The Cinemaholic

20 Best Bengali Movies of the 21st Century

 of 20 Best Bengali Movies of the 21st Century

The Bengali film industry is known through some of the greatest directors in the Indian film industry, if not the world. But Satyajit Ray and Ritwik Ghatak are not the be all and end all of Bengali cinema. This industry is survived by many more brilliant directors who discover the simple, yet meaningful lives of humans. It is in simplicity that the industry has found greatness, and if you think low-budget is any barrier to making brilliant movies, they all prove you wrong.

With a small industry, the faces of directors and actors are all familiar like a community, and it is beautiful to see how connected the industry is, where the directors help each other out for the sake of the art, and it is not uncommon to see them becoming actors themselves for each others’ films. Former actors who have worked closely with the likes of Ray, Mrinal Sen, Ghatak carry the legacy forward to create timeless art. With that said, here is the list of top Bengali movies ever since 2000.

20. Chalo Let’s Go

assignment bangla film

Four misfits come together to form a travel agency. On their first trip through the scenic hills of North Bengal with nine passengers, a young girl Ria joins them. A light-hearted film about the four friends and their ten passengers is a fun watch, especially when the characters are discovered so thoroughly, and Anjan Dutt brings in his own music with his beautiful screenplay.

19. Muktodhaara

assignment bangla film

When the new Inspector General of the correctional cells of West Bengal calls former dancer Niharika to help organise an event with the inmates, Niharika wishes to stage Tagore’s Valmiki-Pratibha. Niharika takes up the challenge to soften the hearts of the inmates and help them open their hearts out through art, even that of Yusuf Mohammad, a dangerous murderer who is not ready to coordinate. The journey of broken men discovering themselves through theatre is a heart-warming experience, especially when the tough exterior of Yusuf shatters to pieces as he picks up courage to hold the lead position in the drama.

18. Baishe Srabon

assignment bangla film

In the gripping psychological thriller, Chief detective Abhijit and ex-cop Prabir try to track a serial killer who leaves Bengali poetry verses with every murder. As they get more and more involved in the case, their relationships with people close to them falters, and Abhijit’s journalist girlfriend gets involved in the case while investigating. Al though the film is inspired by the De Niro and Al Pacino starrer, Righteous Kill, similarities between Baishe Srabon and Fincher’s Se7en  is apparent. This however only adds to the quality of the movie, and I would consider it as one of the most compelling thrillers in the recent Bengali film industry.

17. Ranjana Ami Ar Ashbona

assignment bangla film

When a successful band consisting of four men in their 50s go for a show in North Bengal, they are enthralled by Ranjana who opens for their band. Member Anjan decides to open a way for her career in music and invites her to meet him in Kolkata. The music film follows the ever-changing relationship of Anjan and Ranjana in their attempts to turn Ranjana into a star. Anjan Dutt’s direction and his music to go with the film creates an intoxicating experience, one that shouldn’t go overlooked.

16. Anuranan

assignment bangla film

Two couples meet in a resort in Sikkim, and as the bond between Rahul, the husband of Nandita, and Preeti, Amit’s wife grows strong, through their loneliness, their loyalties are brought to question, and the misunderstanding soon involves the society, burying the two individuals under staunch stigma and suspicion from their own spouses.  The film explores themes of loneliness and grief, with compelling characters that resonate with ourselves.

15. Abohoman

assignment bangla film

Abohoman is the story of Aniket, one of the finest film-makers of Bengal’s turbulent mind as it finds a muse in his lead actress, in place of his former muse who is his wife. With the young girl becoming more and more like Deepti, Aniket soon starts calling her Sreemoti, a name he had given his wife. He is mesmerized by Sreemoti, and as relationships are torn into shreds, and the audience comes to a tempestuous revelation.

14. Arekti Premer Golpo

assignment bangla film

When transgender documentary filmmaker Abhiroop decides to capture the life of legendary jatra actor Chapal Bhaduri, he finds himself drowning in his role as his own emotions starting falling in parallel to those Chapal’s. The film that breaks boundaries and stigma attached to transgenders, starring Rituparno Ghosh, touches you to the very core, and portrays the trauma inflicted on them by the men they loved.

13. Autograph

assignment bangla film

Srijit Mukherjee’s debut is a heartbreaking film revolving around the painful loneliness of a director, his girlfriend, and a famous Bengali actor. Miscommunications, aspirations and ego comes in between when Shuvobarata casts renowned actor Arun Chatterjee for his adaptation of Ray’s classic Nayak, alongside his girlfriend Shrin. The realistic take on the estrangement of relationships is heart wrenching, and Autograph is sure to stay with you for a long long time.

12. Antaheen

assignment bangla film

Antaheen, means endless. It is a love story that is bound by an endless waiting between two individuals who have seemingly never met in real life. Abhik, the diligent IPS Officer who is skeptical about love, and Brinda, a dynamic journalist meet online anonymously. With a not-so-perfect first meeting, and the crimes outside weighing the two down with their own responsibilities, it is difficult to fit a love-life in. Despite the barriers, their hearts ache, with endless promises to keep in a never-ending spell of loneliness, and an endless wait. Even if you are not a romantic at heart, Antaheen is sure to make its way through.

11. The Japanese Wife

assignment bangla film

A beautiful film that weaves the story of Snehmoy and his Japanese pen pal who he has fallen in love with. Never having met before, they come to marry through letters. The uniqueness of the distant love story and strength of Snehmoy’s love for Miyage despite his closeness to Sandhya, a young widow will melt hearts. However, the lingering pain of distance and helpnessness never leaves the audience.

10. Bishorjon

assignment bangla film

During the strenuous relations between the two Bengals after the Partition, Padma, a Hindu widow saves Naseer, a Muslim from West Bengal as she finds him unconscious at the shore of Ichamati river after Durga immersion. As Naseer takes refuge in Padma’s home stealthily till his wounds heal, the two develop feelings for each other. Despite the social stigma and troubles Padma has to go through to help Naseer, the lonely woman finds some solace in the foreigner, and makes sacrifices that help her find a sense empowerment.

9. Bela Sheshe

assignment bangla film

Bela Sheshe is a film about rekindling love that was seemingly lost. Fifty into their marriage, and four successfully raised children later, Biswanath seems to have lost touch with his marriage, and asks his wife Aarti for a divorce. Aarti, the simpleton who is blindly devoted to her husband is left in turmoil and pain, only to be helped by her children who come together to help their parents rediscover love, and in turn rediscover themselves.

8. Noukadubi

assignment bangla film

An adaptation of Tagore’s novel by the same name, Noukadubi is a story about two couples estranged by a fateful boat wreck. Their lives float apart and as they start to rediscover love in a new way, thousand questions arise, and the definition of true love is blurred betwwn the lines.

7. Moner Manush

assignment bangla film

The biographical musical by Goutam Ghose follows the life of folk singer and spiritual leader Lalon Fakir. An enchanting experience from the beginning to the end, Moner Manush is set in the heart of orthodox colonial India, where Lalon Fakir and his followers transcended societal boundaries, rising with the Bengali Renaissance. Breaking through the resistance of staunch orthodoxy to propagate ideas about love and equality.

6. Chotushkone

assignment bangla film

Joyobroto, a dynamic director, new to the industry brings together three directors, estranged by their past, to collaborate on an film. Each director contributes their own story to the anthology with a common theme: Death. As their past swiftly catches up to them through strained communications, the darkness of the haunting film creeps into the story, and gruesome revelations are made.

5. Praktan

assignment bangla film

A story about love lost and growing up, this movie delves into the depth of the turmoil that couples go through when love is just not enough to solve their problems. It a journey on a train with multiple characters who fit harmoniously, coming out as a more matured version of themselves by the time they reach their destination. Praktan will fill you with sorrow, pain, elation, and calm all throughout the journey with the stories of all its characters even though the film is primarily the story of Sudipa who gains a different perspective about her divorce through her conversations with Malini, a gleeful housewife, and finds the answers she is looking for.

4. Bhooter Bhobishyot

assignment bangla film

When an ad director visits a mansion to see the site for his new ad, he meets Biplab, who tells him a story about a haunted mansion where the ghosts team up to chase away the millionaire who wants to take the house down for a new shopping mall.  This comedy about the resident ghosts of the mansion is sure to leave you in laughs and giggles as you discover the comic personalities of the different ghosts and their histories. The comedy has a pure heart, and a strong story to support it. If you’re looking for genuine comedy with brilliant characters, and little scares to go with it, Bhooter Bhobishyot is your film.

3. Cinemawala

assignment bangla film

This one is for cinephiles who are lost in the longing for those times where a theatre was a place of worship, and the operators were artists. Cinemawala is a story of changing times where Pranabendu Bose struggles to keep his relevance as the owner of a cinema hall named Kamalini, with his assistant Hari. As someone who considers the art of cinema sacred, his own son deals in selling illegal CDs and DVDs. As Prakash, his son, gains popularity in the village through means that are considered sacrilege by Prababendu, he is left helpless at the face of the losses faced by his own hall. A story about the slow, painful death of traditional cinema, and the capitalization of cinema as a commodity, this film is another moving creation by Kaushik Ganguly.

2. Goynar Baksho

assignment bangla film

It is hard to fit Goynar Baksho into a particular genre: is it comedy, or drama, or horror? The multi-layered period film follows three generations of women through changing times and changing status in the society through a single connection: a jewellery box. The box was owned by the widowed head of the household of a sophisticated family in colonial India. After her family moves to India during the Partition, losing all of her possessions apart from the box, she grows paranoid about the safety of her jewels, and remains that way even after her death. She haunts the new bride of the house, coaxing her to protect the box, and eventually, her grandniece. The film is an in-depth tale about the lives of people affected by the Partition, and the overall effect of colonisation on Indians. This film is Aparna Sen’s masterpiece, and is a must-watch for lovers of good Indian films.

1. Shabdo

assignment bangla film

A film that is one of a kind, Shabdo is the story of Tarak, a foley artist of popular Bengali films, drowning in his obsession with the nuances of sound. The movie is a unique experience in itself, where a psychological disorder is treated with utmost tenderness yet with severity. Tarak struggles to accept his own illness and treatment for the same with his wife’s support. As with most Bengali films, the supporting characters are beautifully written. The film dissolves the boundaries between reality and dreams, and seamlessly flows into surrealism. There is no background score for the film. It relies solely on foleys to make the audience experience Tarak’s maddening mind.

Read More: Best Satyajit Ray Movies


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The 100 Greatest Bengali Movies Of All Time

The Hero (1966)

1. The Hero

The Cloud-Capped Star (1960)

2. The Cloud-Capped Star

The Music Room (1958)

3. The Music Room

Subir Banerjee in Pather Panchali (1955)

4. Pather Panchali

Charulata (1964)

5. Charulata

Subarnarekha (1965)

6. Subarnarekha

Soumitra Chatterjee, Simi Garewal, and Sharmila Tagore in Aranyer Din Ratri (1970)

7. Aranyer Din Ratri

Fazlur Rahman Babu, Mosharraf Karim, Shahiduzzaman Selim, and Nipun in The Unnamed (2016)

8. The Unnamed

The Clay Bird (2002)

9. The Clay Bird

Madhavi Mukherjee in The Big City (1963)

10. The Big City

Deep Jweley Jai (1959)

11. Deep Jweley Jai

The World of Apu (1959)

12. The World of Apu

Aparajito (1956)

13. Aparajito

Pratidwandi (1970)

14. Pratidwandi

Seemabaddha (1971)

15. Seemabaddha

Goopy Gyne Bagha Byne (1969)

16. Goopy Gyne Bagha Byne

Kony (1984)

18. Saptapadi

Chanchal Chowdhury in Mirror Game (2016)

19. Mirror Game

Chinnamul (1951)

20. Chinnamul

Kanchenjungha (1962)

21. Kanchenjungha

Neel Akasher Neechey (1959)

22. Neel Akasher Neechey

The Expedition (1962)

23. The Expedition

Bulbul Ahmed, Abul Khair, Shubashish, Bobita, and Arun Saha in Dipu Number 2 (1996)

24. Dipu Number 2

The Goddess (1960)

25. The Goddess

Distant Thunder (1973)

26. Distant Thunder

Jana Aranya (1975)

27. Jana Aranya

Chanchal Chowdhury and Farhana Mili in Monpura (2009)

28. Monpura

Alor Pipasa (1965)

29. Alor Pipasa

Calcutta 71 (1972)

30. Calcutta 71

Three Daughters (1961)

31. Three Daughters

Kabuliwala (1957)

32. Kabuliwala

A River Called Titas (1973)

33. A River Called Titas

Tahader Katha (1992)

34. Tahader Katha

Prasenjit Chatterjee, Jisshu Sengupta, and Swastika Mukherjee in The Reincarnate (2014)

35. The Reincarnate

Subhas Chandra (1966)

36. Subhas Chandra

Dhritiman Chatterjee, Simi Garewal, and Mrinal Sen in The Guerilla Fighter (1973)

37. The Guerilla Fighter

Runway (2010)

39. Sonar Kella

Prasenjit Chatterjee, Goutam Ghose, Raima Sen, Parambrata Chattopadhyay, and Abir Chatterjee in 22 Shey Shraban (2011)

40. 22 Shey Shraban

Dhritiman Chatterjee and Smita Patil in In Search of Famine (1981)

41. In Search of Famine

Antarjali Jatra (1987)

42. Antarjali Jatra

Ranjit Mallick in Interview (1971)

43. Interview

Ajit Banerjee, Haradhan Bannerjee, Lily Chakravarty, Soumitra Chatterjee, Dipankar Dey, Ranjit Mallick, and Mamata Shankar in The Branches of the Tree (1990)

44. The Branches of the Tree

Pathetic Fallacy (1958)

45. Pathetic Fallacy

Charachar (1994)

46. Charachar

Chowringhee (1968)

47. Chowringhee

Siddhartha Chatterjee, Soumitra Chatterjee, Utpal Dutt, and Santosh Dutta in Joi Baba Felunath: The Elephant God (1979)

48. Joi Baba Felunath: The Elephant God

And Quiet Rolls the Dawn (1979)

49. And Quiet Rolls the Dawn

The Home and the World (1984)

50. The Home and the World

Parashuram (1979)

51. Parashuram

Paroma (1985)

53. Autograph

Jhinder Bandi (1961)

54. Jhinder Bandi

Humayun Faridi, Riaz, Meher Afroz Shaon, Ahmed Rubel, Ejazul Islam, Tania Ahmed, Monir Khan Shimul, Faruque Ahmed, and Challenger in Shyamol Chhaya (2004)

55. Shyamol Chhaya

Riaz and Sharmin Zoha Shoshee in Haajar Bachhar Dhorey (2005)

56. Haajar Bachhar Dhorey

The Kingdom of Diamonds (1980)

57. The Kingdom of Diamonds

Rahul Bose and Radhika Apte in Antaheen (2009)

58. Antaheen

Surja Dighal Bari (1979)

59. Surja Dighal Bari

Haradhan Bannerjee, Soumitra Chatterjee, and Madhavi Mukherjee in The Coward (1965)

60. The Coward

The Stranger (1991)

61. The Stranger

Soumitra Chatterjee and Ruma Guha Thakurta in An Enemy of the People (1989)

62. An Enemy of the People

Deya Neya (1963)

63. Deya Neya

Raisul Islam Asad in Lalsalu (2001)

64. Lalsalu

The Zoo (1967)

65. The Zoo

Prasenjit Chatterjee, Rituparna Sengupta, Anindya Chatterjee, Surojit Chatterjee, and Anupam Roy in Praktan (2016)

66. Praktan

Aguner Poroshmoni (1994)

67. Aguner Poroshmoni

Sudden Rain (1998)

68. Sudden Rain

Ahmed Rubel, Azad Abul Kalam, Shatabdi Wadud, A.T.M. Shamsuzzaman, and Jaya Ahsan in Guerrilla (2011)

69. Guerrilla

Meher Afroz Shaon and Zahid Hasan in Srabon Megher Din (1999)

70. Srabon Megher Din

Charuprakash Ghosh in The Holy Man (1965)

71. The Holy Man

Antony Firingee (1967)

72. Antony Firingee

Joyjatra (2004)

73. Joyjatra

Padma Nadir Majhi (1993)

74. Padma Nadir Majhi

Tulsi Chakraborty in The Philosopher's Stone (1958)

75. The Philosopher's Stone

Parambrata Chattopadhyay and Koyel Mallick in Hemlock Society (2012)

76. Hemlock Society

The Case Is Closed (1982)

77. The Case Is Closed

Prasenjit Chatterjee in Moner Manush (2010)

78. Moner Manush

Sabyasachi (1977)

79. Sabyasachi

Bhooter Bhabishyat (2012)

80. Bhooter Bhabishyat

Chorus (1975)

82. Television

Baksa Badal (1970)

83. Baksa Badal

Uttam Kumar, Kamal Mitra, Madhavi Mukherjee, and Anjana Bhowmik in Thana Theke Aschi (1965)

84. Thana Theke Aschi

Oka Oori Katha (1978)

85. Oka Oori Katha

Sriman Prithviraj (1973)

86. Sriman Prithviraj

Aishwarya Rai Bachchan in Choker Bali: A Passion Play (2003)

87. Choker Bali: A Passion Play

Pathey Holo Deri (1957)

88. Pathey Holo Deri

Kokhono Megh (1968)

89. Kokhono Megh

Belaseshe (2015)

90. Belaseshe

Utsab (2000)

92. Shimana Periye

Noukadubi (2011)

93. Noukadubi

Mamun in Ghetuputra Komola (2012)

94. Ghetuputra Komola

Shubho Mahurat (2003)

95. Shubho Mahurat

Byomkesh Bakshi (2010)

96. Byomkesh Bakshi

Shabdo (2012)

98. Apur Panchali

Uttam Kumar and Suchitra Sen in Harano Sur (1957)

99. Harano Sur

Swayamsiddha (1975)

100. Swayamsiddha

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HIS 101-Bangladesh: Culture and Heritage Assignment Topic: Cinema of Bangladesh Submitted to

Profile image of Z.M.Z Hadik

Cinema, or motion picture, is the art of moving images; a visual medium that tells stories and exposes reality. Cinema is the world’s most recent art form and so far, the world’s most complex, collaborative, and costly artistic expression. Nowadays, cinema can be defined as the art of colorful moving images enhanced by voices, sounds, and music. It is also telling stories and entertaining human. Cinema is the greatest media of a country which can easily portray a country, its population, ideas, philosophy and cultures. In this modern era one does not need to watch cinema in cinema hall as it can also be available at home. Film has a uniquely powerful ubiquity within human culture. Cinema has become a powerful vehicle for culture, education, leisure and propaganda. Contemporary research has also revealed more profound aspects to film’s impact on society. In a 2005 a paper by S C Noah Uhrig says ‘Cinema is good for you: The Effects of Cinema Attendance on Self-Reported Anxiety or Depression and ‘Happiness'. Film is a reflection of society, both present and past. Film and its innovations sometimes have to catch up to society but sometimes it leads society too. Movies are stories; movies are people who come out with ideas about something they want to say something they want to tell someone. Movies are a form of communication.

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Fahmida Akhter

This paper aims to outline the historical and regional context of Bangladeshi cinema, exploring its different integral aspects, such as production value, style, cultural content, representation, nation state policies, distribution and exhibition practices, transnational connections and other industrial factors. At the same time, this paper examines the role of film in the formation of Bangladeshi national culture and the analytical approaches and complexities revolving around the concept of national cinema in Bangladesh. The concept of ‘national cinema’ has been commonly linked to the sociological thinking of the nation and its national identity, and it is also rooted within the geopolitical and cultural boundaries of a nation state. Again the idea of national cinema is not perennial like the idea of nation. National cinema has been a negotiated and changing concept, shaped by both the inward contemporary cultural specificity of a nation state and the outward cultural influence gained through its transnational encounter. Therefore, in order to study the concept of national cinema of Bangladesh in this paper, I address and discuss a series of issues: the concept of Bangladeshi nationalism, its relation to Bangladeshi film culture, a brief context and the conditions of contemporary film industry, the transnational affects and effects of rapidly changing mediascape on Bangladeshi film culture.

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Muhammad Shajjad Ahsan

The objective of this study is to understand how the integration of digital technology (DT) in the Bangladesh Film industry has been responded to by its production, distribution and exhibition related organisations. Since no research on digital integration has been considered in a developing country context, and specifically within the area of concentrating on the industry rather than the films themselves, this research therefore addresses the gaps within the knowledge field. The Bangladesh Film Industry (BFI) used to be a centre for film production, distribution and exhibition, but this traditional industry has been in decline for decades. In response to the decline, the government started an integration process of DT in 2003, yet eight years after the launch only a fraction of the project has been completed. Apart from its partial adoption in the film production sector, distribution and exhibition have appeared to resist the adoption of new technology. This thesis therefore sets out to explore the causes of partial integration of DT in the film industry in Bangladesh through a study of the workforce, business owners, practitioners, scholars, government officials and executives functioning in and outside the industry. With the mixed method approach and emphasis on qualitative engagement (two case studies and 38 interviews), this thesis explores current attitudes and beliefs and identifies potential barriers to effective integration. In particular this dissertation examines five areas: technology integration, training for workforce development, production, distribution and exhibition capabilities, and argues that the political factor was the most important driver in integrating DT, while knowledge integration, training, and development of digital production, distribution and exhibition compatibility at individual and organisational levels were ignored. Moreover, the greatest concern of losing a job or business within the industry community due to inadequate knowledge, skills and finance is impeding the possibility of full completion of the integration process within the industry. Overall, two important contributions of this research include 1) an exploration of factors that impeded progress of the film industry in responding to the DT and 2) a formulation of some suitable recommendations to overcome the challenges in order to completely realise the integration of DT within the Bangladesh Film Industry. However, further research is recommended to investigate whether completion of the integration process will save the industry from decline or not.

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Disc Reviews

The assignment | blu-ray review.

Aaron Schimberg A Different Man Review

Picked up by Saban Films for US distribution, a retitled version hit theaters, (but barely, and after it was already made available on VOD) in April of 2017, and was subsequently slaughtered by culture critics unable to deliberate the gender politics of a vengeance narrative refusing to play by the rules of good taste. That said, despite some questionable choices, it’s a pulp-fueled grungy neo-noir and a marvelously campy Sigourney Weaver manages to smooth over the film’s jarringly jagged edges.

In present day San Francisco, brilliant but demented surgeon Dr. Rachel Kay (Sigourney Weaver) is being reevaluated by a psychiatrist (Tony Shalhoub) who has been charged with determining if the woman, deemed clinically insane, is now mentally fit to withstand trial. It seems she was found wounded on an operating table with the bodies of several corpses around strewn about in her illegal underground clinic where she frequently experimented on ‘disposable’ people her hired thugs would fetch. The good doctor insists she didn’t murder her bodyguards, which instead was the work of an assassin, Frank Kitchen (Michelle Rodriguez), a man she had taken vengeance on two years prior by drugging him and performing sex reassignment surgery to turn him into a woman. But there’s no record of a man or woman with such a name, and no evidence to suggest anyone else was at the scene of the crime. But as Dr. Kay tells her tale, the odyssey of Frank’s transition, and how it played into the current state of affairs, is revealed.

Those concerned with a cisgender woman portraying a reluctant trans woman (the same audience members, who, by default, must also believe LGBT performers can only portray LGBT characters defined by their representative letter) should note Hill isn’t the first director to formulate a revenge plot around forced sex reassignment, recently explored in Pedro Almodovar’s The Skin I Live In (2011), and with greater complexity by Rainer Werner Fassbinder back in 1978 with In a Year with 13 Moons . Rather, this plot device would seem to belong to a particular subgenre of body horror. But Hill and screenwriter Denis Hamill amp up the camp of both those auteurs with this treatment, which also resembles a plot point of Hill’s underrated 1989 neo noir Johnny Handsome . As evidenced by the comic book swipe transitions Hill recently formulated in a director’s cut of his classic The Warriors (1979), this is clearly supposed to be entertaining pulp, and clearly not as a logical representation of an actual transgender trajectory (as evidenced by a slick and magical surgical transition, reminiscent of vintage Hollywood studio films where marred beauty was always easily restored).

As Frank, Rodriguez is front and center (her most notable leading performance since 2000 breakout Girlfight ), voiced with a gruff machismo, and leading the film through a series of flashbacks, involving a swath of vengeful killings which do little to enliven the film with any real energy (likewise, a rather wan supporting turn from Caitlin Gerard as nurse Johnny seems to be on hand merely for a surprise reveal). The formulation of Frank’s punishment is much like the Penelope Cruz character of Don’t Tempt Me (2001), a mobster turned into a woman as part of her punishment while residing in hell. The point of Hill’s film isn’t to degrade or demean, but instead exists on a spectrum depicting and dealing with inherent cultural misogyny—if a punishment worse than death is to exist as a woman, the film underlines the continual problematic notions of gender in a world where men are considered superior (to borrow a snatch from Madonna, “Because you think being a girl is degrading”). The psychological shadings of (re)Assignment aren’t so layered or cerebral as this would suggest, and in many ways the film resembles exploitation cinema in style and tone.

However, what makes The Assignment of automatic note is a deliriously funny performance from a deadpan Sigourney Weaver as the psychotic Dr. Rachel Kay, the actor’s first real turn calibrated specifically for camp. A pretentious and privileged surgeon, she’s interviewed in a straitjacket by physician Tony Shalhoub—why and how she ended up in such a position is revealed through large swaths of exposition, divulged via chewy chunks of mocking banter where Weaver belittles her colleague through literary allusions to Poe and Shakespeare. A generous amount of withering monologues delivered by her unhinged surgeon buoy the film with some priceless comic relief.

On the technical side, DP James Liston manages to make the film look like one of Hill’s 80s action titles (with Canada standing in for San Francisco), while increasingly meticulous intertitles announcing specific times and locations eventually mutates into an exaggerated, ongoing joke. And perhaps best of all is a phenomenal synth score from none other than Giorgio Moroder adding an additional layer of grungy ambience, marking The Assignment as a gem for those who can appreciate bold, retro style spliced with button pushing genre.

Disc Review:

It’s no surprise to see The Assignment receive a bare bones home entertainment release, although this high-definition presentation with 5.1 DTS-HD Master Audio in widescreen 2.39:1 doesn’t do the minuscule budget of the film any real favors. A lack of any significant bonus features also instills a sense of neglect from all corners, despite the noted controversy the film engaged and its defense from Hill and his two leading ladies, who also notably supported the film during its release.

Filmmaking Portraits: A two minute montage of behind-the-scenes pictures of Hill and his cast members set to the film’s score comprises the lone extra features.

Final Thoughts:

Perhaps destined as an uninformed punchline for unacceptable representations of transgendered characters, The Assignment (which kept the moniker Tomboy for its UK release) is not a film about being transgendered. Its attempt to be a brutal condemnation of immorality and masculinity, however tone-deaf, provides the loquacious crux of an old-fashioned revenge thriller from a maverick director whose greatest slight was delivering a compromised product hobbled by a meager budget and a distracting lead performance from Michelle Rodriguez.

Film Review: ★★★½/☆☆☆☆☆ Disc Review: ★★★/☆☆☆☆☆

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Los Angeles based Nicholas Bell is's Chief Film Critic and covers film festivals such as Sundance, Berlin, Cannes and TIFF. He is part of the critic groups on Rotten Tomatoes, The Los Angeles Film Critics Association (LAFCA), the Online Film Critics Society (OFCS) and GALECA. His top 3 for 2021: France (Bruno Dumont), Passing (Rebecca Hall) and Nightmare Alley (Guillermo Del Toro). He was a jury member at the 2019 Cleveland International Film Festival.

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Translation of assignment – English–Bengali dictionary

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  • It was a jammy assignment - more of a holiday really.
  • He took this award-winning photograph while on assignment in the Middle East .
  • His two-year assignment to the Mexico office starts in September .
  • She first visited Norway on assignment for the winter Olympics ten years ago.
  • He fell in love with the area after being there on assignment for National Geographic in the 1950s.

(Translation of assignment from the Cambridge English–Bengali Dictionary © Cambridge University Press)

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Translations of assignment.

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a large office in which a company's employees provide information to its customers, or sell or advertise its goods or services, by phone

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assignment meaning in Bengali

Assignment - meaning in bengali, nearby words:, see 'assignment' also in:, share 'assignment' with others:, browse dictionary, words by topics, idioms (বাগধারা), english phrases, four letter words, translation/ expressions, proverbs (প্রবাদ বাক্য), three letter words, recent lessons, stakeholder.

একটি প্রকল্পে প্রভাব রাখতে পারেন, কিংবা সেই প্রকল্পের সাথে স্বার্থ জড়িত রয়েছে

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Circle Back

একটি ধারণা বা সিদ্ধান্তকে পুনঃবিবেচনা করার জন্য পূর্বে আলোচিত কোনো ...

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  • Inquire about ( অনুসন্ধান করা (কোন ব্যপার) ) I inquired of him about (into) the matter.
  • Rejoice in ( আনন্দ করা ) Every one rejoiced in her success.
  • Send for ( ডেকে পাঠানো ) Send for a doctor immediately.
  • Play on ( বাজানো ) He played on guitar.
  • False to ( মিথ্যাবাদী ) I cannot be false to my friend.
  • Due to ( কারণে ) His absence is due to illness.
  • Now and then ( মাঝে মাঝে ) He comes here now and then.
  • host in himself ( একাই একশ )
  • At all ( আদৌ ) He does not know French at all.
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  • At stake ( বিপন্ন ) His life is at stake now.
  • a rotten apple ( কোনো একটা দলের সব ভালোর মধ্যে খারাপ বা মন্দটা ) In any group of average citizens there are bound to be a few rotten apples.

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