Bangladesh entertainment News API

Supported Countries - 165

Get entertainment headlines from Bangladesh with our JSON API.

Country Parameter

The country paramter for the Bangladesh is BD.

Some example queries:

Below is the search query to fetch random 100 news-sources of Bangladesh.

https://newsdata.io/api/1/sources?country=bd&apikey=YOUR_API_KEY

Some of the well known sources

Live Example

This example demonstrates the HTTP request to make, and the JSON response you will receive, when you use the News API to get entertainment headlines from Bangladesh.

Entertainment Headlines from Bangladesh

https://newsdata.io/api/1/latest?country=bd&category=entertainment&apikey=YOUR_API_KEY

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      • "article_id": "8cecf21f48e67a4959e815fd942a5988",
      • "title": "Jeremy Renner declined 'Hawkeye' Season 2 over post-accident pay dispute",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/jeremy-renner-declined-hawkeye-season-2-over-post-accident-pay-dispute-3885266",
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      • "description": "Jeremy Renner revealed that a pay cut is why Marvel’s \"Hawkeye\" didn’t get a second season. In a candid interview with High Performance, the actor said he turned down Disney’s offer to return as Clint Barton because he was offered only half the salary he earned for Season 1.",
      • "content": "Jeremy Renner revealed that a pay cut is why Marvel's \"Hawkeye\" didn't get a second season. In a candid interview with High Performance, the actor said he turned down Disney's offer to return as Clint Barton because he was offered only half the salary he earned for Season 1. \"They asked me to do Season 2 and offered me half the money,\" said Renner. \"I'm like, 'It'll take twice the work for half the pay and eight months of my time.'\" Renner, who suffered life-threatening injuries in a snow plow accident in January 2023, suggested the reduced offer was linked to his recovery. \"Did you think I'm only half the Jeremy because I got run over?\" he questioned, adding that he found the offer insulting and rejected it. The actor sustained multiple fractures and blunt chest trauma when his 14,000-pound Sno-Cat crushed him as he tried to help his nephew near Lake Tahoe. Despite his recovery and love for the role, Renner said he had to stand up for himself. \"I didn't ask for more, just the same as Season 1.\" While he's open to reprising the character in the future, Renner said, \"My body's probably thanking me I'm not doing it right now.\" \"Hawkeye\" Season 1 premiered on Disney+ in 2021, co-starring Hailee Steinfeld and Florence Pugh. Disney has not issued a statement regarding Renner's claims. Jeremy Renner revealed that a pay cut is why Marvel's \"Hawkeye\" didn't get a second season. In a candid interview with High Performance, the actor said he turned down Disney's offer to return as Clint Barton because he was offered only half the salary he earned for Season 1. \"They asked me to do Season 2 and offered me half the money,\" said Renner. \"I'm like, 'It'll take twice the work for half the pay and eight months of my time.'\" Renner, who suffered life-threatening injuries in a snow plow accident in January 2023, suggested the reduced offer was linked to his recovery. \"Did you think I'm only half the Jeremy because I got run over?\" he questioned, adding that he found the offer insulting and rejected it. The actor sustained multiple fractures and blunt chest trauma when his 14,000-pound Sno-Cat crushed him as he tried to help his nephew near Lake Tahoe. Despite his recovery and love for the role, Renner said he had to stand up for himself. \"I didn't ask for more, just the same as Season 1.\" While he's open to reprising the character in the future, Renner said, \"My body's probably thanking me I'm not doing it right now.\" \"Hawkeye\" Season 1 premiered on Disney+ in 2021, co-starring Hailee Steinfeld and Florence Pugh. Disney has not issued a statement regarding Renner's claims.",
      • "pubDate": "2025-05-02 13:48:07",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/02/screenshot_2025-05-02_at_7.52.53_pm.png",
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      • "source_id": "thedailystar",
      • "source_name": "The Daily Star",
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      {
      • "article_id": "c2ccfcbb44e2cd4e8433836f19eb6e60",
      • "title": "Kumkum Rani honoured with Nrityanchal Padak",
      • "link": "https://www.thedailystar.net/entertainment/theatre-arts/news/kumkum-rani-honoured-nrityanchal-padak-3885251",
      • "keywords": null,
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      • "description": "Kumkum Rani has devoted considerable time and effort to mastering these forms. She has a collection of nearly 700 Radharaman Dhamaail songs. Many folk artistes come to her to learn from her vast repertoire.",
      • "content": "On April 29, the renowned dance organisation Nrityanchal celebrated International Dance Day with a vibrant event. The programme was structured into three segments. The first part featured the award ceremony for the winners of the inter-class competition organised by Nrityanchal, where nearly 200 students were presented with awards. The second segment of the event included the presentation of the Nrityanchal Padak 2024 in memory of Nrityanchal's co-founder, Muhammad Jahangir. Every two years, Nrityanchal honours individuals who have been quietly working in the remote areas of the country to preserve indigenous culture by presenting them with this award. The award was presented by two of Nrityanchal's founding directors, Shamim Ara Nipa and Shibli Mohammad. This year, the award was conferred upon Shreemati Kumkum Rani Chando, a practitioner of Dhamaail dance. The third part of the event was a special dance performance to mark International Dance Day. Over 200 dancers participated, and Nrityanchal's artistes delivered a captivating performance to songs from various countries, which greatly impressed the audience. The event concluded with the audience and performers coming together to celebrate International Dance Day, dancing and singing to the rhythm of the drum. Nrityanchal's two directors and Ekushey Padak-winning dancers, Shamim Ara Nipa and Shibli Mohammad, said, \"Nrityanchal's founder, Muhammad Jahangir, expressed his deep commitment to his country through his writings. He believed in truth and integrity, loved uniqueness, and embraced originality. He always wished for Nrityanchal to promote the indigenous dance forms of the country accurately. In honouring the memory of Muhammad Jahangir, this year, Nrityanchal has awarded the Nrityanchal Padak 2024 to Shreemati Kumkum Rani Chand, a distinguished figure in Bengali traditional folk music and dance. We wish this talented artiste continued success and feel honoured to present her with this award.\" It is worth noting that in 2022, the 'Nrityanchal Padak' was awarded to Abdul Halim Boyati, a renowned practitioner of Jari dance who has kept the tradition of Jari alive and thriving for over 50 years. He is the leader of the 'Paharpur Unnayan Jari Dal' in Netrokona. Born on September 10, 1952 in Berigaon village, Sunamganj district, Kumkum Rani Chand became immersed in the art of Dhamaail dance through her devotion to the songs of Vaishnav poet Radharaman. As a child, she would accompany her mother to wedding rituals and would sing the ceremonial songs she heard there. Over time, she developed a deep love for Dhamaail, eventually establishing herself as a distinguished performer of this art. At just 12 years old, she married a highly respected Kirtan artiste, and the musical environment of her husband's family further nurtured her journey in the development of Dhamaail. Dhamaail is a vast musical genre with many forms of expression that are performed in ceremonial contexts. Significant forms include Bandana, Asor, Banshi, Jalbhora, Jal-Dhamaail, Gourrup, Shyamrup, Bishched, Kunjsojja, Kunjbichched, Khedbishched, Man, Manbhonjan, Sakhat (expression of sorrow), Milan, and Bidaai. There are also songs for welcoming the dhol, songs for dressing the bride and groom, songs for preparing the bridal hair, and many other ceremonial songs. All of these are Dhamaail songs by Radharaman. Additionally, Dhamaail features Karika Dhamaail, Banshi Karika, Bishched Karika, and Jalbhora Karika. Kumkum Rani has devoted considerable time and effort to mastering these forms. She has a collection of nearly 700 Radharaman Dhamaail songs. Many folk artistes come to her to learn from her vast repertoire. On April 29, the renowned dance organisation Nrityanchal celebrated International Dance Day with a vibrant event. The programme was structured into three segments. The first part featured the award ceremony for the winners of the inter-class competition organised by Nrityanchal, where nearly 200 students were presented with awards. The second segment of the event included the presentation of the Nrityanchal Padak 2024 in memory of Nrityanchal's co-founder, Muhammad Jahangir. Every two years, Nrityanchal honours individuals who have been quietly working in the remote areas of the country to preserve indigenous culture by presenting them with this award. The award was presented by two of Nrityanchal's founding directors, Shamim Ara Nipa and Shibli Mohammad. This year, the award was conferred upon Shreemati Kumkum Rani Chando, a practitioner of Dhamaail dance. The third part of the event was a special dance performance to mark International Dance Day. Over 200 dancers participated, and Nrityanchal's artistes delivered a captivating performance to songs from various countries, which greatly impressed the audience. The event concluded with the audience and performers coming together to celebrate International Dance Day, dancing and singing to the rhythm of the drum. Nrityanchal's two directors and Ekushey Padak-winning dancers, Shamim Ara Nipa and Shibli Mohammad, said, \"Nrityanchal's founder, Muhammad Jahangir, expressed his deep commitment to his country through his writings. He believed in truth and integrity, loved uniqueness, and embraced originality. He always wished for Nrityanchal to promote the indigenous dance forms of the country accurately. In honouring the memory of Muhammad Jahangir, this year, Nrityanchal has awarded the Nrityanchal Padak 2024 to Shreemati Kumkum Rani Chand, a distinguished figure in Bengali traditional folk music and dance. We wish this talented artiste continued success and feel honoured to present her with this award.\" It is worth noting that in 2022, the 'Nrityanchal Padak' was awarded to Abdul Halim Boyati, a renowned practitioner of Jari dance who has kept the tradition of Jari alive and thriving for over 50 years. He is the leader of the 'Paharpur Unnayan Jari Dal' in Netrokona. Born on September 10, 1952 in Berigaon village, Sunamganj district, Kumkum Rani Chand became immersed in the art of Dhamaail dance through her devotion to the songs of Vaishnav poet Radharaman. As a child, she would accompany her mother to wedding rituals and would sing the ceremonial songs she heard there. Over time, she developed a deep love for Dhamaail, eventually establishing herself as a distinguished performer of this art. At just 12 years old, she married a highly respected Kirtan artiste, and the musical environment of her husband's family further nurtured her journey in the development of Dhamaail. Dhamaail is a vast musical genre with many forms of expression that are performed in ceremonial contexts. Significant forms include Bandana, Asor, Banshi, Jalbhora, Jal-Dhamaail, Gourrup, Shyamrup, Bishched, Kunjsojja, Kunjbichched, Khedbishched, Man, Manbhonjan, Sakhat (expression of sorrow), Milan, and Bidaai. There are also songs for welcoming the dhol, songs for dressing the bride and groom, songs for preparing the bridal hair, and many other ceremonial songs. All of these are Dhamaail songs by Radharaman. Additionally, Dhamaail features Karika Dhamaail, Banshi Karika, Bishched Karika, and Jalbhora Karika. Kumkum Rani has devoted considerable time and effort to mastering these forms. She has a collection of nearly 700 Radharaman Dhamaail songs. Many folk artistes come to her to learn from her vast repertoire.",
      • "pubDate": "2025-05-02 13:07:33",
      • "pubDateTZ": "UTC",
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      • "source_name": "The Daily Star",
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      {
      • "article_id": "f3c495573fc6492e62d633cfae4ed07a",
      • "title": "Chorki celebrates Ray’s legacy with ‘Dear Satyajit’ release",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/chorki-celebrates-rays-legacy-dear-satyajit-release-3885211",
      • "keywords": null,
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      • "description": "Filming took place at Ray’s ancestral home in Masua, Kishoreganj, as well as other heritage sites, including a house in Old Dhaka. “Dear Satyajit” aims to inspire young independent filmmakers, much like Ray inspired generations before.",
      • "content": "To mark the centenary of legendary filmmaker Satyajit Ray's birth, Bangladeshi director Proshoon Rahmaan created the tribute film \"Dear Satyajit\". The film has been screened across several international festivals and received several awards. It is now available to stream on the OTT platform Chorki. Satyajit Ray, a beacon of South Asian cinema, continues to inspire generations of filmmakers. On his birth anniversary today (May 2), \"Dear Satyajit\" has been released to the public as a cinematic tribute. According to the director, although the film was made to commemorate Ray's centenary, it is not confined to a specific period. \"It's a love letter to cinema, to literature, to art grounded in life. Any moment that celebrates art makes it relevant,\" said Proshoon Rahmaan. The film is available to Chorki subscribers at no additional cost. Non-subscribers in Bangladesh can rent it for Tk 35. Viewers in India can access it for Rs 35, and audiences elsewhere can watch it for $ 1.99 through the Chorki app or website. Faisal Rahman, Chorki's head of Marketing & Business Development, said, \"We released 'Dear Satyajit' exclusively on Chorki using the TVOD (Transactional Video on Demand) model to ensure wider accessibility.\" The narrative of the film follows three filmmakers from different eras—one being Satyajit Ray himself, represented symbolically. The late Ahmed Rubel stars as veteran director Asif Mahmud, and Moutushi Biswas plays the young filmmaker Aparajita. The cast also includes Pankaj Majumdar, Saeed Babu, Sangeeta Chowdhury, Labonno Chowdhury, Ehsanul Haque, Nusrat Jahan Nodi, and Abir. The independently funded film was born out of Proshoon Rahmaan's realisation that, unlike India, Bangladesh had made no significant effort to mark Ray's centenary, prompting him to undertake the project himself. Filming took place at Ray's ancestral home in Masua, Kishoreganj, as well as other heritage sites, including a house in Old Dhaka. \"Dear Satyajit\" aims to inspire young independent filmmakers, much like Ray inspired generations before. To mark the centenary of legendary filmmaker Satyajit Ray's birth, Bangladeshi director Proshoon Rahmaan created the tribute film \"Dear Satyajit\". The film has been screened across several international festivals and received several awards. It is now available to stream on the OTT platform Chorki. Satyajit Ray, a beacon of South Asian cinema, continues to inspire generations of filmmakers. On his birth anniversary today (May 2), \"Dear Satyajit\" has been released to the public as a cinematic tribute. According to the director, although the film was made to commemorate Ray's centenary, it is not confined to a specific period. \"It's a love letter to cinema, to literature, to art grounded in life. Any moment that celebrates art makes it relevant,\" said Proshoon Rahmaan. The film is available to Chorki subscribers at no additional cost. Non-subscribers in Bangladesh can rent it for Tk 35. Viewers in India can access it for Rs 35, and audiences elsewhere can watch it for $ 1.99 through the Chorki app or website. Faisal Rahman, Chorki's head of Marketing & Business Development, said, \"We released 'Dear Satyajit' exclusively on Chorki using the TVOD (Transactional Video on Demand) model to ensure wider accessibility.\" The narrative of the film follows three filmmakers from different eras—one being Satyajit Ray himself, represented symbolically. The late Ahmed Rubel stars as veteran director Asif Mahmud, and Moutushi Biswas plays the young filmmaker Aparajita. The cast also includes Pankaj Majumdar, Saeed Babu, Sangeeta Chowdhury, Labonno Chowdhury, Ehsanul Haque, Nusrat Jahan Nodi, and Abir. The independently funded film was born out of Proshoon Rahmaan's realisation that, unlike India, Bangladesh had made no significant effort to mark Ray's centenary, prompting him to undertake the project himself. Filming took place at Ray's ancestral home in Masua, Kishoreganj, as well as other heritage sites, including a house in Old Dhaka. \"Dear Satyajit\" aims to inspire young independent filmmakers, much like Ray inspired generations before.",
      • "pubDate": "2025-05-02 10:46:03",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/02/dear_satyajit.png",
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      • "source_id": "thedailystar",
      • "source_name": "The Daily Star",
      • "source_priority": 32093,
      • "source_url": "https://www.thedailystar.com",
      • "source_icon": "https://i.bytvi.com/domain_icons/thedailystar.png",
      • "language": "english",
      • -
        "country": [
        • "bangladesh"
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        "category": [
        • "entertainment"
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      {
      • "article_id": "aee08d4049cdd29128fe5c12a2197b2a",
      • "title": "Satyajit Ray in the modern era: Can we still relate to his timeless classics?",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/satyajit-ray-the-modern-era-can-we-still-relate-his-timeless-classics-3885196",
      • "keywords": null,
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      • "description": "Discovering Satyajit Ray in his literary and cinematic masterpieces is a never-ending process. Every time we dive into different aspects of Ray’s talents, there’s always more to discover in his techniques, ideas, and overall execution. Today marks the legendary director’s 104th birthday, and even after three decades since his demise, his brilliant stories are still relevant in our daily lives.",
      • "content": "Discovering Satyajit Ray in his literary and cinematic masterpieces is a never-ending process. Every time we dive into different aspects of Ray's talents, there's always more to discover in his techniques, ideas, and overall execution. Today marks the legendary director's 104th birthday, and even after three decades since his demise, his brilliant stories are still relevant in our daily lives. Ray's \"Hirak Rajar Deshe\" (1980) and its relevance to the previous regime resonated with the Bangladeshi political scenario during the July uprising, and even years before it. On August 5, the whole nation rejoiced as the government was toppled, and we all had our iconic \"Dori Dhore Maro Tan, Raja Hobe Khan Khan\" moment. Ray is usually credited for introducing modernity into the tradition-bound Indian cinema, a lot of which is equally relevant to the culturally similar Bangladeshi society as well. Way ahead of his time, it was Ray who highlighted issues such as human subjectivity, the importance of education, the rise of the new middle class, and especially the emancipation of women. The question is, are the social issues that Ray subtly underscored in his storytelling still relevant to us? Can we still connect to them? Most of Ray's films centre around women, focusing on the characters' simplicity, even when portraying the complex and layered emotions through his lens. At a time when women were mostly depicted as side characters and objectified beauty in traditional cinema, Ray broke the tradition and focused on a woman's perception of the world in a lot of his films. Charu from \"Charulata\" (1964), the lonely, housewife of a newspaper owner, gets trapped between tradition and restlessness for freedom; Bimala's liberation from \"Ghare Baire\" (The Home and the World, 1984), symbolises the conscious awakening of the Indian woman at the time of the Swadeshi movement; Arati, from \"Mahanagar\" (1963), the typical middle-income housewife, rebels against the barriers of tradition, as she takes on the role of the sole breadwinner of a joint family, whereas Sutapa from \"Pratidwandi\" (1970), is the image of the modern working woman walking a tightrope along the edges of fragile male egos and moral expectations. The conundrums of all these characters are still relevant in the present social and cultural scenario in Bangladesh. These women, like most women in Ray's films, represent real, unfiltered portrayals of South Asian women. Not portrayed as the typical \"damsels in distress\", these women tell us their stories of struggles and unrelenting survival instincts. In his debut film, \"Pather Panchali\" (1955), Apu's mother, Sarbajaya emulates a rural, resilient woman who, though grieving from the loss of her husband and daughter, is still adamant about raising her son with resolute dignity. It is the story of ordinary yet powerful women in our rural areas. In Ray's self-proclaimed favourite film, \"Charulata\", we see the whole film through Charu's perspective; her loneliness, desire, and struggle to break free of the golden cage. It's a story of a restless housewife, fighting the shackles of society in an effort to reclaim her identity. Arati in \"Mahanagar\" was the perfect example of the valiant modern housewife turned working woman. At its core, the film is a story of clashing social values, the gap between an older generation, trying to keep the women at home, and a younger generation, accepting change for necessity. Set in the mid-1950s, the film portrays the major societal transformations as more and more middle-class women started earning for their families. Today, in the year 2025, it is a basic reality of most households in Dhaka and other urban areas. Arati's journey, her transformation, and her changing perception are similar processes most women go through as working women. She struggles against her in-laws, disregarding age-old traditions, and gradually becomes the family's sole breadwinner even as her newly acquired confidence hurts her husband's typical patriarchal 'fragile male ego.' The lipstick scene, portrayed perfectly by Ray, is an obvious symbol of freedom and modernity; she uses it only when she steps outside. It highlights Arati's acceptance of the modern world. Her story comes full circle as it ends with her husband accepting her change, battling his ego, and becoming a strong and supportive pillar in her life. The perfect marital bliss, desired by modern women, where even in times of hardship, a couple finds joy in each other, defying society's typical gendered roles and expectations. Sutapa in \"Pratidwandi\" portrays the next step for a South Asian woman as a rebel, navigating the familiar middle-income mentality that Arati did, but much more boldly. Sutapa is probably one of Ray's most contemporary women, ambitious and determined. In a chaotic world, Sutapa slowly but surely gets ready to make her way, even if that means revolting against the moral, social, and sexual attitudes of the society she grew up in. For women in modern society, these are transformations and changes of ourselves that we see through Ray's lens. There is a certain universality in all his films. Regardless of their backgrounds and circumstances, the women are all connected — all trying to break free of the centuries-old traditions while going through multiple emotional adaptations, and finally gaining ground to show their hidden aspirations. The stories are outwardly simple, but layered with emotions and complexities, perfectly portraying the modern 21st-century changing society. Thus, years later, his storytelling continues to empower women, making it quintessential in today's modern feminist movements. Times are changing, and so is our society and its perceptions of women. Even though the feminist movement and its simple, often misunderstood ideology have miles to go, these stories make us hopeful for an ultimate positive change, despite the traditional mindset majority of our population still believes in. In recent times, though certain incidents highlight Ray's lyrics, \"Kotoi Ranga Dekhi Duniyay\" — and undoubtedly, these stories remain relevant and important. Discovering Satyajit Ray in his literary and cinematic masterpieces is a never-ending process. Every time we dive into different aspects of Ray's talents, there's always more to discover in his techniques, ideas, and overall execution. Today marks the legendary director's 104th birthday, and even after three decades since his demise, his brilliant stories are still relevant in our daily lives. Ray's \"Hirak Rajar Deshe\" (1980) and its relevance to the previous regime resonated with the Bangladeshi political scenario during the July uprising, and even years before it. On August 5, the whole nation rejoiced as the government was toppled, and we all had our iconic \"Dori Dhore Maro Tan, Raja Hobe Khan Khan\" moment. Ray is usually credited for introducing modernity into the tradition-bound Indian cinema, a lot of which is equally relevant to the culturally similar Bangladeshi society as well. Way ahead of his time, it was Ray who highlighted issues such as human subjectivity, the importance of education, the rise of the new middle class, and especially the emancipation of women. The question is, are the social issues that Ray subtly underscored in his storytelling still relevant to us? Can we still connect to them? Most of Ray's films centre around women, focusing on the characters' simplicity, even when portraying the complex and layered emotions through his lens. At a time when women were mostly depicted as side characters and objectified beauty in traditional cinema, Ray broke the tradition and focused on a woman's perception of the world in a lot of his films. Charu from \"Charulata\" (1964), the lonely, housewife of a newspaper owner, gets trapped between tradition and restlessness for freedom; Bimala's liberation from \"Ghare Baire\" (The Home and the World, 1984), symbolises the conscious awakening of the Indian woman at the time of the Swadeshi movement; Arati, from \"Mahanagar\" (1963), the typical middle-income housewife, rebels against the barriers of tradition, as she takes on the role of the sole breadwinner of a joint family, whereas Sutapa from \"Pratidwandi\" (1970), is the image of the modern working woman walking a tightrope along the edges of fragile male egos and moral expectations. The conundrums of all these characters are still relevant in the present social and cultural scenario in Bangladesh. These women, like most women in Ray's films, represent real, unfiltered portrayals of South Asian women. Not portrayed as the typical \"damsels in distress\", these women tell us their stories of struggles and unrelenting survival instincts. In his debut film, \"Pather Panchali\" (1955), Apu's mother, Sarbajaya emulates a rural, resilient woman who, though grieving from the loss of her husband and daughter, is still adamant about raising her son with resolute dignity. It is the story of ordinary yet powerful women in our rural areas. In Ray's self-proclaimed favourite film, \"Charulata\", we see the whole film through Charu's perspective; her loneliness, desire, and struggle to break free of the golden cage. It's a story of a restless housewife, fighting the shackles of society in an effort to reclaim her identity. Arati in \"Mahanagar\" was the perfect example of the valiant modern housewife turned working woman. At its core, the film is a story of clashing social values, the gap between an older generation, trying to keep the women at home, and a younger generation, accepting change for necessity. Set in the mid-1950s, the film portrays the major societal transformations as more and more middle-class women started earning for their families. Today, in the year 2025, it is a basic reality of most households in Dhaka and other urban areas. Arati's journey, her transformation, and her changing perception are similar processes most women go through as working women. She struggles against her in-laws, disregarding age-old traditions, and gradually becomes the family's sole breadwinner even as her newly acquired confidence hurts her husband's typical patriarchal 'fragile male ego.' The lipstick scene, portrayed perfectly by Ray, is an obvious symbol of freedom and modernity; she uses it only when she steps outside. It highlights Arati's acceptance of the modern world. Her story comes full circle as it ends with her husband accepting her change, battling his ego, and becoming a strong and supportive pillar in her life. The perfect marital bliss, desired by modern women, where even in times of hardship, a couple finds joy in each other, defying society's typical gendered roles and expectations. Sutapa in \"Pratidwandi\" portrays the next step for a South Asian woman as a rebel, navigating the familiar middle-income mentality that Arati did, but much more boldly. Sutapa is probably one of Ray's most contemporary women, ambitious and determined. In a chaotic world, Sutapa slowly but surely gets ready to make her way, even if that means revolting against the moral, social, and sexual attitudes of the society she grew up in. For women in modern society, these are transformations and changes of ourselves that we see through Ray's lens. There is a certain universality in all his films. Regardless of their backgrounds and circumstances, the women are all connected — all trying to break free of the centuries-old traditions while going through multiple emotional adaptations, and finally gaining ground to show their hidden aspirations. The stories are outwardly simple, but layered with emotions and complexities, perfectly portraying the modern 21st-century changing society. Thus, years later, his storytelling continues to empower women, making it quintessential in today's modern feminist movements. Times are changing, and so is our society and its perceptions of women. Even though the feminist movement and its simple, often misunderstood ideology have miles to go, these stories make us hopeful for an ultimate positive change, despite the traditional mindset majority of our population still believes in. In recent times, though certain incidents highlight Ray's lyrics, \"Kotoi Ranga Dekhi Duniyay\" — and undoubtedly, these stories remain relevant and important.",
      • "pubDate": "2025-05-02 10:42:53",
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      • "article_id": "fd26624bbc653b9d18724f6f0c21345f",
      • "title": "Chorki releases five new short films by emerging filmmakers",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/chorki-releases-five-new-short-films-emerging-filmmakers-3885096",
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      • "description": "Chorki, known for championing diverse storytelling, developed this platform to give short films broader exposure beyond festivals and niche audiences. As Chorki CEO Redoan Rony put it, “Young filmmakers usually end up screening their short films only at festivals or for a specific crowd. After that, these films almost disappear from public view. We wanted to change that.”",
      • "content": "In a fresh move to promote emerging filmmakers, OTT platform Chorki has launched a brand-new initiative, showcasing five short films by five young directors. Chorki, known for championing diverse storytelling, developed this platform to give short films broader exposure beyond festivals and niche audiences. As Chorki CEO Redoan Rony put it, \"Young filmmakers usually end up screening their short films only at festivals or for a specific crowd. After that, these films almost disappear from public view. We wanted to change that.\" Under this project, Chorki has selected five distinctive short films, focusing on fresh narratives and unique cinematic styles. Teasers of the films have already dropped online, drawing praise from viewers in the comment sections. Here's what's streaming: \"Akashey\", directed by Ahsan Saron, is a drama-comedy about a young man named Nuruddin who dreams of flying. Sharing his excitement, Saron said, \"Having my film released on Chorki is the happiest news for me right now. I truly appreciate Chorki's initiative. It will inspire many young filmmakers like myself to dream bigger.\" \"Subrata Sengupta\", directed by Abir Ferdous Mukhar, is adapted from a screenplay by the late Tareque Masud, a revered name in Bangladeshi cinema. Set in the late '90s, the film unpacks how family, society, love, religion, and politics shape the life of Subrata Sengupta. Mukhar shared, \"I had the privilege of working briefly at the Tareque Masud Memorial Trust, where I first came across this script. With Catherine Masud's permission, we developed it further, adding our own interpretations while preserving the original essence.\" \"The Sky Gets Gloomy at Night\", directed by Mahmudul Hasan Adnan, has finally seen the light of day after almost three years in the making. \"It's a huge moment for me to have 'The Sky Gets Gloomy at Night' reach audiences through Chorki. I hope this release propels me towards my next project,\" stated an excited Adnan. \"Itibritto Kingba Bastabatar Punorarambho\", directed by Mahmud Hasan, tells the story of Biva, whose personal, family, and social life is upended by betrayal and unexpected mistakes. As Biva struggles to start over, the film explores resilience and the human spirit. \"Handing over my first creation to Chorki feels reassuring — like entrusting my child to a safe home,\" Mahmud Hasan expressed. \"Shobder Bhetor Ghor\", by Fuaduzzaman Fuad, centres on a moving story about friendship, dreams, and the harsh clash with reality. The film draws inspiration from Bangladesh's coastal regions, where the sea can be both a saviour and a destroyer. Fuad shared, \"The very sea that gives us life can also take it away. With 'Shobder Bhetor Ghor' streaming now on Chorki, I feel Chorki is paving a new path for short films in Bangladesh.\" In a fresh move to promote emerging filmmakers, OTT platform Chorki has launched a brand-new initiative, showcasing five short films by five young directors. Chorki, known for championing diverse storytelling, developed this platform to give short films broader exposure beyond festivals and niche audiences. As Chorki CEO Redoan Rony put it, \"Young filmmakers usually end up screening their short films only at festivals or for a specific crowd. After that, these films almost disappear from public view. We wanted to change that.\" Under this project, Chorki has selected five distinctive short films, focusing on fresh narratives and unique cinematic styles. Teasers of the films have already dropped online, drawing praise from viewers in the comment sections. Here's what's streaming: \"Akashey\", directed by Ahsan Saron, is a drama-comedy about a young man named Nuruddin who dreams of flying. Sharing his excitement, Saron said, \"Having my film released on Chorki is the happiest news for me right now. I truly appreciate Chorki's initiative. It will inspire many young filmmakers like myself to dream bigger.\" \"Subrata Sengupta\", directed by Abir Ferdous Mukhar, is adapted from a screenplay by the late Tareque Masud, a revered name in Bangladeshi cinema. Set in the late '90s, the film unpacks how family, society, love, religion, and politics shape the life of Subrata Sengupta. Mukhar shared, \"I had the privilege of working briefly at the Tareque Masud Memorial Trust, where I first came across this script. With Catherine Masud's permission, we developed it further, adding our own interpretations while preserving the original essence.\" \"The Sky Gets Gloomy at Night\", directed by Mahmudul Hasan Adnan, has finally seen the light of day after almost three years in the making. \"It's a huge moment for me to have 'The Sky Gets Gloomy at Night' reach audiences through Chorki. I hope this release propels me towards my next project,\" stated an excited Adnan. \"Itibritto Kingba Bastabatar Punorarambho\", directed by Mahmud Hasan, tells the story of Biva, whose personal, family, and social life is upended by betrayal and unexpected mistakes. As Biva struggles to start over, the film explores resilience and the human spirit. \"Handing over my first creation to Chorki feels reassuring — like entrusting my child to a safe home,\" Mahmud Hasan expressed. \"Shobder Bhetor Ghor\", by Fuaduzzaman Fuad, centres on a moving story about friendship, dreams, and the harsh clash with reality. The film draws inspiration from Bangladesh's coastal regions, where the sea can be both a saviour and a destroyer. Fuad shared, \"The very sea that gives us life can also take it away. With 'Shobder Bhetor Ghor' streaming now on Chorki, I feel Chorki is paving a new path for short films in Bangladesh.\"",
      • "pubDate": "2025-05-02 06:13:42",
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      • "article_id": "b5313e12da0f8e090f7318dec892ebf9",
      • "title": "‘Ityadi’ revisits Trishal for a tribute to Kazi Nazrul Islam",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/ityadi-revisits-trishal-tribute-kazi-nazrul-islam-3885091",
      • "keywords": null,
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      • "description": "Marking the 46th death anniversary of Kazi Nazrul Islam, and celebrating the 100th anniversary of his first published poetry collection “Agnibeena”, the “Ityadi” team selected Trishal as the filming location back in July 2022. In front of a visually stunning stage adorned with Nazrul’s timeless poetry and portraits, the event was recorded with thousands of spectators in attendance.",
      • "content": "A special curated episode of \"Ityadi\", filmed at Trishal's Dorirampur — a place steeped in the memories of National Poet Kazi Nazrul Islam's student life — will air tonight after the 8pm Bangla news bulletin on BTV. Marking the 46th death anniversary of Kazi Nazrul Islam, and celebrating the 100th anniversary of his first published poetry collection \"Agnibeena\", the \"Ityadi\" team selected Trishal as the filming location back in July 2022. In front of a visually stunning stage adorned with Nazrul's timeless poetry and portraits, the event was recorded with thousands of spectators in attendance. According to Fagun Audio Vision, this special episode will feature a range of cultural performances centred around the poet's works. Celebrated singers Bappa Mazumder and Priyanka Gope will perform a classic Nazrul Sangeet. Additionally, over a hundred local dancers will take the stage, performing choreographed pieces set to a medley combining three of Nazrul's songs and two of his poems. The musical arrangement for these performances has been crafted by Mehedi. Beyond the Trishal footage, this compiled \"Ityadi\" episode will also include select segments from other editions. Among them is a beautiful song by iconic singers Syed Abdul Hadi and Subir Nandi, originally featured in the Savar EPZ episode. The song lyrics are by Mohammad Rafiquzzaman, and the music was composed by the late Ali Akbar Rupu. \"Ityadi\" — written, directed, and hosted by Hanif Sanket — promises heartfelt storytelling. Tonight's edition includes a touching summary of Nazrul's days in Trishal, a hard-hitting report on unscrupulous rice traders manipulating the market, and an inspiring story of Abu Bakar Siddique, a Phd holder turned agriculture entrepreneur. The human stories focus on Abdul Malek from Fulbaria upazila in Mymensingh, highlighting his remarkable journey, along with a fascinating feature on Greece's iconic Acropolis. Following the tradition of engaging with live audiences, this special episode also includes a trivia segment, where four audience members from Trishal were selected based on their knowledge of Kazi Nazrul Islam. The second half of the show is packed with performances of Nazrul Sangeet and folk music, and features a guest appearance by Rezaul Karim, a rare musical instrument collector hailing from Mymensingh. As always, viewers can expect sharp satirical sketches spotlighting various social irregularities and contemporary issues, along with the beloved segments featuring the antics of Mama-Bhagney, Nani-Nati, and the classic Letters Section. A special curated episode of \"Ityadi\", filmed at Trishal's Dorirampur — a place steeped in the memories of National Poet Kazi Nazrul Islam's student life — will air tonight after the 8pm Bangla news bulletin on BTV. Marking the 46th death anniversary of Kazi Nazrul Islam, and celebrating the 100th anniversary of his first published poetry collection \"Agnibeena\", the \"Ityadi\" team selected Trishal as the filming location back in July 2022. In front of a visually stunning stage adorned with Nazrul's timeless poetry and portraits, the event was recorded with thousands of spectators in attendance. According to Fagun Audio Vision, this special episode will feature a range of cultural performances centred around the poet's works. Celebrated singers Bappa Mazumder and Priyanka Gope will perform a classic Nazrul Sangeet. Additionally, over a hundred local dancers will take the stage, performing choreographed pieces set to a medley combining three of Nazrul's songs and two of his poems. The musical arrangement for these performances has been crafted by Mehedi. Beyond the Trishal footage, this compiled \"Ityadi\" episode will also include select segments from other editions. Among them is a beautiful song by iconic singers Syed Abdul Hadi and Subir Nandi, originally featured in the Savar EPZ episode. The song lyrics are by Mohammad Rafiquzzaman, and the music was composed by the late Ali Akbar Rupu. \"Ityadi\" — written, directed, and hosted by Hanif Sanket — promises heartfelt storytelling. Tonight's edition includes a touching summary of Nazrul's days in Trishal, a hard-hitting report on unscrupulous rice traders manipulating the market, and an inspiring story of Abu Bakar Siddique, a Phd holder turned agriculture entrepreneur. The human stories focus on Abdul Malek from Fulbaria upazila in Mymensingh, highlighting his remarkable journey, along with a fascinating feature on Greece's iconic Acropolis. Following the tradition of engaging with live audiences, this special episode also includes a trivia segment, where four audience members from Trishal were selected based on their knowledge of Kazi Nazrul Islam. The second half of the show is packed with performances of Nazrul Sangeet and folk music, and features a guest appearance by Rezaul Karim, a rare musical instrument collector hailing from Mymensingh. As always, viewers can expect sharp satirical sketches spotlighting various social irregularities and contemporary issues, along with the beloved segments featuring the antics of Mama-Bhagney, Nani-Nati, and the classic Letters Section.",
      • "pubDate": "2025-05-02 05:59:48",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/02/ityadi_hanif_sanket_45.jpg",
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      • "article_id": "9cc00e6e51d0da5a2986fe0d281ce935",
      • "title": "Teaser for web-series ‘Fyakra’ unveiled",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/teaser-web-series-fyakra-unveiled-3885071",
      • "keywords": null,
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      • "description": "The teaser for the seven-episode web-series “Fyakra” has been released, offering a glimpse into a gritty tale of crime, consequence, and pursuit. The series is set to premiere on OTT platform Bongo on May 8.",
      • "content": "The teaser for the seven-episode web-series \"Fyakra\" has been released, offering a glimpse into a gritty tale of crime, consequence, and pursuit. The series is set to premiere on OTT platform Bongo on May 8. Directed by Asif Chowdhury, \"Fyakra\" follows Samad, who, in his quest to win over his beloved Golapi, seeks financial help from his friends. They plan a robbery that spirals out of control when a woman is accidentally killed during the act. As the woman's husband seeks revenge and the police begin their chase, the friends find themselves trapped in a web of chaos and fear. The screenplay has been written by Neyamoth Ullah Masum and Ahmamad Saad. The cast features Partho Sheikh as Samad and Nidra Dey Neha as Golapi, alongside Shamol Mawla, Mir Rabby, Nishat Priom, Abdullah Al Sentu, Kazi Abrar, Sarah Alam, A K Azad Shetu, and Hasnat Ripon, among others. Filming took place in August last year, during a time of political unrest in the country. Speaking to the media, director Asif Chowdhury said, \"The story of the series is powerful and will keep the audience engaged throughout. Every actor has delivered strong performances, and each character holds significance in the narrative.\" The teaser for the seven-episode web-series \"Fyakra\" has been released, offering a glimpse into a gritty tale of crime, consequence, and pursuit. The series is set to premiere on OTT platform Bongo on May 8. Directed by Asif Chowdhury, \"Fyakra\" follows Samad, who, in his quest to win over his beloved Golapi, seeks financial help from his friends. They plan a robbery that spirals out of control when a woman is accidentally killed during the act. As the woman's husband seeks revenge and the police begin their chase, the friends find themselves trapped in a web of chaos and fear. The screenplay has been written by Neyamoth Ullah Masum and Ahmamad Saad. The cast features Partho Sheikh as Samad and Nidra Dey Neha as Golapi, alongside Shamol Mawla, Mir Rabby, Nishat Priom, Abdullah Al Sentu, Kazi Abrar, Sarah Alam, A K Azad Shetu, and Hasnat Ripon, among others. Filming took place in August last year, during a time of political unrest in the country. Speaking to the media, director Asif Chowdhury said, \"The story of the series is powerful and will keep the audience engaged throughout. Every actor has delivered strong performances, and each character holds significance in the narrative.\"",
      • "pubDate": "2025-05-02 05:22:42",
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      • "article_id": "fdee0a9b8bd8bc0ca3b5c4362bd5ed76",
      • "title": "‘What matters is how you stand your ground’: SRK on insider-outsider debate",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/what-matters-how-you-stand-your-ground-srk-insider-outsider-debate-3885056",
      • "keywords": null,
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      • "description": "Bollywood superstar Shah Rukh Khan, known for his sharp wit and eloquence, shared a rare perspective on the insider-outsider discourse in the film industry during his appearance at the WAVES 2025 Summit in Mumbai yesterday.",
      • "content": "Bollywood superstar Shah Rukh Khan, known for his sharp wit and eloquence, shared a rare perspective on the insider-outsider discourse in the film industry during his appearance at the WAVES 2025 Summit in Mumbai yesterday. The actor was speaking at a panel titled \"The Journey: From Outsider to Ruler\", joined by actress Deepika Padukone and moderated by filmmaker Karan Johar. Despite lacking a film industry background, Shah Rukh has long been celebrated as one of Bollywood's most iconic figures. Addressing the much-discussed insider-outsider narrative, Shah Rukh said, \"I do take issue with this distinction. I don't think it's relevant where one comes from. What truly matters is the strength with which you hold your ground in the world you wish to be a part of—whether it's films, politics, or business.\" He also reflected on commonly used words such as ambition and struggle. \"Terms like hunger and hard work often get romanticised. People say, 'I was very hungry, I worked very hard,' but these are lofty words,\" he remarked. Sharing his own experience, Shah Rukh added that the film industry welcomed him wholeheartedly, making him feel at home. \"I was embraced with open arms. That's why I believe—this is my world, and this is my industry,\" he said. The WAVES 2025 Summit, inaugurated by Prime Minister Narendra Modi, has drawn a host of prominent names including Rajinikanth, Mohanlal, Chiranjeevi, Aamir Khan, Ranbir Kapoor, Alia Bhatt, Allu Arjun, Anil Kapoor, Hema Malini, Saif Ali Khan, and Shahid Kapoor. The event, taking place in Mumbai, will run through the weekend and conclude on May 4. Bollywood superstar Shah Rukh Khan, known for his sharp wit and eloquence, shared a rare perspective on the insider-outsider discourse in the film industry during his appearance at the WAVES 2025 Summit in Mumbai yesterday. The actor was speaking at a panel titled \"The Journey: From Outsider to Ruler\", joined by actress Deepika Padukone and moderated by filmmaker Karan Johar. Despite lacking a film industry background, Shah Rukh has long been celebrated as one of Bollywood's most iconic figures. Addressing the much-discussed insider-outsider narrative, Shah Rukh said, \"I do take issue with this distinction. I don't think it's relevant where one comes from. What truly matters is the strength with which you hold your ground in the world you wish to be a part of—whether it's films, politics, or business.\" He also reflected on commonly used words such as ambition and struggle. \"Terms like hunger and hard work often get romanticised. People say, 'I was very hungry, I worked very hard,' but these are lofty words,\" he remarked. Sharing his own experience, Shah Rukh added that the film industry welcomed him wholeheartedly, making him feel at home. \"I was embraced with open arms. That's why I believe—this is my world, and this is my industry,\" he said. The WAVES 2025 Summit, inaugurated by Prime Minister Narendra Modi, has drawn a host of prominent names including Rajinikanth, Mohanlal, Chiranjeevi, Aamir Khan, Ranbir Kapoor, Alia Bhatt, Allu Arjun, Anil Kapoor, Hema Malini, Saif Ali Khan, and Shahid Kapoor. The event, taking place in Mumbai, will run through the weekend and conclude on May 4.",
      • "pubDate": "2025-05-02 04:57:42",
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      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/02/maisha_tasnim_sreshtha_66.png",
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      • "article_id": "a080ddb925d9c1b0ba6594da0db5f317",
      • "title": "‘Jaya Aar Sharmin’, shot during the pandemic, finally sets release date",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/jaya-aar-sharmin-shot-during-the-pandemic-finally-sets-release-date-3885046",
      • "keywords": null,
      • "creator": null,
      • "description": "The journey of creating “Jaya Aar Sharmin” began five years ago, when the world came to a sudden halt. Born amid the uncertainty of the COVID-19 pandemic, this heartfelt, small-scale production is now ready for its big-screen debut in multiplexes across the country on May 16.",
      • "content": "The journey of creating \"Jaya Aar Sharmin\" began five years ago, when the world came to a sudden halt. Born amid the uncertainty of the COVID-19 pandemic, this heartfelt, small-scale production is now ready for its big-screen debut in multiplexes across the country on May 16. The release of its 1-minute-19-second trailer on May Day (yesterday) via the production house, Applebox Films Ltd, has already garnered curiosity. The trailer features two compelling talents—Jaya Ahsan, a celebrated name across Bengal, and Mohsina Akhter, a powerful presence from the world of theatre. Set during the COVID-19 lockdown, the film captures the confined yet emotionally rich world of two women—Jaya, a film actress, and Sharmin, her domestic help—suddenly forced to coexist in isolation. As the chaos of the outside world deepens, they carve out a fragile sanctuary inside a home. The trailer hints at a layered narrative—moments of levity like ludo games, tinged with undercurrents of grief and solitude. As time moves on and grim news filters in from beyond their walls, an invisible tide of fear and alienation begins to shape their bond. Director Piplu R Khan told local media, \"The film explores how solitude alters relationships, particularly between individuals separated by social class. Themes of trust, interdependence, and emotional survival are at the core, reflecting the fragile nature of human connection in times of crisis. The story navigates companionship, personal boundaries, and the shifts in relationships brought on by shared vulnerability.\" \"Jaya Aar Sharmin\" was filmed over a span of just 15 days in 2020, during the peak of the pandemic, with a compact and dedicated crew. The cast includes Jaya Ahsan, Mohsina Akhter, and a special appearance by Tanjim Saiyara Totini. The film is co-produced by Piplu R Khan and Jaya Ahsan, with a screenplay penned by the director Piplu himself alongside Nusrat Islam Maati. The journey of creating \"Jaya Aar Sharmin\" began five years ago, when the world came to a sudden halt. Born amid the uncertainty of the COVID-19 pandemic, this heartfelt, small-scale production is now ready for its big-screen debut in multiplexes across the country on May 16. The release of its 1-minute-19-second trailer on May Day (yesterday) via the production house, Applebox Films Ltd, has already garnered curiosity. The trailer features two compelling talents—Jaya Ahsan, a celebrated name across Bengal, and Mohsina Akhter, a powerful presence from the world of theatre. Set during the COVID-19 lockdown, the film captures the confined yet emotionally rich world of two women—Jaya, a film actress, and Sharmin, her domestic help—suddenly forced to coexist in isolation. As the chaos of the outside world deepens, they carve out a fragile sanctuary inside a home. The trailer hints at a layered narrative—moments of levity like ludo games, tinged with undercurrents of grief and solitude. As time moves on and grim news filters in from beyond their walls, an invisible tide of fear and alienation begins to shape their bond. Director Piplu R Khan told local media, \"The film explores how solitude alters relationships, particularly between individuals separated by social class. Themes of trust, interdependence, and emotional survival are at the core, reflecting the fragile nature of human connection in times of crisis. The story navigates companionship, personal boundaries, and the shifts in relationships brought on by shared vulnerability.\" \"Jaya Aar Sharmin\" was filmed over a span of just 15 days in 2020, during the peak of the pandemic, with a compact and dedicated crew. The cast includes Jaya Ahsan, Mohsina Akhter, and a special appearance by Tanjim Saiyara Totini. The film is co-produced by Piplu R Khan and Jaya Ahsan, with a screenplay penned by the director Piplu himself alongside Nusrat Islam Maati.",
      • "pubDate": "2025-05-02 04:42:30",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/02/jas-stills-02-credit_ata-mohammad-adnan-8d4116c43232fd684526d0d2352f2b24_0.jpg",
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      {
      • "article_id": "39c7c824937c314ba1cc2a9858721bd3",
      • "title": "How K-dramas became our favourite form of emotional escapism",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/how-k-dramas-became-our-favourite-form-emotional-escapism-3884756",
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      • "description": "There are few things as consistent as our unstable Wi-Fi, existential dread, and a go-to playlist of Korean dramas to cushion reality’s blows—especially for Gen Z, myself included. To love K-dramas is to willingly suspend disbelief, bask in a world where minor inconveniences spiral into grand epiphanies, and where misunderstandings are solved with monologues. The question is not why we watch K-dramas, but why, in a country that has its fair share of daily drama, we still crave more — and from 5,000 kilometres away, no less.",
      • "content": "There are few things as consistent as our unstable Wi-Fi, existential dread, and a go-to playlist of Korean dramas to cushion reality's blows—especially for Gen Z, myself included. To love K-dramas is to willingly suspend disbelief, bask in a world where minor inconveniences spiral into grand epiphanies, and where misunderstandings are solved with monologues. The question is not why we watch K-dramas, but why, in a country that has its fair share of daily drama, we still crave more — and from 5,000 kilometres away, no less. If you ask any K-drama fan why they started, you will get a hesitant shrug followed by a dissertation. For many, it began with a recommendation from a friend, a particularly well-edited TikTok, or perhaps the siren call of a mysterious plotline that promised a love with orchestral background scores. What started as casual viewing quickly morphed into emotional commitment because K-dramas are designed not to be watched but to be felt. Besides, once you have cried over a character you met two days ago, real-life interactions seem a bit underwhelming by comparison. At the core of the K-drama phenomenon lies an almost scientific understanding of emotional pacing. These shows respect our need for slow-burns in a culture addicted to instant gratification. Where relationships are increasingly summarised by texting habits and double taps, K-dramas dare to suggest that maybe, just maybe, feelings need time to marinate. Watching two characters exchange longing glances for six long episodes before daring to hold hands feels less like passive entertainment and more like a spiritual awakening. There is also the matter of aesthetics. K-dramas serve up a version of life where every coffee shop could double as a Pinterest board, every apartment looks like it belongs in a lifestyle magazine, and even hospital gowns seem suspiciously fashionable. For a generation reared on carefully filtered Instagram posts and relentless self-curation, K-dramas are less fantasy, more lifestyle aspiration. They are a beautifully colour-graded reassurance that life could, with enough mood lighting, look as perfect as we pretend it does online. Then again, not all of it is associated with surface beauty. Gen-Z audiences, no strangers to the paradoxes of late-stage capitalism and hyper-individualism, find in K-dramas a surprising sincerity. Here, vulnerability is not a punchline but a plot in itself. Characters are allowed to weep without apology, confess without irony, and love without disclaimers. It is a refreshing alternative to the jadedness we sometimes wear like armour. In a way, watching a chaebol heir (heir to a large industrial South Korean conglomerate) wrestle with his feelings feels oddly relatable, even if the closest we have been to a family conglomerate is the group chat about splitting the dinner bill. Another reason behind an intense attachment to these productions lies in the comforting predictability of their storytelling. Life, as we know it, has not been particularly generous with certainty lately. K-dramas promise that no matter how chaotic the middle gets — no matter how many mistaken identities, accidental kidnappings, or noble sacrifices clutter the path — the ending will deliver emotional justice. Villains will repent, protagonists will heal, and side characters will get their oddly satisfying mini-happiness. It is the kind of moral symmetry sorely missing from real-world headlines. Sometimes their tropes border on the outrageous: terminal illnesses appear and disappear with remarkably dramatic timing, accidental kisses practically become a public health issue, and characters suffer from selective amnesia more frequently than most of us forget our email passwords. However, pointing out K-drama logic flaws is like critiquing the architectural design of a sandcastle; one misses the point entirely. These stories are not meant to be perfect or logical; they are meant to feel like coming home after a day that did not go your way. In Bangladesh, where Netflix queues and university deadlines compete fiercely for attention, the rise of K-drama viewership has developed from a passing trend into a generational inside joke — we all have that one friend who insists, \"This drama will change your life\"; we've lied about \"just watching one more episode,\" and we've stared at a blank wall after a finale, wondering why the world feels just a little emptier. In the end, our collective devotion to K-dramas says less about the dramas themselves and more about us—a generation that, for all its wit and detachment, still craves tenderness. We still believe that somehow, everything will work out; preferably in exactly 16 episodes, with a dramatic soundtrack swelling in the background. Until that happens, we remain loyal, sleeves wet with tears and hearts full of impossible standards, clinging lovingly to a universe where good people win, love endures, and no apology is complete without a deep, meaningful bow. There are few things as consistent as our unstable Wi-Fi, existential dread, and a go-to playlist of Korean dramas to cushion reality's blows—especially for Gen Z, myself included. To love K-dramas is to willingly suspend disbelief, bask in a world where minor inconveniences spiral into grand epiphanies, and where misunderstandings are solved with monologues. The question is not why we watch K-dramas, but why, in a country that has its fair share of daily drama, we still crave more — and from 5,000 kilometres away, no less. If you ask any K-drama fan why they started, you will get a hesitant shrug followed by a dissertation. For many, it began with a recommendation from a friend, a particularly well-edited TikTok, or perhaps the siren call of a mysterious plotline that promised a love with orchestral background scores. What started as casual viewing quickly morphed into emotional commitment because K-dramas are designed not to be watched but to be felt. Besides, once you have cried over a character you met two days ago, real-life interactions seem a bit underwhelming by comparison. At the core of the K-drama phenomenon lies an almost scientific understanding of emotional pacing. These shows respect our need for slow-burns in a culture addicted to instant gratification. Where relationships are increasingly summarised by texting habits and double taps, K-dramas dare to suggest that maybe, just maybe, feelings need time to marinate. Watching two characters exchange longing glances for six long episodes before daring to hold hands feels less like passive entertainment and more like a spiritual awakening. There is also the matter of aesthetics. K-dramas serve up a version of life where every coffee shop could double as a Pinterest board, every apartment looks like it belongs in a lifestyle magazine, and even hospital gowns seem suspiciously fashionable. For a generation reared on carefully filtered Instagram posts and relentless self-curation, K-dramas are less fantasy, more lifestyle aspiration. They are a beautifully colour-graded reassurance that life could, with enough mood lighting, look as perfect as we pretend it does online. Then again, not all of it is associated with surface beauty. Gen-Z audiences, no strangers to the paradoxes of late-stage capitalism and hyper-individualism, find in K-dramas a surprising sincerity. Here, vulnerability is not a punchline but a plot in itself. Characters are allowed to weep without apology, confess without irony, and love without disclaimers. It is a refreshing alternative to the jadedness we sometimes wear like armour. In a way, watching a chaebol heir (heir to a large industrial South Korean conglomerate) wrestle with his feelings feels oddly relatable, even if the closest we have been to a family conglomerate is the group chat about splitting the dinner bill. Another reason behind an intense attachment to these productions lies in the comforting predictability of their storytelling. Life, as we know it, has not been particularly generous with certainty lately. K-dramas promise that no matter how chaotic the middle gets — no matter how many mistaken identities, accidental kidnappings, or noble sacrifices clutter the path — the ending will deliver emotional justice. Villains will repent, protagonists will heal, and side characters will get their oddly satisfying mini-happiness. It is the kind of moral symmetry sorely missing from real-world headlines. Sometimes their tropes border on the outrageous: terminal illnesses appear and disappear with remarkably dramatic timing, accidental kisses practically become a public health issue, and characters suffer from selective amnesia more frequently than most of us forget our email passwords. However, pointing out K-drama logic flaws is like critiquing the architectural design of a sandcastle; one misses the point entirely. These stories are not meant to be perfect or logical; they are meant to feel like coming home after a day that did not go your way. In Bangladesh, where Netflix queues and university deadlines compete fiercely for attention, the rise of K-drama viewership has developed from a passing trend into a generational inside joke — we all have that one friend who insists, \"This drama will change your life\"; we've lied about \"just watching one more episode,\" and we've stared at a blank wall after a finale, wondering why the world feels just a little emptier. In the end, our collective devotion to K-dramas says less about the dramas themselves and more about us—a generation that, for all its wit and detachment, still craves tenderness. We still believe that somehow, everything will work out; preferably in exactly 16 episodes, with a dramatic soundtrack swelling in the background. Until that happens, we remain loyal, sleeves wet with tears and hearts full of impossible standards, clinging lovingly to a universe where good people win, love endures, and no apology is complete without a deep, meaningful bow.",
      • "pubDate": "2025-05-01 11:00:00",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/01/k_dramas.png",
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      • "article_id": "f1bd5bbe62dd21b072478a66d922376f",
      • "title": "Bollywood stars attending the 2025 Met Gala: SRK, Kiara, and more",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/bollywood-stars-attending-the-2025-met-gala-srk-kiara-and-more-3884696",
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      • "description": "The excitement surrounding the Met Gala is reaching its annual high, as the fashion world awaits one of its most glamorous nights. However, the anticipation in India is especially intense this year, with several of Bollywood’s brightest stars set to make an appearance at the 2025 Met Gala. From legends like Shah Rukh Khan to new-generation favourites like Kiara Advani, the event is shaping up to be a vibrant celebration of style, culture, and innovation.",
      • "content": "The excitement surrounding the Met Gala is reaching its annual high, as the fashion world awaits one of its most glamorous nights. However, the anticipation in India is especially intense this year, with several of Bollywood's brightest stars set to make an appearance at the 2025 Met Gala. From legends like Shah Rukh Khan to new-generation favourites like Kiara Advani, the event is shaping up to be a vibrant celebration of style, culture, and innovation. The theme for this year's gala, \"Superfine: Tailoring Black Style,\" focuses on the rich legacy of Black menswear. The Metropolitan Museum of Art's Costume Institute will highlight decades of influential fashion, from expressive colours and striking silhouettes to the fine detailing found in hats, canes, brooches, pocket squares, and more. Guests are encouraged to interpret the theme with creativity while honouring the trailblazers of Black fashion history. Among the most anticipated attendees is Shah Rukh Khan, a global icon of Indian cinema. He is reportedly preparing to walk the red carpet in a specially designed Sabyasachi outfit — a sartorial moment that's expected to command global attention. Kiara Advani is also set to attend. Currently expecting her first child, she has been praised for her elegant maternity fashion, and her Met Gala debut promises to beautifully merge her personal journey with the high-fashion spectacle of the event. Adding to the excitement, Diljit Dosanjh is rumoured to be on the guest list. Fresh off the international success of his \"Dil-Luminati\" tour, Diljit's appearance would be another step in his rise as a global cultural force. Known for his fearless fashion sense, fans are eager to see how he fuses his Punjabi heritage with the Gala's forward-thinking aesthetic. Bollywood's impact at the Met Gala has been steadily growing over the years. In 2024, Alia Bhatt dazzled in a mint-green Sabyasachi saree, and in 2023, Priyanka Chopra turned heads in a black Valentino couture creation. Deepika Padukone made waves in 2019 with her unforgettable bubblegum-pink Zac Posen gown, cementing her place among the Met's fashion elite. As the 2025 Met Gala approaches, it's evident that Indian cinema and style will once again make a strong impression on one of the world's grandest fashion stages. With a compelling mix of household names and emerging talents, this year's event promises to be a landmark moment for Bollywood on the global fashion map. The excitement surrounding the Met Gala is reaching its annual high, as the fashion world awaits one of its most glamorous nights. However, the anticipation in India is especially intense this year, with several of Bollywood's brightest stars set to make an appearance at the 2025 Met Gala. From legends like Shah Rukh Khan to new-generation favourites like Kiara Advani, the event is shaping up to be a vibrant celebration of style, culture, and innovation. The theme for this year's gala, \"Superfine: Tailoring Black Style,\" focuses on the rich legacy of Black menswear. The Metropolitan Museum of Art's Costume Institute will highlight decades of influential fashion, from expressive colours and striking silhouettes to the fine detailing found in hats, canes, brooches, pocket squares, and more. Guests are encouraged to interpret the theme with creativity while honouring the trailblazers of Black fashion history. Among the most anticipated attendees is Shah Rukh Khan, a global icon of Indian cinema. He is reportedly preparing to walk the red carpet in a specially designed Sabyasachi outfit — a sartorial moment that's expected to command global attention. Kiara Advani is also set to attend. Currently expecting her first child, she has been praised for her elegant maternity fashion, and her Met Gala debut promises to beautifully merge her personal journey with the high-fashion spectacle of the event. Adding to the excitement, Diljit Dosanjh is rumoured to be on the guest list. Fresh off the international success of his \"Dil-Luminati\" tour, Diljit's appearance would be another step in his rise as a global cultural force. Known for his fearless fashion sense, fans are eager to see how he fuses his Punjabi heritage with the Gala's forward-thinking aesthetic. Bollywood's impact at the Met Gala has been steadily growing over the years. In 2024, Alia Bhatt dazzled in a mint-green Sabyasachi saree, and in 2023, Priyanka Chopra turned heads in a black Valentino couture creation. Deepika Padukone made waves in 2019 with her unforgettable bubblegum-pink Zac Posen gown, cementing her place among the Met's fashion elite. As the 2025 Met Gala approaches, it's evident that Indian cinema and style will once again make a strong impression on one of the world's grandest fashion stages. With a compelling mix of household names and emerging talents, this year's event promises to be a landmark moment for Bollywood on the global fashion map.",
      • "pubDate": "2025-05-01 07:03:16",
      • "pubDateTZ": "UTC",
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      {
      • "article_id": "3d08534a3f6ec705578ab30e978bdfc6",
      • "title": "May Day to be observed with theatre, music and red flag rallies",
      • "link": "https://www.thedailystar.net/entertainment/theatre-arts/news/may-day-be-observed-theatre-music-and-red-flag-rallies-3884681",
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      • "description": "This year’s May Day discussion will feature playwright and professor Ratan Siddiqui as the keynote speaker, alongside Harun Rashid, chief editor of Aranyak Natyadal. Staying true to tradition, Aranyak will also release the latest issue of their annual publication, “May Day’s Paper.”",
      • "content": "Aranyak Natyadal will stage its acclaimed play \"Raraang\" this evening at 7 pm at the Bangladesh Shilpakala Academy's Experimental Theatre Hall to mark May Day. Written and directed by eminent playwright and thespian Mamunur Rashid, the play remains a powerful portrayal of social struggles, resonating strongly on this occasion. As in previous years, Aranyak will commemorate May Day with two events—one at the Central Shaheed Minar in the morning, and another in the evening at Shilpakala Academy. The morning programme kicks off at 10 am at Shaheed Minar, where Aranyak members will perform the \"Internationale\" in chorus, setting the tone for the day. The event will then feature discussions, musical performances, poetry recitations, and street plays. Two street dramas will be staged: Aranyak's own production \"Matir Mohajon\", written by Apu Mehdi and directed by Hashim Masud, and \"Odriśhyo Haath\" by the invited group Theatre, written by Khurshid Alam and directed by Robin Basak. This year's May Day discussion will feature playwright and professor Ratan Siddiqui as the keynote speaker, alongside Harun Rashid, chief editor of Aranyak Natyadal. Staying true to tradition, Aranyak will also release the latest issue of their annual publication, \"May Day's Paper\". Since its founding in 1972, Aranyak has played a pioneering role in post-independence theatre in Bangladesh. Their ethos, firmly rooted in the belief that \"theatre is not just entertainment but a sharp weapon of class struggle,\" has guided their unwavering observance of May Day since 1981. 'Ora Kaaj Kore Nagore Bondore' Meanwhile, the Bangladesh Gano Sangeet Samannay Parishad is hosting a discussion and cultural programme titled \"Ora Kaaj Kore Nagore Bondore\" (\"They Work Across Cities and Ports\") today. Scheduled for 5 pm at the open-air Nandan Mancha of Bangladesh Shilpakala Academy, the event will bring together activists and artists in celebration of workers' contributions. Presided over by the organisation's president, artiste Kazi Mizanur Rahman, the discussion will include remarks from vice president and singer Fakir Siraj and general secretary Manzar Chowdhury. The event will feature solo and group musical performances and poetry recitations, capturing the spirit of May Day. Udichi's programmes across the city Bangladesh Udichi Shilpigoshthi has also planned a series of events across Dhaka to honour May Day. These activities are aimed at inspiring working-class communities to continue advocating for their rights. At 3 pm today, Udichi's central committee will lead a Red Flag rally from Mirpur-10 Circle to Senpara Bishon Mor. A gathering and cultural programme will follow at 4 pm at the Senpara intersection. Additionally, Udichi will host performances of Gano Sangeet (mass songs) and processions in Gandaria, while artists will travel on trucks performing songs at various points across Badda, ensuring that the message of solidarity and resistance reaches all corners of the city. Aranyak Natyadal will stage its acclaimed play \"Raraang\" this evening at 7 pm at the Bangladesh Shilpakala Academy's Experimental Theatre Hall to mark May Day. Written and directed by eminent playwright and thespian Mamunur Rashid, the play remains a powerful portrayal of social struggles, resonating strongly on this occasion. As in previous years, Aranyak will commemorate May Day with two events—one at the Central Shaheed Minar in the morning, and another in the evening at Shilpakala Academy. The morning programme kicks off at 10 am at Shaheed Minar, where Aranyak members will perform the \"Internationale\" in chorus, setting the tone for the day. The event will then feature discussions, musical performances, poetry recitations, and street plays. Two street dramas will be staged: Aranyak's own production \"Matir Mohajon\", written by Apu Mehdi and directed by Hashim Masud, and \"Odriśhyo Haath\" by the invited group Theatre, written by Khurshid Alam and directed by Robin Basak. This year's May Day discussion will feature playwright and professor Ratan Siddiqui as the keynote speaker, alongside Harun Rashid, chief editor of Aranyak Natyadal. Staying true to tradition, Aranyak will also release the latest issue of their annual publication, \"May Day's Paper\". Since its founding in 1972, Aranyak has played a pioneering role in post-independence theatre in Bangladesh. Their ethos, firmly rooted in the belief that \"theatre is not just entertainment but a sharp weapon of class struggle,\" has guided their unwavering observance of May Day since 1981. 'Ora Kaaj Kore Nagore Bondore' Meanwhile, the Bangladesh Gano Sangeet Samannay Parishad is hosting a discussion and cultural programme titled \"Ora Kaaj Kore Nagore Bondore\" (\"They Work Across Cities and Ports\") today. Scheduled for 5 pm at the open-air Nandan Mancha of Bangladesh Shilpakala Academy, the event will bring together activists and artists in celebration of workers' contributions. Presided over by the organisation's president, artiste Kazi Mizanur Rahman, the discussion will include remarks from vice president and singer Fakir Siraj and general secretary Manzar Chowdhury. The event will feature solo and group musical performances and poetry recitations, capturing the spirit of May Day. Udichi's programmes across the city Bangladesh Udichi Shilpigoshthi has also planned a series of events across Dhaka to honour May Day. These activities are aimed at inspiring working-class communities to continue advocating for their rights. At 3 pm today, Udichi's central committee will lead a Red Flag rally from Mirpur-10 Circle to Senpara Bishon Mor. A gathering and cultural programme will follow at 4 pm at the Senpara intersection. Additionally, Udichi will host performances of Gano Sangeet (mass songs) and processions in Gandaria, while artists will travel on trucks performing songs at various points across Badda, ensuring that the message of solidarity and resistance reaches all corners of the city.",
      • "pubDate": "2025-05-01 06:35:19",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/01/dowel_biswas_2.png",
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      {
      • "article_id": "3ebc8ed6ee5ce0f6b759f9176c20b1e9",
      • "title": "BTV to air ‘John Henry’ tonight to celebrate a workers' spirit",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/btv-air-john-henry-tonight-celebrate-workers-spirit-3884656",
      • "keywords": null,
      • "creator": null,
      • "description": "“John Henry” was written by playwright Zamiur Rahman Lemon in 1985, inspired by the song “Naam Tar Chilo John Henry” by artiste Hemanga Biswas. Lemon has now thus reimagined the play for television.",
      • "content": "May Day is a global observance for workers to claim their rights. To celebrate this day today, Bangladesh Television (BTV) has lined up several special programmes. Notably, a couple of documentaries and talk shows will be aired today including the play \"John Henry\". \"John Henry\" was written by playwright Zamiur Rahman Lemon in 1985, inspired by the song \"Naam Tar Chilo John Henry\" by artiste Hemanga Biswas. Lemon has now thus reimagined the play for television. Set against the themes of racism and workers' rights, the drama was filmed at BTV's studio. It showcases the perseverance and courage of a hardworking laborer, John Henry, while also exploring his love story with Mary Magdalene and the struggles of a group of workers breaking mountains. The cast features Asad, Gazi Faruque, Kabir Ahmed, Nazia Farha, Humayun Kabery, Uttam Adhikari, Shawon, Rana, Luna, and other talented theater artists. Actor Gazi Faruque shared, \"The play's narrative is remarkable. It depicts the journey of a laborer's life. I hope the audience will find it enjoyable.\" Produced by Golam Morshed, the play will air on BTV tonight at 9. May Day is a global observance for workers to claim their rights. To celebrate this day today, Bangladesh Television (BTV) has lined up several special programmes. Notably, a couple of documentaries and talk shows will be aired today including the play \"John Henry\". \"John Henry\" was written by playwright Zamiur Rahman Lemon in 1985, inspired by the song \"Naam Tar Chilo John Henry\" by artiste Hemanga Biswas. Lemon has now thus reimagined the play for television. Set against the themes of racism and workers' rights, the drama was filmed at BTV's studio. It showcases the perseverance and courage of a hardworking laborer, John Henry, while also exploring his love story with Mary Magdalene and the struggles of a group of workers breaking mountains. The cast features Asad, Gazi Faruque, Kabir Ahmed, Nazia Farha, Humayun Kabery, Uttam Adhikari, Shawon, Rana, Luna, and other talented theater artists. Actor Gazi Faruque shared, \"The play's narrative is remarkable. It depicts the journey of a laborer's life. I hope the audience will find it enjoyable.\" Produced by Golam Morshed, the play will air on BTV tonight at 9.",
      • "pubDate": "2025-05-01 05:47:53",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/01/inbound7668990829022344243.png",
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      • "source_id": "thedailystar",
      • "source_name": "The Daily Star",
      • "source_priority": 32093,
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      • "source_icon": "https://i.bytvi.com/domain_icons/thedailystar.png",
      • "language": "english",
      • -
        "country": [
        • "bangladesh"
        ],
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        • "entertainment"
        ],
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      • -
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    • -
      {
      • "article_id": "553730e1012973f9afdaf98a69e2e813",
      • "title": "Films that portray the lives of workers: Must-watch titles this May Day",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/films-portray-the-lives-workers-must-watch-titles-may-day-3884646",
      • "keywords": null,
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      • "description": "International Workers’ Day, observed today, marks a historic day steeped in the struggles and sacrifices of workers across the world. Over the years, writers in every language have penned poems, novels, and stories about labour movements, while musicians have voiced their solidarity through songs. Equally powerful are the cinematic portrayals of working-class lives—films that go beyond mere entertainment to provoke thought and reflection.",
      • "content": "International Workers' Day, observed today, marks a historic day steeped in the struggles and sacrifices of workers across the world. Over the years, writers in every language have penned poems, novels, and stories about labour movements, while musicians have voiced their solidarity through songs. Equally powerful are the cinematic portrayals of working-class lives—films that go beyond mere entertainment to provoke thought and reflection. Here are a few remarkable local and international films centred on the labour force: \"Modern Times\" (1936, USA) Set in the post-Industrial Revolution era, this film—directed by and starring Charlie Chaplin—follows a factory worker struggling against the pressures of mechanisation, demanding routines, and capitalism. Balancing humour with sharp political insight, Chaplin masterfully portrays the inner turmoil of labourers in a rapidly industrialising world. \"Bicycle Thieves\" (1948, Italy) A cornerstone of European neorealist cinema, the film—directed by Vittorio De Sica—breaks from fantasy to offer a gritty, realistic portrayal of working-class hardship. It follows a poor man in Rome whose bicycle, essential for his job, is stolen. Along with his young son, he scours the city in search of it, laying bare the desperation of poverty. \"Sorry We Missed You\" (2019, UK) This poignant film by Ken Loach explores the harsh realities of the modern gig economy. A father begins work as a delivery driver under a so-called 'self-employed' scheme, only to watch his family life unravel. The film offers a powerful critique of precarious labour and systemic exploitation in today's workforce. \"Made in Bangladesh\" (2019, Bangladesh) Directed by Rubaiyat Hossain, this film centres on Shimu, a garment worker who courageously attempts to form a union to fight for workers' rights. Despite resistance from her employer and society, she perseveres. The film earned international praise for shedding light on the struggles of female workers in Bangladesh's apparel industry. \"Peepli Live\" (2010, India) Anusha Rizvi's satirical drama follows two impoverished farmers who, in the hope of government compensation, decide to take their own lives. The film skewers media sensationalism and political opportunism, providing a searing commentary on the rural poor and their exploitation in the name of coverage and policy. International Workers' Day, observed today, marks a historic day steeped in the struggles and sacrifices of workers across the world. Over the years, writers in every language have penned poems, novels, and stories about labour movements, while musicians have voiced their solidarity through songs. Equally powerful are the cinematic portrayals of working-class lives—films that go beyond mere entertainment to provoke thought and reflection. Here are a few remarkable local and international films centred on the labour force: \"Modern Times\" (1936, USA) Set in the post-Industrial Revolution era, this film—directed by and starring Charlie Chaplin—follows a factory worker struggling against the pressures of mechanisation, demanding routines, and capitalism. Balancing humour with sharp political insight, Chaplin masterfully portrays the inner turmoil of labourers in a rapidly industrialising world. \"Bicycle Thieves\" (1948, Italy) A cornerstone of European neorealist cinema, the film—directed by Vittorio De Sica—breaks from fantasy to offer a gritty, realistic portrayal of working-class hardship. It follows a poor man in Rome whose bicycle, essential for his job, is stolen. Along with his young son, he scours the city in search of it, laying bare the desperation of poverty. \"Sorry We Missed You\" (2019, UK) This poignant film by Ken Loach explores the harsh realities of the modern gig economy. A father begins work as a delivery driver under a so-called 'self-employed' scheme, only to watch his family life unravel. The film offers a powerful critique of precarious labour and systemic exploitation in today's workforce. \"Made in Bangladesh\" (2019, Bangladesh) Directed by Rubaiyat Hossain, this film centres on Shimu, a garment worker who courageously attempts to form a union to fight for workers' rights. Despite resistance from her employer and society, she perseveres. The film earned international praise for shedding light on the struggles of female workers in Bangladesh's apparel industry. \"Peepli Live\" (2010, India) Anusha Rizvi's satirical drama follows two impoverished farmers who, in the hope of government compensation, decide to take their own lives. The film skewers media sensationalism and political opportunism, providing a searing commentary on the rural poor and their exploitation in the name of coverage and policy.",
      • "pubDate": "2025-05-01 05:47:14",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/01/maisha_tasnim_sreshtha_65.png",
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      • "source_id": "thedailystar",
      • "source_name": "The Daily Star",
      • "source_priority": 32093,
      • "source_url": "https://www.thedailystar.com",
      • "source_icon": "https://i.bytvi.com/domain_icons/thedailystar.png",
      • "language": "english",
      • -
        "country": [
        • "bangladesh"
        ],
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        "category": [
        • "entertainment"
        ],
      • "sentiment": "positive",
      • -
        "sentiment_stats": {},
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        "ai_tag": [
        • "human rights"
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    • -
      {
      • "article_id": "e8ddc48ce2f2f01563819b3156657c6c",
      • "title": "‘I spent the whole day shooting’: Rahmat Ali on his 66th birthday",
      • "link": "https://www.thedailystar.net/entertainment/tv-film/news/i-spent-the-whole-day-shooting-rahmat-ali-his-66th-birthday-3884641",
      • "keywords": null,
      • "creator": null,
      • "description": "Veteran Bangladeshi actor Rahmat Ali turned 66 yesterday (April 30), marking the milestone not with celebration, but by doing what he loves most- acting. The acclaimed stage, television, and film actor spent his birthday on the set of a Bangladesh Television (BTV) drama, alongside his wife and fellow actress Wahida Mallik Jolly.",
      • "content": "Veteran Bangladeshi actor Rahmat Ali turned 66 yesterday (April 30), marking the milestone not with celebration, but by doing what he loves most- acting. The acclaimed stage, television, and film actor spent his birthday on the set of a Bangladesh Television (BTV) drama, alongside his wife and fellow actress Wahida Mallik Jolly. Speaking to The Daily Star on Tuesday (April 29) night, Rahmat Ali said, \"I spent the whole day shooting. Honestly, I often forget my own birthday. It's always my wife or colleagues who remind me.\" Despite the busy schedule, Ali shared that he felt deeply appreciated. \"Many people expressed love during the day. I'm grateful. My wife and close friends surprised me with a cake-cutting at 12.01am.\" Adding to the day's significance, Rahmat and Jolly played husband and wife on-screen for the first time in a BTV drama. \"We've acted together before, but never as a couple on television. It felt special to do so on my birthday,\" he said. Even after decades in the industry, Rahmat Ali remains touched by public affection. \"People still greet me warmly on the streets. I never feel bothered when someone approaches me, I genuinely enjoy it,\" he added. Reflecting on his enduring career and personal life, the actor shared, \"My wife and I have been together for 38 years. Our bond is strong, and I'll always be grateful to the audiences whose love has carried us this far.\" He also shared that theatre director Syed Jamil Ahmed had called to wish him and offer praise, which was a highlight of his day. Veteran Bangladeshi actor Rahmat Ali turned 66 yesterday (April 30), marking the milestone not with celebration, but by doing what he loves most- acting. The acclaimed stage, television, and film actor spent his birthday on the set of a Bangladesh Television (BTV) drama, alongside his wife and fellow actress Wahida Mallik Jolly. Speaking to The Daily Star on Tuesday (April 29) night, Rahmat Ali said, \"I spent the whole day shooting. Honestly, I often forget my own birthday. It's always my wife or colleagues who remind me.\" Despite the busy schedule, Ali shared that he felt deeply appreciated. \"Many people expressed love during the day. I'm grateful. My wife and close friends surprised me with a cake-cutting at 12.01am.\" Adding to the day's significance, Rahmat and Jolly played husband and wife on-screen for the first time in a BTV drama. \"We've acted together before, but never as a couple on television. It felt special to do so on my birthday,\" he said. Even after decades in the industry, Rahmat Ali remains touched by public affection. \"People still greet me warmly on the streets. I never feel bothered when someone approaches me, I genuinely enjoy it,\" he added. Reflecting on his enduring career and personal life, the actor shared, \"My wife and I have been together for 38 years. Our bond is strong, and I'll always be grateful to the audiences whose love has carried us this far.\" He also shared that theatre director Syed Jamil Ahmed had called to wish him and offer praise, which was a highlight of his day.",
      • "pubDate": "2025-05-01 05:40:44",
      • "pubDateTZ": "UTC",
      • "image_url": "https://tds-images.thedailystar.net/sites/default/files/styles/big_202/public/images/2025/05/01/rahmat-ali-2ca9702791760839050dabca9870d37c.jpg",
      • "video_url": null,
      • "source_id": "thedailystar",
      • "source_name": "The Daily Star",
      • "source_priority": 32093,
      • "source_url": "https://www.thedailystar.com",
      • "source_icon": "https://i.bytvi.com/domain_icons/thedailystar.png",
      • "language": "english",
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        "country": [
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}

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