“Ali” at Cannes: A Historic First That Could Rewrite the Future of Bangladeshi Cinema

The film, produced by Tanveer Hossain (from Bangladesh) and Kristine De Leon (from Philippines), was shot in Sylhet during November 2024. Line production was handled by Runout Films,and the project was executive produced by Habibur Rahman Tarek. Due to festival regulations, details about the storyline still remain under wraps.

But this moment isn’t just a first. It’s a door being opened. A flag planted. A signal that Bangladeshi cinema is no longer sitting on the sidelines of global storytelling - it’s entering the room.

Sourced from Adnan Al Rajeev // Facebook

Producer Tanveer Hossain emphasized the broader cultural impact of this moment, saying,

“We don’t usually give short films the attention they deserve. But it is through such work that young filmmakers mature and gain experience. With this achievement, we want to say - yes, we too create work of global standard.”

“Last year at Cannes was magical! But this year we are returning to Cannes but not just one - with two films from our company Katalog and that too are in competition. ALI, made with Filipino partners and ”Agapito” by Arvin Belarmino and Kyla Romero with Bangladesh partners. “

The Bigger Picture: What This Means for Bangladesh’s Film Industry

This isn’t the first time Bangladesh has made ripples at Cannes. Mostofa Sarwar Farooki’s “Saturday Afternoon” (Shonibar Bikel) received international recognition after its Berlinale buzz and screenings in other major festivals, while Rubaiyat Hossain’s “Made in Bangladesh” garnered acclaim at the Toronto International Film Festival. Earlier, Tareque Masud’s “Matir Moina” famously won the FIPRESCI Prize at Cannes in 2002 - a moment many believed would usher in a new age of Bangladeshi cinema.

But such milestones often arrived in isolation, brief flashes of promise in a system that struggled with infrastructure, funding, censorship and distribution. “Ali” feels different. It comes at a time when independent filmmaking in Bangladesh is experiencing a quiet surge, powered by OTT platforms, international co-productions and a new generation of filmmakers no longer willing to wait for validation.

By breaking into Cannes’ short film competition, “Ali” sends a clear message: global-quality stories are being made in Bangladesh, by Bangladeshi creatives, and on their own terms.

Why This Matters And Why It Must Continue

What makes this moment powerful is not just the red carpet visibility - it’s the potential chain reaction. International selection doesn’t just boost one director’s career. It builds credibility for the entire ecosystem:

Film students are inspired to aim higher, local producers gain confidence in investing in risky, art-house projects, streaming platforms take note of indie talent, grants and co-productions become easier to access and policy conversations about film support and censorship find new leverage.

And at a time when global audiences are increasingly looking beyond Hollywood for original, diverse stories, Bangladesh, rich in cultural nuance, social complexity, and untold narratives - has never been better positioned to rise.

A Narrative Shift in the Making

“Ali” is not just a film. It’s proof of concept. Proof that Bangladeshi stories can hold their own among the world’s best. Proof that creative collaboration across South and Southeast Asia is not only possible but powerful. And proof that for all its challenges, the country’s film industry is not behind, it’s just beginning a new chapter.

So the question now is: Will we keep this momentum going? Will we build the structures, funding, freedom and support systems necessary to turn these one-off victories into a thriving movement?

Because if “Ali” is any indication, Bangladesh doesn’t just belong at Cannes - it belongs in the future of global cinema.