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Bangladesh is lagging behind in female-led projects:

SADIA KHALID REETI
PHOTOS: SHEIKH MEHEDI MORSHED
From penning screenplays to critiquing global cinema, meet Sadia Khalid Reeti– who has navigated the complexities of a male-dominated industry with grace and determination. A multi-faceted talent, Reeti wears the hats of film critic, screenwriter, and journalist with equal aplomb, bringing a fresh perspective to an industry often set in its way.
MAHIYA TABASSUM
Fresh from her second stint as a jury member under the International Federation of Film Critics (FIPRESCI) division at the prestigious 77th Cannes Film Festival, Reeti has also secured her place on the Golden Globes voting panel for an impressive third consecutive year. Her sharp critical eye and deep understanding of cinema have earned her respect in film circles around the globe.
You’ve recently returned from the Cannes Film Festival as a jury member. How would you describe your experience?
It was exhilarating. My second time at Cannes, I was thrilled by the increased Bangladeshi representation, with co-producers Adnan Al Rajeev and Tanveer Hossain present. The festival buzz and interactions with global filmmakers were incredible, showing Bangladesh’s growing mark on this prestigious platform.
Congratulations on your third nomination to the Golden Globes voting panel. What’s your approach to evaluating films for such a prestigious award?
Thank you! It’s an honour and a massive responsibility. The process is incredibly demanding – we’re talking about potentially watching over 1,000 hours of content. I’ve learned to be efficient, dropping projects that don’t meet the mark early on. It’s about balancing quantity with quality of assessment. Given my background, I pay special attention to the screenplay but I strive to consider all aspects – cinematography, direction, acting – to give a holistic evaluation.
How do you maintain objectivity in your critiques when you have personal preferences as an audience?
It’s a delicate balance. Previously, film critics avoided other industry roles to prevent conflicts of interest, but this is changing. Personal tastes inevitably play a role – I prefer fantasy and horror and usually avoid the crime genre. But as a critic, it’s crucial to step back and evaluate each work on its own merits. I believe in specialised criticism; experts in cinematography, for instance, can offer deeper insights. If critics evaluate films based on their expertise, we can elevate and diversify the role of film critics.
We cannot survive wearing only one hat in the evolving media landscape; we must wear multiple hats. The key is acknowledging our biases while striving for a comprehensive assessment.
You’ve worked with major Hollywood studios. Any standout experiences?
The relentless pace in Hollywood makes it hard to dwell on any single project. I’d say working on To the Bone was a highlight. It’s currently on Netflix, starring Keanu Reeves. Interestingly, my least favourite project also starred Reeves – Siberia , which I haven’t brought myself to watch yet.
Bangladesh’s OTT platforms are buzzing with content, but there seems to be a lack of diversity in storytelling. What’s your take on the current state of Bangladeshi cinema?
Frankly, we’re stuck in a rut of caution, too afraid to explore new territories. The capital-intensive nature of filmmaking and limited resources make filmmakers hesitant to break from established trends, sticking to proven formulas instead of risking innovation.
What we desperately need is more comprehensive market research to understand audience preferences and demands. Until we’re willing to take calculated risks, we’ll struggle to bring fresh perspectives to our cinema.
How do you view the representation of women in Bangladeshi cinema, both on-screen and behind the scenes?
It’s a complex issue. Globally, there’s a rise in female-led projects, but Bangladesh is lagging. Even acclaimed films like Rehana Maryam Noor sometimes receive underwhelming audience reception. Ironically, films with misogynistic themes often perform better, even with female viewers. It’s disheartening, but producing quality, progressive content may gradually shift audience preferences.
What advice would you give to aspiring filmmakers and critics in Bangladesh?
Do your research. Analyse films, understand the grammar of screenwriting, and then make it your own. No one’s born a genius – it takes consistent hard work, expert feedback, and constructive criticism to improve. Remember, cinema is for the audience. And please, avoid shortcuts.