I make films based on what I think, believe, and want to say

Renowned Bangladeshi filmmaker Fakhrul Arefin Khan made his directorial debut with Bhuban Majhi (2017), which received government funding. He later directed Gondi (2020) and JK 1971 (2023). Additionally, he created the documentary Hok-er Ghor on Lalon Sai. In 2020, he won the Best Dialogue Writer award for Gondi. His upcoming film, Neel Jochona, is currently in production. In an exclusive conversation with Views Bangladesh, Fakhrul Arefin Khan discussed his filmmaking journey, thoughts, and the state of the film industry. The interview was conducted by Farzana Saznin Orchi.

Views Bangladesh: You announced the project Neel Jochona a long time ago, but it hasn’t been released yet. Why is that? When can we expect its release?

Fakhrul Arefin Khan: I wrote the script for Neel Jochona in 2018. It is a parapsychological film. However, just as I was about to start working on it, I was drawn toward Gondi, which I began and released in 2020. After that, I made JK 1971, an English-language film, which further delayed Neel Jochona.

In 2023, I applied for government funding and received certification. We started shooting on July 3 last year and managed to film until July 15. The shoot was scheduled to wrap up on July 21, but due to political unrest, we had to pause production. To this day, we haven’t been able to complete the last six days of shooting.

The government was supposed to release the second installment of funds after 30% of the shooting was completed. However, despite completing 70%, we haven’t received the payment yet. We’ve been continuously following up, and even though we haven’t received a response in over two months, we remain hopeful that the funds will be released soon. If the money comes through and there are no visa issues with our Indian actress, we expect the film to be released within this year.

Views Bangladesh: Why did you choose to work on parapsychology?

Fakhrul Arefin Khan: Psychology deals with the mind, whereas parapsychology explores its deeper or alternative dimensions. The human mind has many layers, and each functions differently. Most people understand aspects like the subconscious, absent mind, and dreams, but I wasn’t fully aware of how limitless and mysterious the mind truly is until I started researching for this film.

In the process, I found myself becoming increasingly intrigued by the mysteries of the mind. Religious beliefs state that there is one Creator, and science suggests that all energy originates from a single source. Our universe is full of energy, and we are all interconnected through it. Despite existing in this vast energy field, some people struggle to find purpose and strength in life. Why is that? What is the relationship between the cosmic force—often referred to as God—and the small energy forms we call human beings?

These questions have always intrigued me. My research into parapsychology, particularly quantum physics, inspired me to create this film.

Views Bangladesh: Since parapsychology is not a common theme in Bangladeshi cinema, what kind of audience response do you expect after its release?

Fakhrul Arefin Khan: The taste of most of our audience has significantly declined. They now prefer action-packed films featuring crime, violence, and illegal money laundering—essentially, Tamil-style movies. The kind of audience that appreciated films like Matir Moina, Shrabon Megher Din, or Aguner Poroshmoni in the 80s, 90s, or early 2000s no longer exists.

So, why would they be interested in so-called thought-provoking films like mine? I have no expectations from every audiences. I don’t even make films for everyone. At the same time, I don’t make films with the hope of making millions, like Toofan or Poran. I create films based on what I think, believe, and want to express.

That being said, if a film is good, audiences will watch it on their own accord. For example, Bhuban Majhi had a massive audience turnout, even though I didn’t expect it. People watched it because they found it meaningful.

Now, you may ask, if I don't cater to the audience, why make films at all? My responsibility as a filmmaker is to promote and campaign for my films. But whether people come to watch them or not—that’s not my concern.

Views Bangladesh: What do you think has caused this shift in audience preferences for films and TV dramas?

Fakhrul Arefin Khan: The primary reason is our changing social structure. Psychological shifts are happening in our economy, education, behavior, dietary habits, and family dynamics. These changes inevitably affect artistic taste as well.

When I was young, families faced financial struggles, but we were not mentally impoverished. We lived together in small homes without feeling constrained. Today, even in 2,300-square-foot apartments, people complain about a lack of space. Western influences have played a role in this transformation. People now prefer fast food over traditional meals. Everyone is constantly in a rush. This excessive desire for happiness and material comfort has changed the way people engage with cinema. Naturally, slow, thought-provoking films no longer appeal to them.

Views Bangladesh: Your films frequently feature actors from West Bengal. Is there a specific reason for this?

Fakhrul Arefin Khan: Absolutely. Cinema is a vast art form, and I don’t want to confine it within national borders. Language determines reach, and I want my films to go as far as my language does.

Art and literature are meant to be shared. For example, Shamsur Rahman is a Bangladeshi poet, but that doesn’t mean West Bengalis cannot read his poetry. He belongs to all Bengali-speaking people. Similarly, I refuse to limit my films within a specific geographical boundary.

Views Bangladesh: How was your experience working with Paoli Dam?

Fakhrul Arefin Khan: Paoli Dam is a highly professional actress. She arrives on time, performs her work diligently, and carries no unnecessary ‘stardom’ attitude. She is friendly, helpful, and an excellent performer.

Views Bangladesh: Do you see any differences between Bangladeshi and West Bengali actors?

Fakhrul Arefin Khan: No major differences. Both are professional and talented. However, some actors achieve stardom without truly embracing the essence of being an artist. Those who do not deeply engage with their craft may fail to embody true artistry.

Views Bangladesh: Why do you think artistic cinema is not being produced much in Bangladesh today?

Fakhrul Arefin Khan: The current trend is to judge a film’s success by its box office earnings. In the past, a commercially successful film wasn’t necessarily considered a ‘good’ film.

For instance, films like Rongbaj or Beder Meye Josna made huge profits, but they were never compared to classics like Titas Ekti Nodir Naam or Megher Opare Ranga. There used to be a distinction between artistic and commercial films.

However, today, most audiences prefer films with loud songs, flashy dialogues, and exaggerated action sequences. Unfortunately, this has led to a decline in artistic cinema.

Views Bangladesh: Do you plan to adapt any literary works into films in the future?

Fakhrul Arefin Khan: I have planned a total of seven films in my lifetime—three have been released, and Neel Jochona will be the fourth. Among the remaining three, one will focus on human trafficking, and another on spirituality. I haven’t decided on the last one yet.

However, I do want to adapt literature into film, particularly Humayun Ahmed’s Badshah Namdar. But it would require a big budget. Let’s see what the future holds. I will keep trying.

Views Bangladesh: Thank you for your time.

Fakhrul Arefin Khan: Thank you, Views Bangladesh!