds another instalment to an increasingly familiar show. The venues change, the critics shift, but the drama keeps coming.
The latest episode unfolded at the five-day ‘Wedding Carnival’ fashion event, which ended on Sunday with an awkward scene. Towards the end of Pori Moni’s performance, some spectators reportedly chanted “bhuya, bhuya” (fake). Angered by the jeers, she responded with a middle-finger gesture towards the audience before leaving the venue. There was also speculation that the gesture was directed at journalists.
But the curtain had barely fallen when another drama began. At around 12.45am on Monday, Pori Moni went live on her verified Facebook page, claiming her car had been attacked and vandalised as she left the venue.
Describing it as a planned assault, she questioned the country’s security arrangements, said she had contacted emergency services and claimed police arrived to help her. She also pointed fingers at journalists.
The midnight allegation, however, met with an inconvenient reality check. Police officers who inspected the vehicle found no visible signs of vandalism or damage.
Speaking to TIMES, Gulshan Police Station Officer-in-Charge (OC) Abuzayed Md Najmun Nur said, “There was an issue. Pori Moni later left the scene. She returned safely, and there has been no further trouble.”
He said police would investigate if anyone filed a formal complaint, adding, “The officers found no evidence of vandalism to the car.”
Journalists offered a different account, alleging that Pori Moni had shown them her middle finger and hurled abuses first, prompting their “bhuya, bhuya” chants.
This was hardly her first public confrontation. On 5 November, another clash unfolded at the Dhaka Chief Judicial Magistrate Court, where Pori Moni appeared to surrender in a case filed by businessman Nasir Uddin Mahmud and secured bail on a Tk500 bond.
Inside a lift, she accused Samakal multimedia reporter Robiul Hossain of painfully gripping her hand.
Robiul denied touching her, telling news media that he had been outside the lift recording the incident, with his phone and tripod in his left hand. He said his right hand has a congenital disability, with three fingers missing, preventing him from performing normal activities.
“I cannot say who touched her,” he said, adding that Pori Moni’s security personnel were also inside the lift.
After she left the courtroom, Robiul alleged that the actress snatched his phone, verbally abused him and threatened to kill him. He said the incident was captured on video. Journalists also alleged that her security personnel pushed and assaulted media workers, leaving several journalists and a court visitor injured.
Four journalists’ organisations – the Multimedia Reporters Association, Multimedia Reporters Unity, Digital Reporters Forum and Youth Journal – condemned the incident and protested the alleged harassment.
The controversy soon reached the fashion circuit. Organisers dropped Pori Moni from the guest list for the Chattogram Fashion Vanguard Award 2026 following protests, boycott calls and demands from journalists. She responded with a sarcastic Facebook post, questioning how people could announce a boycott while keeping her on their friend lists.
The fallout continued when Supreme Court lawyer Khandaker Hasan Shahriar served her a legal notice demanding an unconditional written apology within seven days. It also asked the Bangladesh Film Artistes’ Association to issue her a show-cause notice and take disciplinary action.
The notice objected to a Facebook post allegedly using the national anthem as background music. Several celebrities joined the criticism, saying her conduct had tarnished the image of the acting community.
Yet the controversy carousel keeps turning. Pori Moni has alleged that she was physically touched in the courtroom lift and that her car was attacked after the fashion event. However, available accounts have not independently established who touched her or confirmed that the car was vandalised.
Police reported finding no evidence of damage. Her allegations deserve to be heard, but should not automatically be treated as proven facts.
By now, the sequence of confrontations, accusations, social media Lives and event-related spats resembles a season of Bigg Boss. Only, instead of a television house, the setting shifts between courtrooms, fashion shows, lifts and late-night Facebook broadcasts.
Every appearance promises another twist, every dispute another headline and every fallout another round of public reactions.
For an actress whose profession is built around performances, an awkward question remains: is the reality show surrounding Pori Moni beginning to overshadow her actual screen work? Whether intentional or not, the recurring spectacle keeps her in the headlines. The irony is that the drama beyond the screen is increasingly becoming the main attraction.
