In the midst of escalating tensions in the Chittagong Hill Tracts (CHT), characterized by sporadic violence and anxiety among indigenous communities, the showcasing of indigenous films “My Bicycle” (2015) and “Dear Mother” (2023) stands as a symbol of solidarity and a counter-narrative against erasure.
Directed by Aung Rakhine, “My Bicycle” (Mor Thengari / “My Bicycle”) is the first feature film in the Chakma language in Bangladesh. The storyline revolves around Komol, an indigenous Chakma man who loses his job in a town and returns to his village with only a bicycle. Struggling to make a living by transporting passengers and goods, his simple livelihood clashes with local power dynamics, leading to extortion, sabotage, and eventual violence.
The primary objective of “My Bicycle” was not commercial success but rather to portray Chakma lives, language, and challenges on screen. Despite facing obstacles from the Bangladesh Film Censor Board, which demanded significant cuts due to alleged objections to the portrayal of state actors, the film gained international recognition at various film festivals for its authentic representation.
Another noteworthy film, “Dear Mother” (Kio Ri Pekra Uo / “Dear Mother”), directed by SK Shuvo Shadique, was released in 2023. It is the first feature film in the less represented Mro language in Bangladesh. The narrative follows Damra, a young Mro girl who grows up believing her mother resides on a distant hill. The film explores themes of silence, absence, suspicion, and societal pressures following her father’s sudden passing.
Shadique’s unconventional approach challenges commercial norms by offering free open-air screenings to evade censorship mechanisms. Through the term “Liberate Cinephile,” he emphasizes the importance of making cinema accessible to all, without the influence of investors or censors. Despite facing challenges in a militarized zone, the film crew operated discreetly to capture the essence of the narrative.
Both films have been commended for their efforts to preserve indigenous languages and cultures, serving as poignant reminders of the ongoing conflicts in the Chittagong Hill Tracts. In light of recent events, including alleged extrajudicial killings and attacks on indigenous communities, these films serve as crucial voices of resistance and awareness in the face of systemic injustices and historical omissions.
The cultural resistance showcased by the Dhaka University Film Society through these screenings amplifies the importance of preserving memories and narratives that challenge oppressive regimes and promote dialogue and reflection.