In persuit of regional realism
By Ayman Anika
His acclaimed projects, Sinpaat and Shaaticup, are deeply rooted portrayals of characters, communities, and dialects, crafted with the empathy and insight that only someone truly embedded in these environments can offer.
With his feature soon to hit the big screen and ambitious projects on the horizon, Islam shared with MWB his creative process grounded in character and place and a forward-looking approach to filmmaking that promises to bring fresh stories to life.
You have grown up in Rajshahi. Can you share a few fond memories from your childhood?
I spent my childhood in Rajshahi and from the time I was in school, I loved to create. From a young age, I loved making things with my hands – crafting small houses and other shapes out of clay. Rajshahi University’s Faculty of Fine Arts became a second home of sorts. I visited the institute often, and the teachers and students welcomed me warmly, generously sharing their insights. I learned a great deal there, and it’s a cherished part of my childhood.
Every Pohela Boishakh, our neighborhood hosted a program, and I would perform with a local cultural group. From there, I developed a love for acting, singing, and reciting. When it came to sports, I spent most of my childhood playing with girls as I didn’t have many male friends of my age.
I remember, when our examination was over, we used to play badminton in winter. It was a beautiful memory and I miss the feeling very much – playing badminton in winter evenings and the thrill of it. Even today, I try to relive those moments by playing whenever I can.
I grew up watching typical Hollywood and Bollywood films but I cannot say I have always wanted to be a director. I got into the direction after being introduced to the Children’s Film Society when I was in class eight.
That said, I believe I always had the leadership required for filmmaking in myself – for example, when it came to drama production, I was able to organize and convince others to join.
When you’re working on a film, what comes first for you – the story, the characters, or the message?
The process varies with each project. For some films, the character becomes my initial focus, especially if it’s a character-driven narrative, as was the case with Sinpaat. In Sinpaat, the protagonist, Sohel, was the starting point. I designed the entire aesthetic of the series around him, drawing from his life and personality.
In fact, the idea for Sinpaat came to me even before we finished filming Shaaticup, where Sohel’s real-life story served as a key inspiration. When creating Shaaticup, Sohel bhai’s life and experiences were my case study, and from that, Sinpaat emerged as a natural spin-off.
For me, the message in a film is essential, but it usually evolves organically through the characters and the story. I see the story as the vehicle that delivers the message, but my initial spark is often character-driven. In the beginning phases of a project, I search for compelling characters who can carry the narrative. Once I find those characters, the plot develops around them. This is likely why most of my work tends to focus heavily on character exploration and development.
Both Sinpaat and Shaaticup seem to touch upon regional identities and issues. How do you ensure that these local narratives are portrayed authentically?
Authenticity is vital in my story-telling approach, especially when representing regional identities. For a recent film, my team and I actually stayed in the area where we shot, immersing ourselves in the local way of life.
We observed their routines, listened to their dialect, and soaked in the atmosphere. This experience allowed us to create a narrative that felt true to the region. We also selected local people as part of the cast, which added to the authenticity of the portrayal. We didn’t try to force anyone to open up to us – instead, we became part of the community, blending in so that people felt comfortable sharing their lives with us.
For Sinpaat, our connection with Sohel bhai was integral. He stayed with us for around seven to eight months, during which time we saw the realities of his life, including multiple court cases. We even accompanied him to court hearings and bailed him out at times to ensure the shooting continued. This deep level of engagement with the people and places we portray allows us to ensure that our narratives remain authentic and respectful.
Your web series, Sinpaat and Shaaticup, were largely praised. Do you remember any major challenges you encountered while filming them?
Challenges are inevitable in filmmaking, and they often add an element of excitement to the process. While filming Sinpaat, we had some memorable – and intense – moments.
In one scene, the protagonist has to snatch a necklace from a woman’s neck on a crowded ship. Since the public wasn’t aware this was a staged scene, they believed it to be a real robbery, leading to a chaotic situation. Some crew members even ended up being physically attacked by the angry crowd. Another challenging scene for Sinpaat was shot at a brothel in Daulatdia. Shooting in such a location required careful planning and sensitivity.
In Shaaticup, we filmed a high-speed chase scene where a motorcycle was driven at over 100 km/h. We didn’t have the proper safety gear for that shoot, and any mishap could have led to severe consequences, even a fatal accident.
Managing the crowds, handling the camera under these intense conditions, and creating the right ambiance are all challenging aspects of filming that we have to navigate to maintain narrative authenticity.
In one of your interviews, you mentioned your love for magic realism. Do you plan to explore this theme in your future projects?
Magic realism is a theme that fascinates me deeply, and I’m exploring it in a new series I just finished writing. I plan to pitch this series soon. Magic realism allows for a blend of the extraordinary within the ordinary, letting me push beyond conventional story-telling.
Working with this genre enables me to create narratives that feel both unique and otherworldly, presenting something new and unexpected to my audience. Exploring themes outside my comfort zone, like magic realism, helps me grow as a story-teller and brings new layers to my work.
In your opinion, what are the major trends currently shaping our film industry?
The industry is undoubtedly in a state of transition, especially in light of the major societal changes we’ve witnessed recently. Artists, including filmmakers, often reflect the transformations they experience in society.
As such, the stories we’re seeing now and those we’ll see in the future will likely mirror these shifts. I believe that every crisis we face eventually finds its way into art, shaping the narratives we tell.
Filmmakers today are thinking about how to capture the essence of our times, portraying the changes we’re all going through. Alongside this, I feel strongly that our l industry needs to ensure freedom of speech, just as other industries are protecting their rights. Creative freedom is essential for us to fully express the realities and ideas that define our era.
When you’re not behind the camera, what do you enjoy doing?
As I mentioned before, I love to create. I listen to music and read books. I particularly enjoy gardening and collecting moss.
Could you share some of the films or directors that left a lasting impact on you?
Ritwik Ghatak has inspired me greatly and his film Meghe Dhaka Tara holds a special place in my heart.
What’s next for Mohammad Touqir Islam?
I recently finished shooting a film in Khulna, which is slated for release on the big screen soon. Beyond that, I’m working on a film called Oddvoot, whose script received the Bangladesh Film Grant, and I’ve also developed a story for a series. Interestingly, Oddvoot has a unique element – mangoes, which play an important symbolic role in the narrative. Since mangoes are seasonal, we’re waiting for the right time to begin filming to capture the story’s essence authentically. It’s an exciting time, and I look forward to bringing these stories to audiences.
