Priyo Maloti

"Priyo Maloti," directed by Shankha Dasgupta, stands out as a refreshing departure from typical Bangladeshi cinema, offering an authentic and poignant narrative rooted in the struggles of ordinary people. The film doesn't shy away from depicting the socio-political landscape of contemporary Dhaka, offering a critical lens on systemic issues and the additional burdens faced by minorities.

One of the film's strongest aspects is undoubtedly Mehazabien Chowdhury's portrayal of Maloti. This marks her debut as a lead actress in a big-screen film, and she delivers a compelling performance, capturing the character's resilience amidst escalating adversity.

Director Shankha Dasgupta's intent to address various societal issues, including the struggles of seeking government support, unemployment, and disparities in documentation, particularly for the lower class, is evident throughout the film. The narrative feels authentic because it mirrors real-life experiences, making it relatable to a wide audience. The film also touches upon the sensitive topic of religious clashes and the rigid grip of patriarchy, further adding to its depth and social commentary.

The cinematography by Barkat Hossain Palash and the background score by Ruslan Rahman are also noteworthy, successfully immersing the audience in the emotional journey of Maloti. The use of real locations in Old Dhaka adds to the film's authenticity and liveliness.

Shankha Dasgupta's work in "Priyo Maloti" is a testament to his skill as a filmmaker. He has crafted a film that is not only engaging but also deeply meaningful, leaving a lasting impression on the viewer through its honest portrayal of life and its compelling narrative. His dedication to authenticity and his nuanced direction make "Priyo Maloti" a truly remarkable cinematic experience.

This cinema is very well made. Cinematography is top notch. Story based on reality. The real face of Bangladesh.

Main points: 1. Traffic jams kill people. 2. Fake documents are everywhere. 3. Poor father thinks about his children in terms of money. 4. God doesn't help anyone, be it Hindu or Muslim. 5. Yet, some people are good here. They have a good heart. It proves that this place is not a rotten land, currently it's occupied with irresponsible unthoughtful generations. Hope someday it will recover.

Until then, Bangladesh is unliveable, unbreathable. Until then, the face of Bangladesh is exactly like the burned face of Maloti,s husband.

What she & her team did is just unacceptable. Mehjabeen chowdhury you loss your respect in our eyes🙏🏻

Respect takes a long time to earn but not a second to lose. How can you disrespect a girl who was r@ped!! Despite being a girl. Your movie may be about social awareness, but please don't justify your actions with these trivial examples. Your popularity has gone to your head, Mehjabeen Chowdhury. I hope you willnot do dirty campaign like this anymore . But we the audience cannot forgive your mistake this time, sorry. Tonu is our emotion and you play with our emotion.

So for all this I don't recommen this movie .

The movie is absolute crap and the cast even disrespected a rape victim by putting their promotional postar on the grafiti that called for justice of a rape vicitim. The movie claims that the story wants to depict women empowerment and struggles of a women but how can it do that when the cast of the movie especially the lead cast Mehjabeen is putting her movie's promo postar on a grafiti that calls for the justice of r@pe victim. Very much contradicting i would say. How can you disrespect a r@pe victim in the name of negative marketing is beyond my imagination really. And honestly this is just some C grade movie.

"Priyo Maloti," directed by Shankha Dasgupta, is a poignant exploration of societal challenges through the eyes of Maloti, a pregnant, lower-caste Hindu woman portrayed by Mehazabien Chowdhury. The narrative unfolds as Maloti's life is upended by the sudden death of her husband, Polash, in a tragic market fire. His demise, exacerbated by Dhaka's notorious traffic congestion hindering timely medical intervention, leaves Maloti to navigate a labyrinth of bureaucratic obstacles in her quest for financial compensation.

Dasgupta masterfully uses Maloti's journey to shed light on pressing social issues, including inadequate infrastructure, systemic corruption, and entrenched gender inequality. Chowdhury's portrayal of Maloti is both compelling and nuanced, capturing the character's resilience amidst escalating adversity. The film's unflinching depiction of Maloti's struggles offers a critical lens on the socio-political landscape of contemporary Dhaka. Highly Recommend.