Bangladesh’s film industry stands at a critical crossroads. Once a powerful medium that stirred the emotions of millions, the industry today faces one of its greatest challenges — the absence of professional production companies. Reliance on individually owned studios, lack of long-term planning, and weak institutional frameworks have led to a decline in film quality and audience interest. The shortage of professional producers has now become a crisis for the entire sector.
The lost glory
There was a time when Dhallywood had a number of reputed production houses whose names alone guaranteed quality. Beder Meye Josna, produced by Ananda Mela Kathachitra, remains a milestone in the country’s cinematic history. Producers of that era valued not only commercial success but also the artistic integrity of cinema.
Over time, however, that professionalism has faded. Most production houses today operate solely on the whims and financial capacity of individual owners.
Film researcher Bidhan Rebeiro told Bonik Barta, “Cinema is an integrated art form. Improving only production management is not enough; screenplay and direction must be equally strong. To sharpen creativity, proper preparation is essential. Although our country faces financial and intellectual limitations, many filmmakers continue to work hard and produce quality films, though the number remains small. The Bangladesh Cinema and Television Institute (BCTI) could have played a major role in this regard.”
Lack of institutional structure
Analysts say Bangladesh’s film production system has yet to develop an institutional framework. In contrast, global studios such as Paramount Pictures, Disney, and Warner Bros. have built over decades well-organized systems that combine research, budgeting, market analysis, and audience assessment.
The same pattern exists in the world of OTT platforms. Companies like Netflix and Amazon Studios form dedicated teams for each project, handling everything from story development to post-production in a structured, strategic way. As a result, their films achieve both commercial success and global critical acclaim.
Bollywood could be a model
Neighboring India’s film industry offers a clear example to learn from. Major Bollywood studios — Bhansali Productions, Yash Raj Films, and Dharma Productions — operate with distinct plans and teams for each film. Sanjay Leela Bhansali’s Bajirao Mastani, Padmaavat, and Gangubai Kathiawadi are all successful results of such professional structures. Directors focus solely on creative aspects, while the studios handle budgeting, technology, and marketing. This balance has created a seamless blend of art and commerce.
The production reality in Bangladesh
Redoan Rony, CEO of Chorki, director, and producer, told Bonik Barta, “The biggest problem in Bangladesh’s film production is the absence of a professional producer role. The person who invests money in a film is not necessarily the producer. A producer is someone who supervises the entire production process of a film or series. From budget management to shooting and editing, every stage should be under the producer’s oversight. In our country, the person who provides the funds is treated as the producer. This misconception has erased the real function of the producer, shifting management responsibilities onto directors and assistant directors.”
Rony explained that a proper production structure includes three key roles: producer, executive producer, and line producer. “In Bangladesh, we have something close to the line producer’s role, which we call the production manager,” he said. “But the duties of producers and executive producers remain unclear, and that’s why the industry cannot progress in an organized way.”
Government support: challenges in execution
The government allocates grants to the film sector every year. The problem, however, lies in their management and implementation. Many films that receive grants never reach release, while others remain incomplete or lack quality due to the absence of a professional production system.
Hope amid limitations
Despite its constraints, some corporate entities in Bangladesh are still active in the film industry, though on a limited scale. A few production houses once pioneered a new wave of filmmaking, but their output has since declined. Yet the rise of digital platforms has sparked fresh optimism. Chorki, Alpha-i Studios, and Bengal Multimedia are now producing quality web films and series on a regular basis. Chorki has demonstrated that with a professional production structure, local content can reach international standards.
Expectations and the way forward
Film experts believe that with proper planning and institutional effort, Bangladesh’s film industry can revive its former strength. Redoan Rony said, “Anyone investing in films must understand what the producer’s role actually entails. Those taking on the producer’s role must also have professional experience in production. That would help solve many of the structural problems the country’s production houses face today.”
Industry insiders say that with larger corporate investment and private sponsorship, the sector could generate significant employment and establish a professional working environment across departments. Enhanced training, research, and technological progress would follow. Such a structure would allow Bangladeshi cinema to move beyond its local audience and make its mark in international film festivals, OTT platforms, and the global market.