Films Should Provoke Thought, Not Propaganda: Imtiaz Barshon

Bangladeshi Filmmaker Barshon Celebrates Releases Amid Political Backdrop

Filmmaker Imtiaz Barshon is experiencing a significant moment in his career with two politically charged films hitting screens this month. His long-delayed web film “Omimangshito,” which had been held up by censors for years, was finally released on December 15, while his latest project “Ekhane Rajnoitik Alap Joruri” (Political Discussion is Essential Here) is scheduled for release on December 26.

“For a long time, ‘Omimangshito’ was hidden behind the scenes. At one point, I thought the film might never be released,” Barshon revealed in a recent interview. “But once it finally passed censorship, I started holding on to hope. And finally, it has been released this December, the month of Victory. That truly makes me very happy.”

The filmmaker explained that “Omimangshito” goes beyond mere entertainment, serving instead as a catalyst for important societal conversations. The film examines how numerous cases in Bangladesh remain unresolved due to political pressure, investigative negligence, or a lack of concrete evidence.

“If a film like this can create even a small impact, provoke discussion, or prompt some response from the authorities regarding such unresolved or mysterious cases, then it will have achieved something meaningful,” Barshon said, suggesting that such impact would make the challenges of production worthwhile.

His upcoming film “Ekhane Rajnoitik Alap Joruri” represents another ambitious effort to spark political discourse through cinema. The narrative ambitiously connects various political threads from Bangladesh’s history, including the British colonial era, the Liberation War of 1971, and even the recent political movement of 2024.

Barshon noted that political themes in cinema remain relatively uncommon in Bangladesh, despite being explored regularly in global filmmaking. “These are conversations we rarely see in cinema. While such debates may surface in private gatherings or informal discussions, they are almost never portrayed on screen, particularly in Bangladeshi films,” he said.

The director believes his latest work holds special significance for younger Bangladeshis who played a crucial role in the 2024 political movement. “There was a time when many young people believed engaging with politics was unintelligent or uncool. Yet it was these very individuals who stepped forward during the 2024 movement and turned it into a success,” Barshon observed. “This generation needs a deeper understanding of history and political discourse.”

Creating politically charged cinema comes with significant challenges. Barshon emphasized the delicate balance required to present political content without veering into propaganda. “This is possible, but it has to be handled very tactfully and technically so that it does not turn into propaganda,” he said.

The filmmaker detailed the collaborative effort behind “Ekhane Rajnoitik Alap Joruri” to maintain this balance. “Our director, Ahmed Hasan Sunny, was very conscious from beginning to end. As artists—myself, Pavel, Azad Abul Kalam, and Setu—we had many personal discussions about which lines might create controversy and which might feel like propaganda, so we could avoid them.”

Historical accuracy represented another major concern. “The biggest challenge was ensuring there was no distortion of history, no omission of real incidents, and no establishment of false narratives, whether intentional or unintentional,” Barshon explained. “These concerns had to be kept in mind at every step, especially in the dialogues.”

When asked about the responsibilities artists face during politically charged times, Barshon offered a thoughtful perspective on artistic engagement with societal issues.

“Politics is not something outside of you, me, or any of us. None of us are outside politics,” he said. “When a country enters a period of crisis, when silence is no longer an option, when the government or administration becomes authoritarian and turns against the people, then standing on the side of justice becomes a responsibility for every artist, regardless of whether it brings threats or not.”

Both films represent Barshon’s commitment to creating cinema that challenges audiences to think critically about their society and history, offering not just entertainment but, in his words, “genuine food for thought.”