KOCHI: The house in Rajshahi, Bangladesh, where legendary filmmaker Ritwik Ghatak and his niece, celebrated writer Mahasweta Devi, spent years, stood as a reminder of the country’s past as part of the Indian side of Bengal. It was akin to a pilgrimage site where love for the arts transcended earthly realms.
In August this year, as the Sheikh Hasina government fell and miscreants went on a rampage, the house — built in traditional style with wooden windows bearing antique charm and an expansive, nostalgic courtyard — was razed to the ground. All that remains now is rubble, much to the dismay of film lovers in Bangladesh and West Bengal.
Notably, it was also the venue for the Ritwik Ghatak Film Society’s regular meetings and the annual film festival. “It was a sacred spot for us. Personally, it is where I got inspiration to pursue filmmaking,” says Ahsan Kabir Liton, a Bangladeshi filmmaker, TV drama director, and writer, who is attending IFFK this year as part of the Federation of Film Societies of India’s K R Mohanan Endowment jury.
Bangladeshi cinema’s long history and deep ties to the ethos of the region have rendered the country a natural hub for artistes, who view the current situation as a matter of concern. Yet, there is hope in the air, says Ahsan.
“It is the land of art in more ways than one, as home to Rabindranath Tagore, Lallan Fakir, Chaitanya, etc. Nobody can erase that legacy so soon,” he asserts.
Ahsan adds that the attacks occurred at a time when law and order in the country were in a mess, and accountability was low. “But things are slowly falling into place. Authorities seem to be getting a firmer grip on the state of affairs. I believe everything will be back to normal soon,” says Ahsan, who is also the deputy director (drama) at Rajshahi University.
Regarding the razed Ghatak home, film lovers in both Bangladesh and India have expressed their anguish, with some even visiting the site to explore possible solutions. “We are looking for ways to reinstate the legacy and how the annual festival can be held again,” Ahsan says.
Such art events, he believes, are essential to help people develop a taste for good cinema. “Right now, there are fewer avenues for better appreciation of art and cinema. For example, in cities other than Dhaka, you don’t even have a theatre or a space where good films can play. Exposure to good cinema through more festivals is a need.” observes Ahsan, who is also associated with the Rajshahi Film Society and coordinates the Film and Cultural Archive in Rajshahi.
On that note, he highlights that Indian films have been sought-after in Bangladesh. “Of late, films from south India, especially Tamil, are among the favourites there,” he says, revealing that he himself is a fan of Malayalam films.
When compared to India, Ahsan adds, governmental backing for cinema is dismal in Bangladesh. “You people only look at the situation now. But always, for a very long time, art and cultural events have been struggling for patronage, sponsorship, and survival in most areas of Bangladesh, except Dhaka, where government funds would come to aid,” he elaborates.
“I manage three film festivals every year, including the Bangladesh International Children’s Film Festival, with very little help whatsoever. Most often, we spend money from our own pockets. I am also the director of the Ritwik Ghatak Film Festival, organised by the Ritwik Ghatak Film Society, of which I am the president. The struggle was always there.”
The scene has worsened now, Ahsan notes. “The current Yunus government doesn’t affiliate to any party. Yet, various groups that claim patronage of the government have been embarking on activities detrimental to the cultural fabric of the nation,” he rues. Ahsan, however, remains optimistic.
Every country, he points out, passes through such phases. “India had its dark days post the 1947 partition, but it has progressed so much,” he says. “I am sure Bangladesh will move towards light, and its culture will remain intact as it forms the cornerstone of our existence.”