Why Didn’t ‘Roid’ Become a Film for the Mass Audience?

Roid is the second feature film by Mezbaur Rahman Sumon. The lead role in the film is played by Nazifa Tushi. Interestingly, her character does not have a personal name in the film. Throughout the entire story, she is identified simply as “Sadhu’s Wife,” and even after the film’s release, many viewers have continued to refer to her by that title. However, Roid is significantly different from conventional Bangladeshi cinema. Films of this nature have rarely been produced in Bangladesh. As a result, critics, analysts, and audiences have responded to it from diverse perspectives. Some have even categorized Roid as an art film. But what exactly is art? Throughout history, countless thinkers and artists have attempted to define art in different ways. There is no universally accepted standard for what constitutes art; rather, people derive its meaning through their own interpretations of its aesthetics, narratives, and emotions. The director of Roid himself has suggested that the film carries its own distinct meaning and narrative, leaving much of its interpretation to the audience. A broader understanding of art cinema can be drawn from the views of film critics and artists. According to American writer and film critic Jonathan Rosenbaum, “Cinema is connected to the world; it is not an alternative to it. Art films do not offer escapist entertainment but instead compel viewers to see their familiar world through new eyes.” Similarly, Pulitzer Prize-winning American film critic and screenwriter Roger Ebert viewed art films as “movies built upon the close observation of human behavior, requiring intelligence and empathy from the audience.” After watching Roid, many viewers commented that its narrative was difficult to follow. Some felt that director Mezbaur Rahman Sumon relied excessively on symbolism and metaphor in certain parts of the film, creating ambiguity and distancing ordinary viewers from the core story. In response, actor Mostafizur Noor Imran, who plays the film’s central character, attributed some viewers’ inability to fully grasp the film to a lack of cultural engagement. He stated: “The truth is that our audience has not yet developed the level of intellectual cultivation needed to understand everything. The absence of cultural practice over the last 30 to 32 years has damaged many aspects of our education and culture. However, Roid has established a new trend, one that others may follow in the future.” The story of Roid is told entirely through the director’s own perspective. Rather than providing direct answers, the film often leaves key questions open to interpretation. There are no action sequences, item songs, fight scenes, or exaggerated emotional moments—elements that audiences in this region are generally accustomed to seeing in cinema. These features are typically associated with mainstream commercial films. Among Bangladesh’s highest-grossing films, titles such as Borbaad, Toofan, Priyotoma, Tandob, and Rajkumar all contain familiar commercial ingredients: action, combat, star power, glamour, romance, musical spectacles, and heightened emotional drama. Against that backdrop, Roid stands out as a film of a very different nature. Its willingness to challenge conventions and spark discussions across various circles has been widely appreciated. One reason many ordinary viewers may struggle to fully understand Roid is that the film draws upon a broad range of cultural, artistic, and religious references that are not equally familiar to everyone. These include The Creation of Adam, the stories of Eve and Lilith, the Garden of Eden, the Buddhist concept of Samsara, the rural imagery found in the works of S. M. Sultan, and Noah’s Ark. Despite these challenges, audiences have almost unanimously praised the film’s sound design, cinematography, shot composition, visual effects, and overall aesthetic quality. At its core, Roid attempts to revisit some of humanity’s oldest stories through multiple layers of interpretation and reimagine them within a Bangladeshi context. For instance, the film replaces the biblical forbidden fruit with the locally familiar palm fruit (“tal”), grounding its themes within the lived experiences and cultural realities of this region. Another important aspect of Roid is its refusal to provide a conventional conclusion. While most films offer a clear resolution, Roid does the opposite. Instead of answering questions, it generates more of them. It leaves viewers to search for their own meanings and interpretations. The film also employs numerous biblical metaphors, not as decorative elements but as essential components of its storytelling. For viewers who can identify and engage with these metaphors, the seemingly complex narrative may reveal a surprisingly straightforward and rewarding story beneath its symbolic layers. Ultimately, despite being an unconventional film, Roid has remained relevant in cineplexes and theaters, demonstrating that its message and artistic vision are gradually finding their audience. Its light may not have reached everyone at once, but it appears to be reaching more viewers over time.

How K-Pop Built a Multi-Billion-Dollar Global Economy Beyond Music

Back in 2012, it would be almost unbelievable to say that someone hadn’t heard at least a couple of lines or the music of PSY’s “Gangnam Style.” The song was played everywhere—from wedding ceremonies to parties across the country. However, many people had little or no idea about the singer, the language, or the origin of the song. At that time, K-pop or even Korean pop culture was not widely known or popular outside South Asia or even in many parts of the world. But within just 10–15 years, K-pop has become a global trending phenomenon. It stands as a powerful example of how the entertainment industry of a country can transform its economic future, and South Korea is a perfect illustration of this remarkable change. The modern journey of K-pop began in 1992, when Seo Taiji and Boys introduced a new wave in the Korean music industry. They blended hip-hop, rap, and modern dance in a way that had never been done before, creating a fresh and experimental sound. This marked the foundation of what would later develop into K-pop as we know it today. Over time, the industry gradually expanded and became more structured with the rise of powerful entertainment companies such as SM Entertainment, JYP Entertainment, and YG Entertainment. These agencies developed the “idol training system,” where aspiring artists undergo long-term, rigorous training in singing, dancing, language skills, and overall performance. This system eventually shaped the distinctive “idol culture” of K-pop, which is now a defining feature of the industry. K-pop has been divided into several generations over time. The period from 1992 to 2002 is considered the first generation of K-pop, marking the beginning of the industry. During this time, K-pop started to take shape but remained mostly within South Korea’s domestic market. The second generation (2003–2011) was a turning point when K-pop began to grow significantly, with the emergence of major idol groups such as TVXQ, Super Junior, BIGBANG, Girls’ Generation, SHINee, 2NE1, Wonder Girls, and KARA. These groups not only gained popularity in Korea but also started making an impact in international markets like Japan and China. Remarkably, many of these groups are still remembered and loved today. The third generation (2012–2017) brought some of the biggest global K-pop acts, including BTS, EXO, BLACKPINK, TWICE, SEVENTEEN, Red Velvet, and GOT7. This era is often seen as a breakthrough, as these groups achieved worldwide recognition that exceeded expectations and pushed K-pop into the global mainstream. From 2018 to 2022, the fourth generation saw K-pop reach even greater global popularity. Groups like BTS, BLACKPINK, and EXO became dominant names in the global entertainment industry, even influencing the American music market in ways that were once considered unlikely. This period is often described as the golden era of K-pop’s global expansion. From 2023 to the present, the fifth generation is currently underway. New groups are continuously debuting, some quickly rising to major success while others struggle to survive in the highly competitive industry. However, the spread of the Hallyu or Korean Wave has not slowed down—in fact, it continues to grow stronger and expand globally.

Bangladeshi Cinema: Crisis, Decline, and the Hope for Revival

Cinema is one of the most powerful branches of art, where literature, music, acting, painting, lighting, and technology merge into a single creative expression. This unique combination is why cinema is often described as “larger than life.” Through light and shadow, films possess the extraordinary ability to reflect human emotions, society, love, suffering, resistance, and dreams in ways few other art forms can achieve. Making a film is not simply a matter of money; it requires creativity, sensitivity, and the collective effort of many talented individuals. A successful film depends on a visionary director, a thoughtful storyteller, skilled actors, and dedicated technicians. While audiences only see the performers on screen, countless people work tirelessly behind the scenes to bring a story to life. There was a time when Bengali cinema reflected the realities of society and human life. Films inspired people to think, protest, dream, and empathize. Each film felt like a school of thought or a living library. However, when comparing the cinema of post-independence Bangladesh with much of today’s mainstream industry, disappointment becomes unavoidable. Excessive violence, unrealistic fight scenes, bloodshed, and distorted portrayals of love and conflict have become common in many films. Such trends not only weaken artistic quality but also negatively affect social and cultural values. Since the 1990s, Bangladeshi cinema has gradually lost audiences due to obscenity, poor storytelling, and declining artistic standards. Yet Bengali cinema once achieved global recognition through legendary filmmakers such as Satyajit Ray, Ritwik Ghatak, Mrinal Sen, and Goutam Ghose. Bangladesh itself also produced remarkable filmmakers like Khan Ataur Rahman, Zahir Raihan, Alamgir Kabir, and Subhash Dutta, who treated cinema as a meaningful form of artistic and social expression. Today, the Bangladeshi film industry faces multiple crises. Even conflicts surrounding artists’ associations have reached the courts, reflecting deep divisions within the cultural sphere. If artists themselves fail to uphold artistic integrity and moral responsibility, audiences naturally lose trust in the films they create. One of the major reasons behind the decline of Bangladeshi cinema is the growing influence of black money and profit-driven producers. Many producers prioritize commercial success over artistic excellence, turning films into mere business products. At the same time, ethical decline among some film personalities has disappointed audiences who once admired them as cultural icons. Despite these challenges, hope for revival still exists. Filmmakers such as Tareque Masud and Humayun Ahmed once attempted to bring new life to Bangladeshi cinema. Films like Matir Moina, Muktir Gaan, and Aguner Poroshmoni proved that meaningful, artistic cinema could also achieve popular success. In recent years, a new generation of educated and creative young filmmakers has emerged. Many of their works have received appreciation both nationally and internationally. Films such as Nonajoler Kabbo demonstrate that cinema can still succeed artistically and commercially at the same time. Cinema is not merely a source of entertainment; it is also a powerful tool for social transformation. If filmmakers are not inspired by society, politics, culture, and the realities of ordinary people, cinema loses its purpose and becomes nothing more than a commercial product. In a country like Bangladesh, with a massive population and rich cultural heritage, there is enormous potential for creating meaningful and globally respected films. What is needed is sincerity, artistic vision, and the leadership of genuine film lovers. Bangladeshi cinema is undoubtedly passing through a difficult period, but decline does not have to be permanent. If the industry can free itself from obscenity, poor-quality productions, and the influence of unethical business interests, Bengali cinema can once again reclaim its lost glory. Cinema can become a powerful cultural weapon against ignorance, extremism, and social decay. The revival of meaningful cinema may ultimately help shape a more thoughtful, humane, and enlightened society.