Eid saves the screens as struggling cinemas snap out of year-long slumber

“Back in the day, whenever we had Tk 20 or 50," Nasrin Hossain Mita says with a wistful smile, "my sisters or friends and I would run off to the cinema, most often to Rajmoni, like it was magic waiting behind the curtains."

That magic, it seems, has long left the building.

“Rajmoni doesn’t even exist anymore,” adds Mita, now a resident of Dhaka’s Basabo, speaking to Glitz.

And the ones that do? "Not worth it."

“I went to a hall once and found the chairs broken, the sound system terrible. The audience made it impossible to enjoy the film in peace. I left before the movie was even halfway through.”

She’s not alone in her disillusionment. Mirza Rashedul Hoque, who once frequented the iconic Balaka hall in Nilkhet, doesn’t mince words: “Cinema halls are done for.”

The disappointed Central Road resident adds: “Yes, we have cineplexes now, but I don’t think they’ve truly replaced traditional cinema halls.”

He recalls his university days in the 90s, when going to the cinema during Eid or on other occasions was a cherished memory.

“Now I hear that cinema halls only run during Eid, and many are crumbling. I’m not sure where the movies will be screened if that’s true.”

That question looms large as Glitz’s investigation into the state of cinemas in Dhaka and beyond reveals a troubling picture.

Distributors and producers revealed a stark truth: most cinema halls across the country are either permanently shut or remain empty for much of the year.

The few that remain open now survive on two spikes of relevance—Eid-ul-Fitr and Eid-ul-Azha, when big-budget films are released.. The rest of the year, they sit in the dark.

For many theatres, Eid has become their only lifeline.

The rest of the year, hall owners struggle to break even due to a lack of audience. Most halls lack modern amenities, and there is little effort given toward renovation or upgrades.

This dependence on Eid, coupled with poor management and the absence of renovations, is steadily shrinking the cinema hall business in Bangladesh.

Film distributors told Glitz that there are currently 141 operational cinema halls in the country, including the seven Star Cineplex branches. However, they stressed that this number is misleading.

In reality, only about 60 halls remain open year-round, and over 30 of those primarily show old films, mainly the 90s “cut-piece” cinema or reruns of commercially successful Shakib Khan movies.

According to distributor estimates, the other 81 halls do not operate regularly. Of these, around 39 open only for new Eid releases.

Another 42 halls are rented out on a case-by-case basis, depending on the time and type of film. In many cases, owners no longer manage the halls themselves. Instead, they lease them to booking agents on monthly contracts. These halls only run when a star-studded or high-budget film is released.

When new films are released outside Eid, they rarely secure more than 25-30 screens, excluding the cineplexes.

Following this clear data pattern, distributors and producers are saying that the cinema hall industry in Bangladesh is now entirely dependent on Eid releases.

CINEMAS NEED FILMS, AND FILMMAKERS CINEMA

Shahidul Mia, better known in the film industry as "Master," has worked as a film distributor for over four decades.

Explaining how so many cinema halls suddenly reopen during Eid while only about 60 remain operational the rest of the year, Shahidul said: “These halls used to be decent once, but most of them haven't kept up with the times.”

He explained that outside of Eid, many halls are either closed or used for a different purpose.

“The cost of operating a cinema hall cannot be recovered after Eid. That’s why many are leased for just a month or two during the festive season.”

Shahidul shared examples of makeshift setups where mats are spread on the floor, plastic chairs are brought in temporarily, and sound systems are hired just to screen films during Eid.

He said, “The crisis is not just limited to cinema halls, it’s spread across the entire film industry. Films only do well when there are certain stars involved. The old producers no longer make movies, and the new ones that do often quit after facing losses in just one or two films.”

He added, “We don’t have any skilled technicians in the country anymore. We have to bring them in from India, which costs extra. There used to be many cinema offices, but now they’ve all shut down. There were nearly 300 booking agents, now less than 20 are left.”

“Cinema halls need films, and filmmakers need halls. But now both sides are weak,” Shahidul said.

Another distributor Ruhul Amin echoed this sentiment, saying: “Films are made just for Eid, not for the entire year.”

“Producers and directors are creating films only for a seasonal release. Outside of Eid, there aren’t any films to keep halls running. And even on Eid, in 10 or 11 films that are released, only one or two perform well. If some of these films were released at other times of the year, avoiding the Eid rush, we could keep more cinemas open.”

He added that, for the rest of the year, owners struggle to pay staff wages, utility bills, VAT and taxes, forcing them to keep their halls shut.

LOW AUDIENCE TURNOUT, NO INTEREST IN RENOVATIONS

Around 70 percent of the country’s cinema halls are in a dire state, without much repair or renovation.

Broken chairs, faulty fans, and waterlogging are common sights across the country, from the capital to Mymensingh, Rangpur, Barisal, and Sylhet.

Many halls have turned into warehouses, shopping centres, or marketplaces.

In Dhaka’s Farmgate, two neighbouring cinema halls Ananda and Chhondo still stand.

Once the most happening spots in town, these halls are now scraping by with barely any maintenance. Most seats are broken and ceiling fans no longer function.

Although Ananda Cinema once had 1,200 seats, over 500 are now broken. Despite signs outside claiming the hall is air-conditioned, even the fans inside don’t work.

Zakir Hossain, who came to the 3pm screening of “Antaratma”, left in frustration.

“I paid Tk 100 for a ticket only to walk into filth, heat, and a foul stench. You can’t enjoy a film like this,” he said.

At the adjacent Chhondo Cinema, Mohammad Hannan’s “Shabdhan” was being screened, but in a far worse setting.

Water had pooled on the stairs, making it difficult to walk, and puddles had formed in front of the screen as well. While there were some seats in the DC section, not even 10 of those were fit for sitting.

When asked about the poor conditions, ticket seller Abul Kalam replied: “There's no owner, no one to check, so who’s going to fix it?”

Md Monju, who is responsible for managing both halls, said: “The owner isn’t here, and there's no one willing to take responsibility for renovation.”

One year ago, Chitramahal Cinema on Old Dhaka’s English Road was demolished. A corrugated tin sign now reads “Chitramahal Complex”, but inside, only broken bricks, pipes and sheets of tin remain.

A nearby tea stall owner, identified by a single name Rashid, said there were plans to build a new cineplex on the site, which has been on hold since the July Uprising.

On the adjacent Johnson Road is the Azad cinema hall. A visit before Eid found only nine viewers in the rear section and one in the DC section during the 3pm screening of “Antaratma”.

Manager Md Alauddin said despite renovations, the owners cannot profit from the hall.

“They’re keeping it running just for nostalgia’s sake,” he said.

Cinema halls outside Dhaka appear to be in the same condition.

At one point, Mymensingh had five operational cinema halls: Ajanta, Chhayabani, Alaka, Purabi, and the Sena Auditorium. Today, only Chhayabani remains, but without its former glory.

A recent visit revealed water pooled under the seats, making them unusable. Other seats were broken and bent.

Despite running five shows a day, Chhayabani often cancels screenings due to a lack of audience.

“It costs Tk 2,000 to Tk 5,000 to run a single show, but we get maybe five to 20 people per screening. We have 12 staff members, it’s hard to run a hall like this,” said Rejwan Kabir Raju, manager of Chhayabani.

In the same city, the once-popular Purabi Cinema Hall is being demolished. A multi-storey building is set to replace it.

In Rangpur, once home to 12 halls, only two remain: Shapla Talkies and Akash Talkies.

After the death of Shapla Talkies’ owner Nazrul Islam Masum, his brother Mintu Mia took over. But with high losses, the hall was leased to distributor-producer Kamal Hossain, according to manager Shahabuddin.

Akash Talkies reopened three months ago after a long hiatus, but it’s in poor condition.

“Renovations weren’t possible due to a lack of funds,” said manager Rakibul Azad.

“Seats, sound system, decor, none of it is in good shape. The government promised loans to help us fix it, but we never received them.”

Other halls in the city, such as China Talkies, Noor Mahal, and Daradi, are now rented out as warehouses.

In Barisal, the only functioning cinema, Abhiruchi, is also gasping for survival. The cinema hall sees four to five viewers on a good day, having to cancel other shows due to zero attendance. Once boasting 1,000 seats, the hall now has only 200 usable seats and just three employees, down from 33.

Sylhet once had over nine cinema halls, including Kakoli, Monika, Abakash, Dilshad, Nandita, Lalkuthi, Rangmahal, Jalalabad Sainik, and the BGB Auditorium.

Today, only Nandita and the BGB Auditorium remain, attracting viewers during Eid. A “For Sale” sign hangs on Dilshad.

GOVERNMENT GRANTS NEEDED FOR HALL RENOVATIONS

Isha Khan, owner of Jhankar Cinema Hall in Bogura, said his hall, established in 1994, is in shambles due to financial constraints.

He said the government once introduced a Tk 10 billion loan scheme to support cinema halls, but bureaucratic complications made access nearly impossible.

“If the government gave grants of Tk 5 to 6 million to five or ten halls each year, with the condition that they operate year-round, it would help both cinema halls and the industry. The government would collect tax, and cinema would thrive again,” said Isha.

In 2022, director and Film Directors’ Association President Shahin Sumon produced “Kustigir”. But due to the shortage of halls, he’s opted for a television release instead.

“There are only 50 to 60 halls left. Most big-budget films claim those during Eid. Off-season releases can’t regain investments. That’s why we turn to TV,” he said.

Producers argue that good storytelling and direction aren’t enough, proper infrastructure and management are equally vital to retain audiences. That responsibility, they say, lies with cinema owners.

Producer Redoan Rony commented, “It’s the owners’ duty to ensure a quality viewing experience. Outside a handful of cineplexes, the situation in most halls is dire. Films do well during Eid, but owners still don’t invest in renovation.”

He believes that if cinema halls offered better conditions and maintained transparent accounting, more films would be produced each year.

Director and producer Mithu Khan echoed this view, suggesting that cinema hall owners should meet certain standards to become eligible for screening films.

“If a hall wants to screen a film, it must offer quality seating, sound, projection, and an overall welcoming environment,” he said.

Even then, he suggests looking for alternative models to regain investments.

Along with directors and producers, this sentiment is shared by film exhibitors.

Sudipta Kumar Das, an advisor to the Bangladesh Film Exhibitors Association, emphasised the importance of both good films and well-maintained halls.

He explained that since 2010, the association has been advocating for digital upgrades in cinema halls nationwide. Proposals have been submitted to the government and even to the Ministry of Finance, suggesting that annual development budgets should include allocations for cinema hall renovations.

The association also proposed interest-free loans from state-run banks or projects, yet none of these have materialised so far.

He expressed concern that without state support, the film sector cannot move forward.

“If we could build 100 cineplexes across the country, improve our actors, technicians, and post-production facilities, and reduce production costs, we could breathe new life into Bangladesh’s film industry,” said Sudipta.

[Writing in English by Zakia Rubaba Hoque]