Jeddah, Saudi Arabia: Maqsood Hussain’s film Saba from Bangladesh is creating a buzz at the fourth Red Sea International Film Festival. The film, featured in the competition section, delves into the untold struggles of Bangladesh’s poverty-ridden society. Set against the backdrop of the country’s recent communal riots, it uses the European neo-realist framework to tell its story. This film marks a significant entry into world cinema for Bangladesh.
The film centers on Saba Karimi (Mahjabeen Chowdhury), a 25-year-old unmarried woman living in a small public flat in Dhaka. Her life is filled with hardship as she cares for her ailing mother Shirin (Rukeya Prachi), a heart patient paralyzed from the waist down. Saba had to abandon her studies due to financial constraints, and her father has fled to Norway, leaving her alone with her mother. Their lives are trapped in an endless cycle of poverty, emotional imprisonment, and helplessness.
To support her family, Saba works at a hookah bar in Dhaka. Initially, the manager, Ankur, refuses to hire her, believing women shouldn’t work in such places, especially late at night. Slowly, Saba earns his trust and convinces him to allow her an hour off each night to care for her mother. She rushes home to change her mother’s diaper, feed her, and give her medication before returning to work. In her moments of despair, Ankur becomes her only hope. However, he has his own struggles, planning to escape to France after the death of his wife.
The situation becomes dire when Saba’s mother’s health deteriorates, and she requires an operation costing Rs. 1 lakh. Saba desperately tries to mortgage their flat but learns that her father has already sold it. In a twist, Saba reports a theft at the bar, and in exchange, the owner gives her the money needed for her mother’s operation. This forces Saba to betray Ankur, causing him to lose his job and dream of going to France.
Maqsood Hussain captures the harsh realities of Dhaka’s lower-middle-class life. In one poignant scene, Saba and Ankur, escaping their oppressive environment, drink beer on a Dhaka flyover until the police arrive. Ankur manages to resolve the situation by bribing the officers. In another moment, Saba takes her mother to a park, allowing her to breathe fresh air for the first time since her paralysis. Despite the brief respite, Shirin distrusts Ankur, believing he will eventually leave Saba.
Saba doesn’t make overt political statements, but it powerfully illustrates the disability imposed by poverty and helplessness. Shirin’s paralysis symbolizes the society’s broader dysfunction. Saba’s life, too, is overshadowed by fate, yet she continues to fight, relying on her hard work and integrity. Mahjabeen Chowdhury’s portrayal of Saba is exceptional, capturing the quiet determination of a woman trapped by circumstances. In the film’s final scene, after all the turmoil, Saba returns to Ankur’s home, and the silence between them speaks volumes about their unspoken connection.
Through this compelling narrative, Saba highlights the struggle of the disabled and marginalized in Bangladesh, portraying their battles in a society that is often indifferent to their plight.
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