Television

Even before we have met the main characters of the story: Amin, his son Solaiman (Chanchal Chowdhury), his girlfriend Kohinoor (Nusrat Imrose Tisha), and Mojnu (Mosharraf Karim), who works under Solaiman as a help and is also in love with Kohinoor, director Mostofa Sarwar Farooki has established the main theme of his film, which won the Jury Grand Prize at the Asia Pacific Screen Award, closed the Busan International Film Festival and was Bangladesh's Oscar entry in 2013. It is now streaming on Bengali digital platform Hoichoi with subtitles.

This movie shows a strange village where no one can watch television and young people cannot use mobile phones.

I like the writing of the movie. Mostafa Sarwar Farooqi always makes such good movies. The cinematography and the screenplay was good.

Mojnu was interesting as a character and the actor made it even better. The story of Solaiman and Kohinoor's relationship was amazing. You will love it,

The acting of Chanchal Chowdhury and Mosharraf Karim was fantastic. Nusrat Imroz Tisha was a good actress in the movie.

I would suggest you to watch this movie.

After launching a quite promising festival run, Mostofa Farooki's Television finally got released at home. Like other Farooki film, this film also got a grand reception from the youth. And why not? The film is so refreshing in style, content, and treatment. Farooki handled a very delicate subject with a great cinematic sensitivity which took audience to a roller-coaster journey of humor and emotion. Generally, films with this much of depth in the content tends to end up looking very airy, too idealistic, and drab. But Television delivers a quite entertaining journey thanks to a very solid story-telling, well thought-out shot-divisions, and brilliant performance by actors. Shahir Kazi Huda, Mosharof Karim, Chanchal Chowdhury, and Nusrat Imrose Tisha's name should be mentioned specially. Like many other audiences, I am totally blown away by the film! One strange allegation caught my eyes that needs to be replied! I don't know who invented this but a kind of connection between Television and a Turkish film Vizontele has been invented by a small group of Bangladeshi over-enthusiastic people! This allegation made me and my film-buff friends so sad. Then we collected and watched Vizontele and found no similarity in the storyline, concept, style, or treatment! Two films have two different plots, two different intentions, and two different philosophy. If just 'in both the films, a TV set is brought to a remote village and that stirs lot of incident and both are humorous and both have a stunning ending'- this makes two films similar then I am very sorry to say- you will not find a single original film in the world. This is such a poor and unfounded allegation. I would wrap this review with a single line- this is the most refreshing cinema from Bangladesh.

I went to the cinema on the very first show with enormous positive anticipation about this film as it has got the highest media hype in our country. The film entertained me on various angles but I was not mesmerized or something like that. I was convinced that it was a good film because of the intriguing content, standout performance by one of the main actors - Mosharraf Karim, and the twist in the later part of the movie. The cinematography could have been much better. The director used the "handheld camera" technique in random sequences and it didn't serve the point. As we all know that this technique is mainly used to create intensity in an intense sequence. Misunderstanding this concept, can create viewing disturbance. I would have talked about some more aspects but unfortunately I won't. Because this film does not deserve the actual criticism. Let me tell you why.

The main shocking fact about the film is, this film is a total conceptual copy of another Turkish film "Vizontele". The main concept in both films is, bringing a television to a remote village and creating the story of how the people and the society react to it. The design of the script in both movies are aimed to entertain the audience by the situational humor and the shocking ending. I would say that in case of disturbing ending, the Turkish film was light years ahead. It slaps you hard out of nowhere. In "Television", the same scripting design was followed by the writer and it might move you if you didn't see the Turkish one. But as a Director like Sarwar Farooki, I am deeply disappointed by this silly attempt of deceiving the audience. After finding all these, I totally lost all the charm about this movie and I think the director should answer this grand theft.

Mostafa Farooki is a very popular director and a creative one. But if he starts thinking that he can watch the less known movies of world cinema (in fact, "Vizontele" is not so less known) and make movies out of those, he should just join the mainstream Bangla Cinema and do the Bollywood rip offs. It would be easier, isn't it?

I'd waited well over a year to see this much hyped film and Mostofa Sarwar Farooki yet again doesn't disappoint; in my opinion this is probably his best work and a much more polished effort than 'Third Person Singular Number'. The fact the narrative is set in a village in Bangladesh is irrelevant because the story of its people is a universal one and the message transcends cultures. This is the story of how close mindedness and the winds of change clash in a rapidly changing world. Bangladesh's official submission to 2014's Oscars, in what was a very strong 12 months for world cinema, didn't make the final list of nominees but it doesn't really matter because this is an accomplished film that has been praised both in its home country and at the select film festivals its played at. With the exception of 'Monpura', this is the best piece of cinema to come out of Dhaka's growing film industry in the last 10 years. If I could bet on one filmmaker from Bangladesh really cracking the international film festival circuit in a big way in the future, my money's definitely on Farooki. A recommended film.

Television, directed by Mostofa Sarwar Farooki, is a thought-provoking Bangladeshi film that explores the impact of modern media on rural life and cultural traditions. Set in a small village, the story centers around the character of Apu, a simple man who becomes embroiled in a local controversy after a television set is introduced to the community.

The film brilliantly juxtaposes tradition and modernity, highlighting the transformative power of television. It showcases how the arrival of a TV can change social dynamics, bringing both excitement and conflict to the village. Apu, played convincingly by the talented Chanchal Chowdhury, is portrayed as a reluctant yet relatable protagonist, caught between his conservative upbringing and the allure of the new media. His internal struggles and eventual decisions form the emotional core of the film.

Farooki's direction is commendable, balancing humor with serious social commentary. The screenplay effectively blends satire with drama, providing sharp insights into the clash of values and the complexities of human relationships in a changing society. The dialogues are witty and engaging, adding to the film's appeal.

The cinematography captures the essence of rural Bangladesh beautifully, with vibrant visuals that enhance the storytelling. The music, featuring a blend of folk and contemporary styles, complements the narrative and adds to the film's overall charm.

One of the film's strengths is its ability to provoke thought without being overly didactic. It encourages viewers to reflect on their own relationships with technology and the media, while also addressing broader themes of identity and cultural preservation.

However, some viewers may find the pacing uneven, with certain scenes feeling prolonged. Nevertheless, the film's engaging narrative and relatable characters keep the audience invested throughout.

In conclusion, Television is a captivating film that successfully merges entertainment with meaningful commentary on the effects of modern media on traditional values. It is a must-watch for anyone interested in the evolving cultural landscape of Bangladesh and the ways in which technology shapes our lives.