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Kagojer Phool est un film Bangladais réalisé par Catherine Masud avec Jayanta Chattopadhyay

Kagojer Phool

Kagojer Phool
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Réalisé par ,    
OrigineBangladesh

Kagojer Phool (Bengali : কাগজের ফুল The Paper Flower) is an unfinished Bangladeshi drama film directed by Tareque Masud and Catherine Masud. The film is based on the life of Masud's father.

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Suggestions de films similaires à Kagojer Phool

Il y a 12 films ayant les mêmes acteurs, 7 films avec le même réalisateur, pour avoir au final 16 suggestions de films similaires.

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Ontorjatra (literally meaning "inner journey") is an Bengali intimate exploration of the complex issues of dislocation and identity in a diasporic world. After 15 years in the UK, Shireen and her son Sohel return to their home in Sylhet, Bangladesh for the funeral of Sohel's father. For Shireen the homecoming allows her to make peace with her ex-husband and his family, for Sohel, the journey allows him to connect with a family and a "homeland" he has never known.
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Muktir Katha is a film about the liberation struggle of 1971. The film is an archive of the ways in which ordinary people fell victim to genocide, rape and other atrocities. The struggle still ranging in the countryside, and struggle for a more just and democratic society. The combined footage shot used in the film was taken from American film maker Lear Levin.
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In 1971 the people of East Pakistan (now Bangladesh) waged a bitter war of liberation against West Pakistan, which ended in December in 1971 with the foundation of the state of Bangladesh. The film Muktir Gaan is an special and rear archive of footage of this war. Firstly the footage taken by American filmmaker Lear Levin shot of a group of young musicians and actors who at the time travelled through the country with battle songs and political puppet shows. The film follows the group not only during their performances for refugees and guerillas but also during their travels, which has produced many melancholy pictures. Levin's material is available for the first time thanks to two filmmakers from Bangladesh who, being discontent with the present regime, wanted to remind the Bengal people of the initial motives of the war of liberation: freedom and democracy. Despite opposition by the government, the film was screened in Bangladesh where it was a resounding success.
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