In a time when Bangladeshi film industry is grievously experiencing the dearth of powerful narrative and proper storytelling; be it commercial or historical or any other genre, Chandrabati Kotha (The Tales of Chandrabati) directed by N. Rashed Chowdhury shows some light for the industry.
Written forty years apart from each other, La Nuit Bengali (Bengal Nights) by Mircea Eliade and Na Hanyate (It Does Not Die) by Maitreyi Devi are yet two sides of the same coin. While some may call them another version of unsuccessful teenage love, the New York Times
In a time when Bangladeshi film industry is grievously experiencing the dearth of powerful narrative and proper storytelling; be it commercial or historical or any other genre, Chandrabati Kotha (The Tales of Chandrabati) directed by N. Rashed Chowdhury shows some light for the industry.
Written forty years apart from each other, La Nuit Bengali (Bengal Nights) by Mircea Eliade and Na Hanyate (It Does Not Die) by Maitreyi Devi are yet two sides of the same coin. While some may call them another version of unsuccessful teenage love, the New York Times
