An industry cannot survive on festival-centric releases alone: Misha Sawdagor

A celebrated figure in Bangladeshi cinema, Misha Sawdagor has been the defining face of villainy in Dhallywood for decades, dominating negative roles with unmatched presence. Having acted in a record number of films, he has long held a top position as a leading antagonist. In recent years, he has consciously pushed beyond familiar territory, experimenting with varied roles. This year, he is set to take up two new projects, "Malik" and "Tochnoch".

He shared about his career, industry and his plans this year.

From a career perspective, how do you see 2025?

I have worked very little. Tell me—where is the work? In reality, there is hardly any. Film releases have become festival-centric, but can an industry survive like that? An industry cannot survive on festival-centric releases alone.

There was a time when hundreds of cinema halls were in operation and several films released every week. Audiences went to theatres with real passion and excitement. Where is that now? The halls are gone, and films are no longer made the way they once were. Releasing films only during two major festivals cannot sustain an industry—we need a regular, everyday market.

Just as we need three meals a day to survive, cinema also needs regular releases to stay alive. That is why work has reduced. Whatever little work exists is very limited. The old film hubs are gone—Kakrail, Gulistan, once so alive with production houses and producers' offices, are now silent. With fewer producers, naturally, our work has declined too.

There is also a crisis of artistes, isn't there?

There is a crisis everywhere. Apart from Shakib Khan, how many heroes are there whose names alone can run a film? How many producers are there? How many heroines are there whose names can draw audiences?

Only a handful of films are being made each year. This will not resolve the crisis. We need more cinema halls, more producers, more heroes and heroines, better stories, and regular film releases. We need many films, and we need many theatres.

What do you see as the main reason behind the sharp decline in film production in recent years?

That is something you should say—why has work declined? I am an artiste. You should investigate and find out why this has happened. One "Borbaad" will not fix everything. Many "Borbaad" are needed. One act of justice is not enough; many acts of justice are required.

If there were hundreds of cinema halls and many more producers, then there would naturally be more work.

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Looking back, there was clearly more work and more artistes. How do you explain that difference?

Films ran on Nayak Raj Razzak's name alone, and the stories were strong. There was Alamgir, Sohel Rana—each of them acted in hundreds of films. There were Farooque and Wasim. Many others as well. Films ran on their names, and the stories were good.

There were many talented directors and producers, screenwriters, music directors, and lyricists. There was Salman Shah. All of that is missing today. Big-budget films were made. Films must be released throughout all twelve months of the year—not only during two festivals or over two months. To attract audiences, strong stories are essential. Otherwise, it will not work.

From 'Borbaad' to several other notable performances, audiences have embraced your work—what does that recognition mean to you?

I have done many films in my career and played a wide range of characters. I have always worked with sincerity and love. Whenever I take on a role, I immerse myself completely in it.

For "Borbaad", I received a great deal of love from people. There are many other works as well for which I have been blessed with the audience's affection.