Boli brings the house down at DIFF

Actor Nasir Uddin Khan stood on the stage, his voice filled with emotion as he addressed the audience. "I feel truly delighted and honoured today," he said, pausing to take a deep breath. 

"It's a privilege to be part of a film that tells our own stories, stories that have not only resonated within our country but have also touched hearts beyond our borders. This is a remarkable milestone for independent cinema." 

As he finished speaking, he removed his black sunglasses and gently wiped the tears that had welled up in his eyes—tears of pure joy, of triumph.

The packed auditorium, which had just witnessed the uninterrupted 91-minute screening, remained seated. No one rushed to leave; instead, they stayed to hear from the film's creators, eager to experience the emotions and insights behind the production. Their lingering presence was, in itself, a testament to the film's success, a silent applause that spoke volumes.

It was the closing night of the 23rd Dhaka International Film Festival, held on 19 January at the grand National Museum Auditorium in Shahbagh. The government-funded film 'Boli', directed by Iqbal Hossain Chowdhury, was chosen as the festival's final screening. It was the first time the Bangladeshi audience could see the film on home soil.

The film's originality and exquisite craftsmanship had not gone unnoticed. It captured the imagination of audiences at the 28th Busan International Film Festival, where it was honoured with the prestigious Best Film award. From that moment, 'Boli' was in the global spotlight, garnering attention from film critics and cinephiles alike.

Following the screening, a discussion session took place. The film's producers, Piplu R Khan and Gousul Alam Shaon, were present, alongside cast members Priyam Archi, AKM Itmam, and Angel Noor. As the panel shared their experiences, the audience listened with curiosity and excitement.

Shortly after its triumph in Busan, the film began making waves in the international media circuit. Esteemed publications such as The Hollywood Reporter, Variety and Screen International all published glowing reviews, praising the film's authentic storytelling and brilliant execution. The recognition poured in, and 'Boli' stood tall, a testament to the power of storytelling rooted in the cultural heritage of Bangladesh.

Director Iqbal hails from Banshkhali, a coastal town along the Bay of Bengal in Bangladesh. Growing up in this seaside region, he witnessed firsthand the devastation caused by the 1991 cyclone and the heart-wrenching cries of those who lost loved ones. These memories deeply influenced his creative vision, compelling him to explore the connection between the sea and his roots in his debut film. 

'Boli' revolves around the traditional wrestling culture deeply ingrained in the coastal communities of Chattogram, while also incorporating elements of Bangladesh's rich folk heritage.

In 2021, 'Boli' received a government grant, paving the way for production. The filming commenced in 2022 in the remote areas of Cox's Bazar, with Nasir Uddin Khan playing the lead role of the traditional wrestler.

Before the screening of 'Boli,' the 23rd Dhaka International Film Festival's closing ceremony took place at the same venue at 4 PM. Chief guest Mostofa Sarwar Farooki, Adviser to the Ministry of Cultural Affairs, graced the event, which was presided over by Jalal Ahmed, Chairman of the Bangladesh Energy Regulatory Commission. 

During the event, esteemed guests and jury members honoured winners across various categories. The ceremony commenced with a mesmerising dance performance by the Jaltaranga dance troupe, setting an enchanting tone for the evening.

Awards

This year's festival featured 203 films from 75 countries, screened across five venues in Dhaka over nine days. The event welcomed 44 international delegates, showcasing a truly global celebration of cinema.

At the 23rd Dhaka International Film Festival, several films across different categories were recognised for their excellence. In the Children's Film Section, the Badal Rahman Award was won by the Russian film 'Where the White Cranes Dance', directed by Mikhail Lukashevsky.

The Special Audience Award was given to 'The Guardian of Honor', a Filipino film by Joselito Altarejos, while the Best Audience Award went to 'Padatik' by Srijit Mukherjee.

In the Female Filmmakers Section, the Special Mention Award was shared by 'Moldova', directed by Klavdiya Korshunova, and 'Not Just Any Day', a joint production from Russia. 

The Best Short Film Award in this section went to 'Scarlet', a Bulgarian film by Maria Bobeva, while 'Kumva, Ce Qui Vient Du Silence', a French film by Sarah Mallegol, won the Best Feature Film Award. Agustina Xavier secured the Best Director Award for 'Our Own Shadow', an Argentina-Germany co-production.

In the Spiritual Film Section, the Best Short Film Award went to 'Monte Clerigo', a Portuguese film by Luis Campos, while the Special Mention Award was presented to the Indian film 'In the Name of Fire', directed by Abhilash Sharma. The Best Feature Film Award in this category was won by 'The Alien', a Russian film directed by Ivan Sosnin.

In the Bangladesh Panorama Talent Section, three films received awards. 'Poitrik Bhita', directed by Mobarak Hossain, was the second runner-up, while 'Fulera Poshak Pore Na' by Asif Hamid secured the first runner-up position. The Best Film Award, given by the FIPRESCI Jury, was awarded to A Lazy Noon, directed by Manon Muntaka. The Best Full-Length Feature Award went to 'Priyo Maloti', directed by Shankha Dasgupta.

The Asian Film Competition Section recognised several achievements. The Best Screenwriter Award went to Takato Nishi and Noriko Yuasa for their Japanese film 'Performing Kauru's Funeral'. Turkish cinematographer Dilsat Kenan won the Best Cinematography Award for 'When the Walnut Leaves Turn Yellow'.

In the acting categories, Diman Jandi won the Best Actress Award for her role in 'Melody', an Iranian-Tajikistan co-production, while Ryan Sarlak won the Best Actor Award for the Iranian film 'Summer Time', directed by renowned Iranian filmmaker and cinematographer Mahmood Kalari. 

Kalari also received a Special Mention Award for Best Director for his work on Summer Time. Chinese filmmakers Haofeng Zhu and Junfeng Zhu jointly won the Best Director Award for their film 100 Yards. Sunday, a Uzbekistani film directed by Shokir Kholikov, secured the Best Film Award in this section.

To celebrate 50 years of diplomatic relations between China and Bangladesh, the festival dedicated the Wide Angle Section to Chinese cinema, accompanied by a special Chinese film poster exhibition at the National Museum's main auditorium corridor.

Additionally, a two-day conference titled, 'Women in Cinema' was a special highlight of the festival. This year also marked the third edition of the Masterclass sessions, conducted by film experts from Bangladesh, Serbia, China and Norway, with Bangladeshi film critic Bidhan Ribeiro leading the discussions.

The festival organisers, Rainbow Film Society, announced the dates for the 24th Dhaka International Film Festival, scheduled to take place from 10 to 18 January 2026. Film submissions will be open from 1 July of this year till 30 September.