Sarah Nafisa Shahid | The Daily Star
  • Sarah Nafisa Shahid

  • The men of Humayun Ahmed's films

    A skilled storyteller in his own right, Humayun Ahmed's narrative prowess was eminent in his films. During the 90s when rampant commercialisation resulted in over-glammed, action-packed, blockbuster-style cinema led by testosterone-fuelled heroes, Ahmed's films exhibited a knack for well-rounded and socially relevant narratives.
  • A mad, mad, world

    At 40, Unmad is the longest running satire magazine in South Asia. Apart from its reputation as a household essential for Bangladeshi teenagers, it has also been a sole platform for the artistic tradition of cartoon and satire to flourish.
  • Carnival of grotesque

    The walls of artist-run space, Kalakendra, host artist Nisar Hossain's drawings and prints this month. Part of the third instalment of the gallery's “Drawing and Thinking” series, Bikargrostho Shomoyer Roikhik Boyan (Linear Text of a Delirious Time), curated by Wakilur Rahman, opened on June 30, 2018 in the presence of special guest, artist Rafikun Nabi. Notable artists such as Sheikh Afzal, Abul Barq Alvi, Shishir Bhattacharjee, and Rashid Amin were also present at the event.
  • Is there any ideology behind romance?

    Watching telefilms on Eid is a household tradition for TV-owning families all over Dhaka. The popularity of Eid special telefilms marked a shift from state-sponsored programmes on BTV (though Ittadi still remains a classic) to a variety-based, commercial-heavy, television culture.
  • Cinema, Consciousness, and Censorship

    Cinema is transformative—it inspires, evokes, and agitates beyond its entertainment value. For this reason, cinema becomes vulnerable at the hands of regimes wishing to control ideas being consumed by the public.
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