The Bangladesh Film Development Corporation (FDC) was a hive of activity, with various film sets and production units operating simultaneously. Amidst this busy atmosphere, Afran Nisho and Nusrat Faria unexpectedly crossed paths while working on their respective projects. The two actors took a brief break from their professional commitments to catch up, exchange updates on their current work, and enjoy a moment of camaraderie. As they navigated the studio, they encountered other familiar faces, leading to shared conversations about the industry and nostalgic stories from the past.
By 1:30 PM, director Mehedi Hassan Hridoy was prepared to film scenes for his new web film, “Lapatta,” near the fountain spot. After sending word to his lead actress, Nusrat Faria arrived on set wearing a vibrant pink saree, accompanied by an assistant holding an umbrella. This project marks the first collaboration between Faria and director Hridoy. The fountain area had been elaborately decorated with a bridge adorned in colorful fabrics and various flowers to suit Faria’s character requirements for the scene.
On the same set, actor Rusho Sheikh, who portrays the lead character in “Lapatta,” was already present and in costume. During the shoot, the director played the classic song “Ei Bukey Boichhe Jamuna”—originally performed by Monir Khan and Kanak Chapa for the film “Premer Tajmahal”—at high volume to set the mood. The song, which famously featured Riaz and Shabnur in the nineties, will be used briefly in “Lapatta” with Faria and Sheikh on screen. Following these takes, the production prepared for scenes involving actor Nasir Uddin Khan, who plays three distinct roles in the film: a father and son from the Muchi community, and a businessman.
During a break, Faria expressed her excitement about the project, noting that the story is excellent and she is happy to return to a character she feels connected to. She also reflected on her encounter with Afran Nisho, mentioning that their meeting at the FDC was a pleasant surprise. They both inquired about each other’s ongoing work, finding the brief reunion to be a highlight of their day at the studio.
Elsewhere in the FDC, preparations were underway for another production near the Director’s Association floor. A crew member revealed that the set was being designed for a song sequence in the film “Bashor Hobe Matir Ghore.” Nearby, veteran director Badal Khandakar was seen engaging in lively discussions with fellow filmmakers on the association’s veranda. Their conversation spanned the history of Bangladeshi cinema, touching upon legendary figures like Ehtesham, and contemporary directors like Raihan Rafi, as well as memories of stars like Salman Shah and Shakib Khan. While Khandakar is currently more focused on business, he frequently visits the FDC to reconnect with the industry and its people.
Regarding his own future projects, Khandakar hinted at a potential return to the big screen this year, with a sequel to “Surongo” being a strong possibility, and potentially another film if conditions align. As the day progressed, the FDC remained a place of constant motion; near the Karoitola area, makeup artist Mohammad Salim mentioned he was in the studio to discuss an upcoming project. From the makeup rooms to the canteen and the fountain spot, the FDC continues to thrive as a hub where the small, spontaneous moments between takes keep the spirit of cinema alive.
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