Rubaiyat Hossain’s ‘The Difficult Bride’ Selected for TIFF 2026

Bangladeshi filmmaker Rubaiyat Hossain’s latest feature, The Difficult Bride, has been officially selected for the 51st Toronto International Film Festival, where it will be presented in the Centrepiece programme as a North American premiere. The festival will run from September 10 to 20, 2026. The selection follows the film’s inclusion in the Orizzonti competition at the upcoming 83rd Venice International Film Festival. Directed by Hossain, the 87-minute psychological horror film is an international co-production involving France, Bangladesh, Portugal, Norway and Germany. Set in contemporary Dhaka, the film follows a bride-to-be preparing for

‘Mukh O Mukhosh’ at 70: The Birth of Modern Bangladeshi Cinema

Bangladesh marks 70 years today since the release of Mukh O Mukhosh, the film widely regarded as the starting point of the country’s organised feature-film industry. Directed by Abdul Jabbar Khan, it premiered at Roopmahal Cinema Hall in Dhaka on 3 August 1956. The opening show was inaugurated by Sher-e-Bangla A. K. Fazlul Huq, who was then Governor of East Pakistan. Produced under the banner of Iqbal Films, Mukh O Mukhosh was the first full-length Bengali-language sound feature made in East Pakistan, the territory that later became Bangladesh. Its importance lies

The Child Is Grown, the Dream Is Gone: Growing Up with Spider-Man

“The child is grown, the dream is gone.” The line is from Pink Floyd’s “Comfortably Numb,” on The Wall. I have been thinking about it since watching Spider-Man: Brand New Day, because Spider-Man has become one of the ways I measure time. I remember part of my childhood through a red-and-blue suit moving across a computer screen. I first watched Sam Raimi’s Spider-Man around 2007. The details surrounding that day have blurred; the image has not. Tobey Maguire’s Peter Parker was bitten by a radioactive spider and discovered that his ordinary

How Christopher Nolan Turns Cinema into a Cultural Event

Christopher Nolan remains one of the few contemporary directors whose name alone possesses the pull of a public event. A new release does not simply debut; it incites speculation, critical debate, and fierce audience loyalty long before the initial teaser has finished its first run. This identity as a theatrical essentialist drives his latest feature, The Odyssey (2026). Released on July 17, the film became the first feature shot entirely with IMAX film cameras, representing the most ambitious expression yet of Nolan’s commitment to large-format theatrical exhibition. From Following