Interview with Proshoon Rahmaan

We speak with Proshoon Rahmaan about his many capacities, the film, women in South Asian, Bangladeshi cinema and many other topics.


Proshoon Rahmaan is a Dhaka-based independent filmmaker.  He graduated from Dhaka University with a degree in social sciences and later he studied filmmaking at home and abroad, and also worked as assistant director to Tareque Masud. Apart from directing, he has also written novels, short stories, poetry, lyrics, essays, columns, reviews and screenplays. "Sutopar Thikana" (Her Own Address) is his debut feature film.

We speak with him about his many capacities, the film, women in South Asian, Bangladeshi cinema and many other topics.


"Her Own Address" is your debut feature film. Can you tell us about the path that lead to it? 

It took a decade to prepare myself for a feature film. There were 5 original screenplays I’ve written, but I was confused to decide which one should be the first feature project. I’m a writer turned filmmaker. When I realized that film is the strongest medium where I can deliver my creative effort in order to reach around the globe, avoiding language barriers, I’ve chosen the story which features the least dialogue and tells the story of my own soil, own people, who are the most important in our lives. Also, this content has the strength to delight, to educate, to entertain, to instruct and to engage.

Tareque Masud was your teacher. Tell us about your cooperation with him.

I’ve joined Tareque Masud at 2007 as associate, after completing my academic film education, and worked with him consistently for 4 years till his accidental death in a tragic road accident in 2011. We’ve worked together in 2 features (1 undone), 1 short feature and 3 documentary projects. He was not only my teacher; he was my friend, philosopher and guide. I’m carrying his legacy and his given torch in the race to present
our cultural progress and to establish cinema culture as serious work of art.

Regarding "Her Own Address", you directed, adapted the script from your own novel and even wrote the lyrics of the songs heard in it. Why did you concentrate all these capacities to yourself? 

Filmmaking is such a profession where a filmmaker has to know or keep knowledge about almost everything. But  as I said before, I am a  writer turned filmmaker. I’m in practice with every medium of literature. I’ve written novels, short stories, poetry, lyrics, essays, columns, reviews and screenplays. So it was the ultimate decision that all the text would come from me. I’m also working as assistant to me. I believe that’s how an independent filmmaker grows and keeps himself as independent and finally considered as an `Author Filmmaker’.

The film presents a rather pointy comment about the lives of women in S. Asia. Why did you choose that topic, and what is your opinion of the lives of women in Bangladesh today? In one of the strongest scenes in the film, Sutopa is actually graded by her future father in law and a director of a school. Is this an event based on actual tendencies?



Almost 50% of our population is women. And more than 80% of them are living under insecurity of displacement. This displacement involves their known places, their own positions  They always remain dependant on their father, brother, husband and son, in different stages of their lives and they carry that sense of displacement until their life ends. This state/condition is almost the same in all over  South Asia, with some exceptions in urban settings.

The sequence we see in the interview session of Sutopa as potential bride is authentically based on true events. Arranged marriage is the common practice for 90% of the region, and the bride-choosing process still retains all the essence of inhumanity and humiliation.

Music seems to play a very important role in the film. Can you explain this tactic?

Bangladesh is such a country where you will find music everywhere. People depend on music to express their every emotion. Almost every profession has a different genre of music to practice. Also, in subcontinental cinema you will find the song in the lips of  the characters, as they express their inner feelings, and it’s widely expected and appreciated by the audience.

In "Sutopar Thikana" (Her Own Address) you will not find the song in their lips; however it is a part of the storytelling, since the lyrics also carry the story forward as part of poetic narration.

Why did you choose to include narration in the film?

Poetry is also admired in our country, as much as music does. The tale of Sutopar Thikana (Her Own Address) is based on my own long poetry where the story is being described like a ballad, with very few dialogues. When I chose that poetic story to adapt as a screenplay, I kept 50% of those lines as poetic narration, to complete the information I wanted to give in the film. This way,  the narrative featured a unique and fresh approach to our traditional practices of storytelling.

I believe a strong image is good enough to make a point, but audio also has the power to make every emotion more intense and support the visual in the best way possible. And poetry is the strongest.


Aparna Ghosh is rather impressive as Sutopa. What was the casting process for the film? In general, what do you search for in the actors you cast?

For this certain character, I was looking for someone who is able to portray the 3 main stages of a women’s life. She had to portray the adolescent period of a girl, middle age of a housewife and old age of a mother. I’ve seen Aparna Ghosh act as a middle aged housewife and she was very good  At the period of the screen tests,  we saw her as a girl and as an old lady with the help of makeup and corresponding costumes. She was only 26 when we cast her at 2014,  so it was little challenging to make her look 17, but she becomes 40 and 50 effortlessly, with her natural talent. The rest were seen on the screen.

What is your opinion of the Bangladeshi film industry at the moment? 

There used to be 1200 movie theaters all over the country for mainstream cinema. Now there are only 250. In this digital era, the Multiplex has become the dominant medium, but this culture is yet to be built and remains under threat from the broken infrastructure.

A lot of films are being prepared here everyday from the new age filmmakers. They are practicing in international standards and their films are part of almost all the leading festivals around the globe. But they are all struggling with distribution and screening. Creative films are finding their places in the international arena to declare the strong existence of Bangladeshi Cinema.

Who has influenced you the most as a filmmaker? Which are your favorite movies?

Satyajit Roy is the main influence for almost every Bengali filmmaker. For me, the second most important is Iranian filmmaker Abbas Kiarostami and the other one is, off course, Bangladeshi filmmaker Tareque Masud.

There are a lot of movies I can name in my favorites' list. Most of them are from Satyajit Roy, Abbas Kiarostami, Yasijuru Oju, Akira Kurosawa and some from other Iranian, Korean & Japanese filmmakers. There are a lot of movie in my watching list from almost everywhere.

What projects are you working on at the moment?

Presently I’m working on my second feature project titled `Dhaka Dream,’ which is at production level now. The story is dealing with a city which is already overpopulated and with the dreams of rural people, who have no other choices but to come there.

` Dhaka Dream’ is the first part of the `Dhaka Trilogy’ and my dream is to see the trilogy completed. (www.dhakatrilogy.com)

COMMENTS

Name

13: Game of Death,1,2017,2,2046,1,2LDK,1,3-Iron,1,36th Chamber Of Shaolin,1,500M800M,1,A Company Man,1,A Day,1,A Death in the Gunj,1,A few words about us,1,A Love,1,A Man of Integrity,1,A Man Vanishes,1,A Quiet Dream,1,A Taxi Driver,1,A Whale of a Tale,1,A Woman Wavering In The Rain,1,Abacus: Small Enough to Jail,1,Abdullah Mohammad Saad,2,Abhishek Chaubey,1,About Elly,1,Above the Clouds,1,Adam J. Symchuk,5,Adam John,1,Address Unknown,1,Aditya Vikram Sengupta,1,Adoor Gopalakrishnan,1,Ae Dil Hai Mushkil,1,Age of Shadows,1,Ahmed Lallem,1,Ajantrik,1,Akihiko Shiota,1,Akira Kurosawa,1,Alan Lo,1,Alan Mak,1,Alipato,1,Amir Muhammad,2,Amit Madhesiya,1,Amitabh Reza,1,Amma Ariyan,1,Anand Singh,8,Ananya Kasaravalli,1,Andrew Thayne,5,Andrew Wong Kwok-huen,1,Andy Willis,1,Anna Bliss,2,Anqi Ju,1,Anthony Pun,1,Antiporno,1,Anurag Basu,1,Anurag Kashyap,1,Anysay Keola,1,Apocalypse Child,1,Arang,1,Aroused by Gymnopedies,1,Arrow,3,Art Film Fest Kosice,9,Asghar Farhadi,1,Asha Jaoar Majhe,1,Asian Classics,37,Aya Hanabusa,1,Aya Itabe,1,Aynabaji,1,Baby Ruth Villarama,1,Badrul Hisham,1,Badrul Hisham Ismail,1,BAMY,1,Bang Rajan,1,Bangladesh,5,Battle of Memories,2,Battleship Island,1,Bauddhayan Mukherji,3,Before We Vanish,1,Begum Jaan,2,Behind the Camera,1,Belgium,1,Bengal,2,Bengali,1,Benny Chan,1,Big Boy,1,Bluebeard,1,Bollywood,1,Branded to Kill,1,Bunny Drop,1,Burma,1,Bystanders,1,Byun Sung-Hyun,1,Call of Heroes,1,Cambodia,2,Cannes Film Festival,5,Chang,1,Chang Tso-chi,1,Chen Hung-i,2,Chen Kuo-fu,1,Chen Mei-Juin,1,Children Heaven,1,China,29,China Blue,1,China Yellow,1,Chinese Policy Institute,5,Chiu Sin Hang,1,Choi Jin-ho,1,Choi Jin-won,1,Choi Min-sik,1,Chookiat Sakveerakul,1,Chronicles of Hari,1,CineAsia,1,Close-Knit,1,Coffeemates,1,Cold Fish,1,Colette Balmain,9,Colour of the Game,1,Confessions,1,Contact Info,1,Daguerreotype,1,Daigo Matsui,1,Daihachi Yoshida,1,Daisuke Miyazaki,2,Dark Side of the Light,1,Davy Chou,1,Dawn of the Felines,1,Dawn Wind in My Poncho,1,Dear Zindagi,1,Deepak Rauniyar,1,Derek Hui,2,Derek Tsang,1,Destruction Babies,1,Diary of June,1,Dibakar Banerjee,1,Documentaries,18,Doenjang,1,Don Anelli,6,Double Life,1,Double Vision,1,Duckweed,1,Dust of Angels,1,Eddie Cahyono,1,Edmund Yeo,2,Eiji Uchida,2,Eliana,1,Emma aka Mother,1,Erich Khoo,1,Erik Matti,1,Erotic Diary of an Office Lady,1,Eternal Summer,1,Eureka,1,Exploitation,20,Fabricated City,1,Fantasia International Film Festival,4,Fatal Countdown: Reset,1,Fathers,1,Features,13,Fel,8,Festivals,16,Filmddo,1,Filmdoo,10,Florence Chan,1,Forbidden Door,2,France,2,Fraser Elliott,1,Fujian Blue,1,Fullmetal Alchemist,1,Fumihiko Sori,1,Funuke Show Some Love,1,Gangs of Wasseypur,1,Gareth Evans,2,Gauri Shinde,1,Ghafara Harashta,1,Giddens Ko,1,Godspeed,1,Going the Distance,1,Golden Horse Awards,1,Golden Slumbers,1,Grab the Sun,1,Guo Jian-yong,2,Gurgaon,1,Han Han,1,Hanging Garden,1,Haobam Paban Kumar,1,Happiness,1,Happy Together,1,Harikatha Prasanga,1,Harishchandrachi Factory,1,Haunters,1,HBO,2,Helldriver,1,Hello Goodbye,1,Her Own Address,1,Herman Yau,2,Hidden Gems,51,Hideen Gems,1,Hindi,2,Hirobumi Watanabe,1,Hirokazu Koreeda,3,Hiroshi Teshigahara,1,Hisayasu Sato,1,Ho Yuhang,1,Holy Island,1,Hong Kong,15,Hong Kong Godfather,1,Hong Sang-soo,1,Hou Hsiao-hsien,1,Hsu Hsiao-ming,1,Huang Ying-hsiung,1,I Saw the Devil,1,I Wish,1,I-Lin Liu,7,Icarus Films,5,Im Kyeong-soo,1,In the Absence of the Sun,1,In this Corner of the World,1,India,30,Indonesia,12,International Film Festival Rotterdam,11,Interviews,26,Inugami,1,Ip Man: The Final Fight,1,Iran,5,Isao Yukisada,1,Ishqiya,1,Jaatishwar,1,Jackie Chan,1,Jagga Jasoos,1,Jailbreak,1,Jang Hoon,1,Japan,112,Japan Cuts,14,Japan Filmfest Hamburg,16,Japan Foundation Touring Programme,1,Japan the Emperor and the Army,1,Jean-Marc Therouanne,1,Jeong Byeong-gil,1,Jeong Yun-Cheol,1,Jero Yun,1,Jet Leyco,2,Jia Zhangke,1,Jimmy Henderson,1,Jithin K Mohan,2,Joby Varghese,1,Joe Odagiri,1,John Abraham,1,Johnnie To,1,Joko Anwar,4,Jonathan Wilson,6,Jonathan Yi,1,Joo Ji-hong,1,Josh Parmer,1,Jun Ichikawa,1,Jun Tanaka,2,Jung Byung-gil,1,Jung Sik,1,Jung Yoon-suk,1,Junichi Kajioka,2,K-dramas,8,Kaasan Mom’s Life,1,Kala,1,Kaneto Shindo,1,Kang Je-gyu,1,Kara Hui,1,Karan Johar,1,Kazuya Shiraishi,1,Kei Ishikawa,1,Keishimi Oto,1,Kenichi Watanabe,1,Kenji Yamauchi,1,Kfc,1,Khavn,2,Khosla Ka Ghosla!,1,Khushboo Ranka,1,Kill me,1,Kim Bong-han,1,Kim Jee-woon,3,Kim Joo-hwan,1,Kim Ki-duk,3,Kim Kih-hoon,1,Kim Min-suk,1,Kim Whee,1,Kingyo,1,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,3,Koji Fukada,1,Koji Wakamatsu,1,Kon Ichikawa,2,Konkona Sen Sharma,1,Konrad Aderer,2,Krzysztof Pietrzak,1,Kun-Yu Lai,11,Kwak Kyung-taek,1,Kyoko Miyake,2,Kyriacos Kyriacou,3,Labour of Love,1,Lady of the Lake,1,Lady Snowblood,1,Laos,1,Lawrence Ah Mon,1,Le Binh Giang,1,Le Bình Giang,1,Leandro E. Seta,2,Lee Je-Yong,1,Lee Kyoung-mi,1,Lee Sa-rang,1,Lee Seo-goon,1,Leon Lai,1,Leste Chen,3,Leung Wing-Fai,1,Ley Lines,1,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,9,Liu Yulin,1,Live from Dhaka,1,Los Angeles Indian Festival,11,Lost Serenade,1,Love,1,Love and Other Cults,2,Lovely Man,1,Lucky Kuswandi,1,Machines,1,Mad Tiger,1,Mad World,3,Majid Majidi,1,Malaysia,5,Manish Gupta,1,Manny Araneta,2,March Comes in like a Lion,1,Maria Georgiou,18,Mario Cornejo,1,Mark Gallagher,1,Masahiro Shinoda,1,Masaru Konume,1,Masato Harada,2,Masato Ozawa,2,Masatoshi Kurakata,1,Matt Cooper,13,Maundy Thursday,1,Meghe Dhaka Tara,1,Merantau,1,Michael Haertlein,1,Midi Z,1,Midnight Runners,1,Midori The Camelia Girl,1,Ming-Yeh Rawnsley,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,1,Moon Lovers,1,Mountains May Depart,1,Moving,1,Mr. Socrates,1,Mrs K,1,Mukti Bhawan (Hotel Salvation),1,Mumon: The Land of Stealth,1,My Dad and Mr Ito,1,Myanmar,1,Nah Hyeon,1,Nandita Roy,1,Naoko Ogigami,1,Naomi Kawase,2,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Neko Atsume House,1,Nepal,1,Neuchâtel International Fantastic Film Festival,1,Nicholas Poly,4,Night Bus,1,Nikkatsu,1,Nikola Cekic,1,Niwatsukino Norihiro,1,Noboru Uguchi,1,Nobuhiro Yamashita,1,Non-fiction Diary,1,Norihiro Niwatsukino,1,North Korea,1,Nurse Diary: Beast Afternoon,1,NYAFF,34,Odd Obsession,1,Old Boy,1,Omar Rasya Joenoes,2,On the Job,1,Onibaba,1,Ordinary Person,1,Our Happy time,1,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,115,Paresh Mokashi,1,Park Chan-wook,1,Park In-je,1,Park Ki- hyung,1,Park Kwang-hyun,1,Past and Future,1,Patrick Hofmeister,32,Pepe Diokno,1,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,8,Pieter - Jan Van Haecke,2,Pieter-Jan Van Haecke,3,Pinneyum,1,Poet on a Business Trip,1,Poolside Man,1,Posto,1,Proshoon Rahmaan,2,Psychic,1,Rabbit and Lizard,1,Radiance,1,Rage. Lee Sang-il,1,Rahul Jain,1,Rainy Dog,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Rape Zombie: Lust of the Dead 3,1,Ravine of Goodbye,1,Re:Born,1,Real,1,Red Beard,1,Resistance at Tule Lake,1,Reviews,125,Riri Riza,3,Ritwik Ghatak,2,River of Exploding Durians,1,Robin Weng,1,Roman Porno,1,Rouge,1,Ryoo Seung-wan,1,Ryota Sakamaki,1,S. Korea,45,Saayak Santra,8,Sabu,3,Salaam Bombay,1,San Diego Asian Film Festival,6,Sankha Ray,15,Satoru Hirohara,1,Satyajit Ray,1,Sayandeep Bandyopadhyay,6,Scarlet Heart,1,Score,1,Seijun Suzuki,2,Sekigahara,1,Sha Po Lang,1,Shanker Raman,1,Shaw Brothers,1,She's the Boss,1,Shiboprosad Mukherjee,1,Shigeru Umebayashi,1,Shikhar Verma,10,Shikhar Verna,3,Shinji Somai,2,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinya Tsukamoto,1,Shireen Seno,1,Shirley Abraham,1,Shôhei Imamura,1,Shotaro Kobayashi,1,Siddiq Ahamed,1,Singapore,1,Singh Anand,1,Sinophone,1,Sion Sono,3,Siti,1,Slavemen,1,Sleep Curse,1,Sogo Ishii,1,Someone To Talk To,1,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,6,SoulMate,1,South Korea,5,Srijit Mukherji,3,Stanley Kwan,1,Stephen Chow,1,Steve James,1,Still the Water,1,Stoneman Murders,1,Story in Taipei,1,Suffering of Ninko,2,Sugihara Survivors: Jewish and Japanese,1,Sun-ho Cho,1,Sunao Katabuchi,1,Sunday Beauty Queen,1,Tae Guk Gi,1,Taiwan,16,Takashi Miike,5,Takeo Kikuchi,2,Takeshi Kaneshiro,1,Takuro Nakamura,1,Tamura Senichi,1,Tanit Jitnukul,1,Tanvir Ashraf,1,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Teddy Soeriaatmadja,1,Teenkahon,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,7,Thanatos Drunk,1,The Apology,1,The Bad,1,The boy from Ipanema,1,The Cinema Travellers,1,The Crawler in the Attic,1,The Crazy Family,1,The Day After,1,The elephant and the sea,1,The Executioner,1,The Eye's Dream,1,The Gangster's Daughter,1,The Girl Who Never Knew War,1,The Golden Fortress,1,The Good,1,The Hole,1,The Inugami Family,1,The King of Pigs,1,The Last Executioner,1,The Last Painting,1,The Long Excuse,1,The Man Without a Map,1,The Mayor,1,The Merciless,1,The Mermaid,1,The Net,1,The Prison,1,The Raid,1,The recipe,1,The Road to Mandalay,1,The Salesman,1,The Third Murder,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Tooth and the Nail,1,The Truth Beneath,1,The Villainess,2,The Violin Player,1,The Weird,1,The Windmill Palm Grove,1,This Is Not What I Expected,1,This Is Not What I Expected!,1,Three Sisters,1,Three Times,1,Tiffany Hsiung,1,Tokyo Idols,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Torico,2,Toshiaki Toyoda,1,Toshiya Fujita,1,Town in a Lake,1,Traces of Sin,1,Trailers,37,Train to Busan,1,Tran Ham,1,Translated articles,1,Trapped,1,Tsai Ming-liang,2,Typhoon Club,1,Um Tae-hwa,1,Vampire Cleanup Department,1,Vanishing Time A Boy Who Returned,1,Vannaphone Sitthirath,1,various,1,Vesoul International Film Festival,6,Vidya Balan,1,Vietnam,3,Vikramaditya Motwane,1,Vinay Shukla,1,Violated Angels,1,Vital,1,Voyage to Terengganu,1,Wang Bing,1,Wang Lung-wei,1,Warriors of the Dawn,1,Wei-Hao Cheng,1,West North West,1,What Time Is It There?,1,Whispering Corridors,1,Whispering Star,1,White Sun,1,Who Killed Cock Robin,1,Wilson Yip,1,Wine War,1,With Prisoners,1,Woman of the Lake,1,Wong Chun,2,Wong Jing,1,Wong Kar-wai,2,Woo Ming Jin,1,Xaisongkham Induangchanthy,1,Ya-che Yang,1,Yamato (California),2,Yan Pak Wing,2,Yang Jong-hyeon,1,Yao Tian,1,Yeon Sang-ho,2,Yiu-wai Chu,1,Yoonsuk Jung,1,Yoshihiro Hanno,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,1,Yoshimasa Jimbo,1,Yoshinari Nishikori,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,You Losers!,1,Yu Aoi,1,Yu Irie,1,Yu Sang-wook,1,Yuji Shimomura,1,Yujiro Harumoto,2,Yuki Tanada,1,Yukihiko Tsutsumi,1,Yutaro Nakamura,1,Yuya Ishii,1,Zakka Films,1,Zhang Lu,1,Zombiology: Enjoy Yourself Tonight,1,
ltr
item
Asian Film Vault: Interview with Proshoon Rahmaan
Interview with Proshoon Rahmaan
We speak with Proshoon Rahmaan about his many capacities, the film, women in South Asian, Bangladeshi cinema and many other topics.
https://1.bp.blogspot.com/-xSrgpf4LDEk/WSFhe2en3YI/AAAAAAAAMAg/WfKWPGzGZn0NiybWavUxVYd6Q50QMoGSgCLcB/s320/15698121_10154999030889789_7511004918736102147_n.jpg
https://1.bp.blogspot.com/-xSrgpf4LDEk/WSFhe2en3YI/AAAAAAAAMAg/WfKWPGzGZn0NiybWavUxVYd6Q50QMoGSgCLcB/s72-c/15698121_10154999030889789_7511004918736102147_n.jpg
Asian Film Vault
http://www.asianfilmvault.com/2017/05/interview-with-proshoon-rahmaan.html
http://www.asianfilmvault.com/
http://www.asianfilmvault.com/
http://www.asianfilmvault.com/2017/05/interview-with-proshoon-rahmaan.html
true
3944800929692556231
UTF-8
Loaded All Posts Not found any posts VIEW ALL Readmore Reply Cancel reply Delete By Home PAGES POSTS View All RECOMMENDED FOR YOU LABEL ARCHIVE SEARCH ALL POSTS Not found any post match with your request Back Home Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sun Mon Tue Wed Thu Fri Sat January February March April May June July August September October November December Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec just now 1 minute ago $$1$$ minutes ago 1 hour ago $$1$$ hours ago Yesterday $$1$$ days ago $$1$$ weeks ago more than 5 weeks ago Followers Follow THIS CONTENT IS PREMIUM Please share to unlock Copy All Code Select All Code All codes were copied to your clipboard Can not copy the codes / texts, please press [CTRL]+[C] (or CMD+C with Mac) to copy