The protagonist’s full name is in the title of the film – Dr Rehana Maryam Noor. But his innate dignity is not about the home until the last shot. Until then, the assistant professor of young medicine.
A widow with a girl in first grade, was just a teacher who did not bow from hell, Rehana. For starters, he flexed his moral muscle by driving out a med student.
To scratch the note behind the ruler during the exam. But it was only warming up for what happened. When he stumbled on a professor to abuse a student.
He chased him like a hungry dog attacking the bones.
The second feature of the authors of Abdullah Mohammad Saad (directly from Dhaka) is not just a cold portrait of a woman who is not balanced.
Playing with extraordinary intensity by the newcomer Azmeri Haque Badhon. He was both amazed by a woman attached. To his weapon and refused to look in another direction.
Like everyone else, in the case of messy sexual violence. His Bulldog’s tenacity made him a hero of the hero and mercy. Making it difficult for feminists to champion but even more uncomfortable for defenders harassment.
S*xism widespread and openly in Bangladesh Medical College, where Rehana works. Professor Arefin (Kazi Sami Hassan) took a relaxed approach to various student errors. And let them go with a slap on the wrist.
While the Rehana preferred to cut their heads. Wrapped with a white scarf that emphasized his inner purity. He glared at Annie, a student who emerged from the Arefin office in tears. He felt something terrible had happened and wanted to know more.
When the story continues, as well as Rehana’s involvement in infidelity. “I’m a witness and I can’t be silent.” He did his best to force Annie to report Princess to the Principal; When he refused, Rehana decided to claim he was raped. The important thing is to confess and resign. Making him impossible for him to attack other college girls in the future.
At this point, most of the audience will be with him:
Even though it is possible with some bookings about his enthusiasm to hang the public. But there was a black niche in the young woman’s mind. Who changed the second half of the film into a journey. That was panting into repression, anxiety, and female violence.
Most of the life of the Rehana ranges from his daughter. Who often overlooked by Emu (Afia Jahin Jaima), which he called “Mummy”, while the little girl called him “Mumma”.
Emu has shown a solid hard scratch that Mumma has destroyed him. And their battle will be a no-win contest that heats the heart. The more clear that the Rehana reflects itself to the child and their psychology plays a role worryingly.
It can be said that there is no perspective in a psychological and moral field that shifts movies. Which overlaps and challenges viewers to look into two different directions at the same time.
Like the brother of the Rehana asked when he dropped Emu with Mumma. Knowing that his sister would greatly disappoint the expectations of the child, “Do you do this for himself?”
Saad has a truly confident hand in directing Badhon and guiding it into an octave of a higher role when the drama grows and grows. He and Dp Tamijol adopt a solid technical choice. The most felt is the heavy blue gyps. Those are given to every scene, cold and decent. Which seems to rob a life scene.
The mind and obsession of one-track Rehana are also reflected. In keeping the face in the foreground in focus, while the background blurs together. The camerawork is handheld and very intuitive and has never been entirely stable.