The Bangladeshi film industry experienced a mixed period in the first half of 2025 (January to June). The industry showed signs of recovery from the turmoil that occurred due to sudden political shifts with audiences flocking to theaters during the two Eid holidays, eager for both spectacle and meaning. While star-led action films like Borbaad and Taandob continue to draw crowds, films like Utshob prove that family-centered, heartfelt narratives can also captivate middle- and upper-middle-class viewers in multiplexes. Productions from the Bangladesh Film Development Corporation (BFDC), often referred to as Dhallywood, remain few and uncertain. The industry continued to grapple with longstanding structural challenges. Revenue projections indicated modest growth, but the sector remained constrained by limited infrastructure and external pressures.

The industry was primarily in a recovery phase but facing significant headwinds. Revenue in the cinema market was projected to reach US$126.03 million in 2025, with an anticipated annual growth rate of around 6.5% through 2029. Box office revenue specifically was expected to hit US$61.64 million. However, this growth was uneven, driven more by over-the-top (OTT) platforms than traditional theatrical releases. The number of active cinema halls had dwindled to around 150 from nearly 1,500 in the late 1990s, exacerbating screen shortages and limiting distribution. Challenges like piracy, under-reported ticket sales, and unfair revenue sharing persisted, contributing to a "struggling" label from industry insiders.

Despite domestic constraints, Bangladeshi filmmakers continued achieving recognition on the global stage. International co-productions have earned accolades at prestigious festivals. Within this first half, Ali won special mention for short film competition at the Festival de Cannes, Sand City won the Proxima Competition at the Karlovy Vary International Film Festival.

Since the political unrest in 2024, very little has changed: there is no functioning film commission, few new multiplexes, and box office data remains unclear. National grants, yet being questionable, the government revised its film grant policy, increasing the annual number of full-length films eligible for grants from 10 to 12.

The local OTT market remains small, and with bans on Indian films and delays in Hollywood releases, the industry often feels constrained. The challenge is not talent or vision—it is the reluctance of key players to treat cinema as a serious cultural and business pursuit. Luckily, the first half of the year usually includes the two major Eid holidays, which gives the industry a brief lift and makes this report look somewhat promising.

Volume and Types: H1 2025 demonstrates a remarkable mix of resilience and creative ambition. Despite the absence of centralized data or Box Office, insights can be drawn from producer reports, social media review groups, and newspaper analyses. Over 25 feature films were produced or announced while 22 films released theatrically, alongside 60 fictional short films, 29 documentaries, and a single animated project.

Apart from the big cineplex hits, the Bangladesh Film Development Corporation (BFDC) quietly releases only a few films each year. Many of these films struggle with weak stories and limited talent, which has made audiences lose interest long ago. Yet, BFDC remains important—it provides filmmakers with equipment, generates government revenue through taxes, and continues to nurture new talent. Many of today’s top Bangladeshi filmmakers began their careers in the BFDC community, making it a key part of the industry.

So far in 2025, Eid ul Fitr brought Borbaad, Jongli, Dagi, Chokkor 302, Jinn 3 and Ontoratma, while Eid ul Adha saw Taandob, Utshob, Insaf, Togar and Esha Murder. Films like Makeup, Daaymukti, Jole Jwole Tara, Ontoratma, Esha Murder, Maa and Insaaf are BFDC-backed, though only a few have been shown in cineplexes. Over time, the number of BFDC films released each season is decreasing, yet their role in shaping talent and keeping the tradition of Bangladeshi cinema alive remains significant.

Borbaad topped the box office with its tried-and-true action formula, while Taandob fell victim to piracy. Utshob, a low-budget family drama, surprised everyone by blending literary adaptation with mass appeal, proving the market can embrace heart as well as thrills. Many small films still get few screens and rarely hit the top 10, but this mix of blockbusters and surprises shows Bangladeshi cinema is experimenting boldly and reaching audiences at home and abroad.

Infrastructure and Talent: Bangladesh’s film scene is a mix of big studios and small independent teams. Key players like Alpha-i, Chorki, Bongo BD, and Indian co-productions such as SVF have given audiences some big hits. Producers and directors like Raihan Rafi (Taandob), Tanim Noor (Utshob), and Shahreen Akhter Shumi (Borbaad) are starting to shape the creative side of the industry.

On-screen, stars like Shakib Khan, Jahid Hasan, and Jaya Ahsan led both commercial and art-house hits in H1 2025. Shakib Khan, called as the “Mega Star” both the films starred by him made business and became tentpole films of the year. This trend continues for the last few years. Shakib Khan became an iconic commercial hero who is extremely marketable nowadays in Bangladeshi Film Business. Behind the camera, cinematographers Tahsin Rahman (Taandob), Rashed Zaman (Utshob), and editors Editree(Borbaad, Jongli), Jubayer Abir Peal (Daagi), and Saleh Sobhan Onim (Utshob) are giving Bangladeshi films a unique look and feel.

The tech side is still catching up. Filmmakers often depend on India for equipment, and with tense relations, that can be tricky. Local camera houses like Lumen, Timeline, and Camerasrom (Sandbag), along with some Indian rentals, help make high-quality filming and editing possible. Even with small budgets, Bangladeshi filmmakers are creating visuals that can stand next to international films.

Recognition & education programs: Recognition fuels ambition—when artists are seen and celebrated, they dare to dream bigger. Every year starting from 1975, the National Film Awards celebrate cinema, while the Meril-Prothom Alo Awards, the Blender’s Choice – The Daily Star OTT & Digital Content Awards, and the Chorki Awards shine light on both screen and streaming talent. Behind the scenes, new storytellers are being trained at the Bangladesh Cinema and Television Institute (BCTI), Pathshala South Asian Media Institute, Fresh Institute of Film & Television, Zahir Raihan Film Institute, and university programs across the University of Dhaka, Jahangirnagar University, Jatiya Kabi Kazi Nazrul Islam University, and others. Young filmmakers find platforms at the University of Liberal Arts Bangladesh’s Film & Mobile Film Festivals, the Oxfam–Daffodil Documentary Lab, Dhaka International Film Festival has West Meets East Screenplay Lab, International Children’s Film Festival by the Bangladesh Children’s Film Society.

With over 100 graduates entering the field each year, it now needs a unifying platform—a National Film Council—to nurture, protect, and guide this energy. Just as Korea began with the Korean Motion Picture Promotion Corporation in 1973 and Hong Kong launched its Film Development Council in 2007, Bangladesh too stands ready for such a body. With the right vision, a film council could turn passion into policy, talent into industry, and dreams into global stories. The seeds are already here; it’s time to let them grow.

The Bangladesh film industry relies heavily on a mix of government grants, self-financing, and limited private investments, with co-productions and international partnerships playing a growing but secondary role. Government grants remain the cornerstone of funding, administered through the Ministry of Information and Broadcasting. In FY 2024–25, Bangladesh awarded about $7.58M in grants to support 32 films: 12 full-length features (each ~$63,300) and 20 shorts (each ~$16,700). The feature slate guarantees at least one documentary, one children’s film, one political history film, and one cultural heritage film. Writers’ honoraria rose to ~$1,670 (story) and ~$2,500 (screenplay). Completion deadlines are 18 months for features, 12 months for shorts, and up to 24 months for documentaries. Funds are disbursed in three stages: 20–30% before production, 40–50% during production, and 20% after rough cut. Filmmakers also receive up to 50% discounts at BFDC facilities, and all funded films must be released in cinemas, districts, or OTT platforms to ensure public access. Self-financing is common among established producers, often supplemented by studio funding from companies like Jaaz Multimedia or Tiger Media, though high production costs—typically exceeding Tk 80-90 lakh (USD 64K - 74K) per film—make this challenging without additional support. Co-productions, particularly regional ones with India or international partnerships, are very new horizons to explore with not much of an example. Only recently SVF India is playing a vital role in co-producing commercial films. Art House indie films are still heavily dependent upon funds like CNC, WCF, that too are quite irregular in terms of achieving them.

Private equity often involves high-net-worth individuals or informal networks, sometimes criticized for opacity, including allegations of black money in higher-budget films. Returns are uncertain due to piracy and low box-office recovery, making investors cautious. Streaming pre-sales to platforms like Chorki or Bongo BD provide some upfront capital, but these are limited to commercially viable titles.

Soft money trends in 2025 show policy shifts toward more inclusive funding. The government revised its grant policy in March 2025, increasing full-length film slots and extending deadlines to attract diverse applicants. International soft support includes the Prince Claus Fund, which in February 2025 selected Bangladeshi Adit Dewan for a fellowship, providing grants for creative projects. Mahde Hassan got CNC funds for Sand City, Nuhash Humayun snagged Taipei Film Commission Fund, ScreenCraft Film Fund while after the political shift the promised fund from ICT ministry withdrew.

Cash rebates and incentives remain limited, with historical tax exemptions for production, distribution, and exhibition introduced in earlier policies to stimulate growth. No major new rebates were announced in 2025. Financing has become more cautious in early 2025, influenced by industry upheavals like cinema closures and political transitions, leading to grant revocations (e.g., Tk 50 lakh/USD 40K for Nuhash's film) and returns (e.g., Shakib Khan's Tk 65 lakh/USD 54K for 'Maya'). However, aggressive moves include the Tk 1,000 crore/USD 82.5M soft loan fund for industry revival, and notable deals like the Bangladesh Investment Summit 2025 attracting $1 billion in proposals, some targeting the media. Shifts indicate a pivot toward sustainable models, with calls to discontinue inefficient grants in favor of performance-based incentives.

Film distribution in Bangladesh operates through a fragmented network of cinemas, multiplexes, and emerging digital platforms, with exhibitions concentrated in urban areas like Dhaka. Business structures involve producers negotiating directly with exhibitors, often leading to revenue-sharing disputes, as seen in the prolonged standoff between producers and Star Cineplex resolved in May 2025, allowing local films back into screenings. Performance indicators show declining cinema attendance, with the industry recovering from pandemic hits but facing piracy and competition from OTT services. The number of halls has plummeted from nearly 1,500 in the 1990s to around less than 200 active ones, impacting box-office revenues.

Market share heavily favors foreign films, particularly Bollywood and Hollywood, which dominate 60-70% of screenings, while domestic productions struggle with limited releases and audience pull. Recent shifts include the government allowing Indian imports in 2023, raising concerns among local filmmakers about market erosion ultimately closed in 2025 after the political shift, though 2025 saw successes like Toofan expanding to eight countries. Biggest distributors include Jaaz Multimedia and Tiger Media for local titles, handling production-to-release pipelines, while Impress Telefilm and Monsoon Films manage a mix. Foreign titles are distributed by private players, with no dominant state-backed entities but an oligopoly among a few large firms.

Distributors and exhibitors are closely linked, with vertical integrations emerging; for example, Star Cineplex, a major chain, influences distribution through exclusive deals, though resolved disputes highlight tensions. Hollywood studio films are primarily handled by international arms via local partners, with government regulations via the reformed Film Certification Board (formerly Censor Board) ensuring content compliance. Independent foreign films from Europe and Asia are distributed by smaller players like Chorki (OTT-focused) or Bongo BD, often via festivals or niche releases.

New entrants are limited, but 2025 saw no major mergers or exits. Market changes include growing overseas releases for hits like Borbaad and Daagi, signaling export potential amid domestic challenges.

In Bangladesh, the two Eid holidays are considered the peak season for the film business, much like Diwali is for India. There has long been a saying in Bangla cinema: you have to make an action-blood film to draw audiences. This held true for several recent Eids—until Utshob turned the rules on their head. A family drama adapted from A Christmas Carol, Utshob was made on a budget of just 2.10 crore BDT (USD 175K). Against all expectations, it grossed 13 crore BDT (USD 0.6 M). The film’s overseas distribution was handled by Shapnoscarecrow Company in the UK, USA, Canada, Australia, and New Zealand, while online streaming rights were secured by Chorki.

Cinema Landscape and Screen Counts: Bangladesh’s cinematic geography reflects both resilience and uneven development. Of roughly 190 cinema halls, 100–110 operate year-round, with temporary expansions to 190 screens during peak periods like Eid. Urban multiplexes such as Star Cineplex and MY Cineplex dominate, while regional halls frequently operate below capacity. These disparities underscore the need for infrastructure development beyond major cities.

Local Hits vs. Foreign Titles: In Bangladeshi cinemas, Hollywood movies come late and often fail to excite audiences, feeling old by the time they arrive. At the same time, Bollywood films are banned because of political issues, leaving fewer options for viewers. This has changed audience habits and lowered cinema attendance. But it also creates a chance: with fewer foreign films, local movies can attract more people and bring audiences back to the theaters.

Pricing Dynamics and Multiplex Experience: Cinema ticket pricing varies considerably. Cineplexes charge between BDT 200–1800 (USD 1.5 - 15), including VIP formats. Urban centers increasingly offer premium experiences, such as luxury seating, tiered pricing, and weekday discounts. Smaller towns remain underserved, presenting opportunities for expanding differentiated cinematic experiences. Ticket prices are also affected by government taxes on both tickets and extras like food and merchandise, making it hard to set fair prices. Low weekday attendance makes discounts difficult, which adds more challenges to earning revenue.

Audience Trends Post-Pandemic: Urban vs. Regional Patterns: After the pandemic, more people are returning to cinemas, especially during holidays. Big hits like Borbaad, Utshob, and Taandob attracted audiences in many theaters, showing that going to the movies is still an important cultural experience. Utshob had a unique audience, with people aged 40–80 coming back to watch it again in theaters. While OTT platforms are convenient, the immersive experience of cinema can’t be matched, encouraging filmmakers to try different stories to keep audiences engaged.

Exhibition Beyond Commercial Spaces: Beyond conventional cinemas, arthouse, cultural, and educational institutions are actively fostering cinematic literacy. Goethe-Institut, Alliance Française, the Russian Cultural Center, and the Liberation War Museum, alongside private organizations, regularly screen films for students and general audiences—often free of charge. These initiatives, frequently in partnership with film festivals, expose local filmmakers to international networks of distributors, producers, and post-production facilities, offering invaluable industry visibility.

Technology at Play: Modern cinemas are using advanced technology to make movies more immersive. Projectors like the Formovie Fengmi X5 deliver sharp 4K visuals with bright laser light, while sound systems like the HORIZON S Max provide rich, surround audio. VIP seating and boutique arthouse setups create premium, cozy experiences that attract urban audiences. Even with streaming platforms at home, these upgrades give people a reason to return to theaters.

Cinema is not just stories and faces on screen—it is cameras, lenses, light, sound, and the spaces where they all converge. The strength of these tools will decide how far Bangladeshi films can travel. The stronger our own ecosystem, the less we lean on India or Thailand, and the more our cinema speaks with its own voice.

Today, high-end cameras—Arri, RED, Sony Venice—do exist here, but in heartbreakingly small numbers. Rental houses like Lumen (Arri Alexa Mini, ⁠Arri Alexa Mini-LF, Sony Venice with Raw Recorder, ⁠Sony Fx9, Sony Fx6, ⁠Sony Fx3), Sandbag, Timeline, Navigator - might hold a single unit, guarded like treasure. Most of the rest are either too basic—Sony A7s with limited scope—or old warhorses carrying heavy, outdated glass. This shortage often bleeds into our images: skin tones that don’t sing, colors that feel tired. Yet inside these constraints, learning still happens. At Sandbag, Rashed Zaman spends his time training camera crews, planting seeds for the next generation of cinematographers.

Bangladesh has no film commission, no purpose-built soundstages or backlots, no LED volumes where worlds could be conjured. Government dreams of world-class post-production centers remain stuck in corridors of politics, investment trickling away. In practice, advertising pays the bills: VFX and graphics survive on agencies and studios like Allied, Firedrum. A few good colorists—Ummid Ashraf, Chinmoy Roy, Asraful Islam—stay busy only during Eid and Ramadan. After that, they have no work, no money. Sound is an even bigger problem. Bangladesh has no proper mixing studio. Still, Coke Studio Bangla has been made here for 3 seasons. But filmmakers are forced to finish their sound abroad, in Mumbai or other places. The irony is clear: music shines here, but films cannot find their own voice.

And yet—there is life. Animation is blooming in quiet corners, nurtured by studios like Studio Bangi, Ginko, Ogopoggo studios, Mighty Punch studios, Cycore studio, Cartoon People. Sound studios—Soundbox, Studio Cowbell, Shobdo, Awaz, Dhonichitra—hold the industry with limited resources - afloat. Just last year, the POST PRO Talent Lab trained 26 young filmmakers in sound and post-production, each leaving with a short film that felt like a small revolution.

Then there is AI. Once whispered about with filmic-dilemma, it is now a tool filmmakers regularly reach for. Directors storyboard on MidJourney, boords, Line producers plan schedules through Filmustage, subtitlers use veed, otter or transcribing tools and young VFX artists experiment with AI-driven visuals(poster) and marketing. The resistance is fading; curiosity is winning. Gen - Z are very much diving into AI based works.

The two primary shooting floor facilities in Bangladesh are the state-run Bangladesh Film Development Corporation (BFDC) and the private Studio Nine n’ Half. BFDC currently operates five shooting floors (each averaging around 4,000–5,000 sq ft), but despite being affordable after recent fee reductions, the spaces remain outdated and hampered by bureaucracy. A new 12-story BFDC complex with modernized floors and amenities is under construction, slated for 2026. In contrast, Studio Nine n’ Half, located in Banasree, Dhaka, offers a more modern and flexible private option, with shooting floors of roughly 2,500–3,000 sq ft each, designed for commercials, dramas, and indie films. While BFDC retains symbolic centrality, Studio Nine n’ Half is increasingly preferred for its efficiency and contemporary infrastructure.

OTT Landscape and Content Dynamics : Bangladesh’s OTT market is characterized by a complex interplay of pricing, content, and accessibility. Global giants like Netflix and Disney+ have limited direct impact on subscriber growth due to high subscription fees and a relative lack of local content. Instead, homegrown platforms dominate early 2025: Chorki, Bongo BD, Toffee, Hoichoi, and Deepto TV each carve distinct niches.

Bongo BD, with a minimum charge of BDT 50 (USD 0.4) per content, effectively reaches mass audiences. Toffee, with free sports channels but limited fictional content, caters to users with basic devices. Premium platforms like Chorki and Hoichoi serve urban, niche audiences seeking curated content.

High-end OTT growth faced constraints in H1 2025 due to political instability, which delayed major partnerships and investment in original productions. The majority of uploads comprised co-productions with established studios such as Alpha-i and SVF, rather than fully independent high-budget originals.

YouTube, meanwhile, remains a vibrant space for fiction, generating over 1,000 new videos per month, each averaging 3 million+ views. The platform demonstrates that online distribution is critical for visibility, providing an alternative avenue for filmmakers to reach audiences.

Genre Diversity and Notable Releases : Bangladeshi OTT in H1 2025 reflected remarkable genre diversity. Horror saw international recognition through Nuhash Humayun’s Dui Shaw and Pett Kata Shaw, while thrillers like Chokkor 302 and Jongli captured urban audiences. Romantic comedies (Amalnama, How Sweet) and Eid hits (Borbaad, Daagi) demonstrated the continued appeal of both traditional and innovative narratives. Documentaries, however, remained largely untapped, signaling a potential growth area.

Regulatory Environment: Digital reforms led by the Ministry of Posts, Telecommunications and Information Technology and BTRC—including telecom upgrades, BNDA/NDX rollout, a 10% OTT tax, and content moderation under the Cyber Security Ordinance—enhanced infrastructure while raising concerns over censorship. Filmmakers and media advocates voiced criticism, highlighting the delicate balance between accessibility, creative freedom, and governmental oversight.

Emerging Opportunities: Despite challenges, OTT platforms offer a viable avenue for recouping production costs, expanding audience reach, and experimenting with novel storytelling. H2 2025 may remain constrained due to political and economic uncertainty, but post-election stability in February 2026 is expected to unlock broader revenue streams, strategic co-productions, and institutional support for both cinema and streaming.

Raihan Rafi has emerged as one of Bangladesh’s most influential filmmakers of his generation, balancing blockbuster appeal with creative risk. Known for Toofan (2024) and Taandob (2025), Rafi has played a central role in reviving audiences’ return to theatres. His films, often carrying both star power and cinematic ambition, have not only broken records but also revealed the challenges and opportunities facing the industry.

In this conversation, Rafi reflects on his recent successes and struggles, the rise of OTT platforms, and his vision for the future of Bangladeshi cinema.