The actor credited much of his personal and professional stability to his wife, Shirin. “Her contribution is immense. After marriage, I was working, acting, dedicating long hours to theatre and television. She held the family together. I would say ninety per cent of what I am today is because of her,” he said.

Directed by Azad Abul Kalam, the production approaches Tagore’s symbolic text through a contemporary lens, stripping away ornamental abstraction to foreground a blunt question: what happens when education trains conformity instead of thought?

Among the headline projects is “Ikka”, a courtroom drama pitching Sunny Deol against Akshaye Khanna. Deol plays a firebrand lawyer in a role that echoes his performance in “Damini” (1993), while Khanna takes the opposing stand. The cast also includes Dia Mirza, Tillotama Shome and Sanjeeda Shaikh, signalling a prestige legal drama aimed squarely at mass and OTT audiences alike.

Speculation around the much-talked-about wedding of Rashmika Mandanna and Vijay Deverakonda has intensified after the actress appeared to subtly acknowledge reports about their marriage date. For weeks, reports have suggested that the popular actor couple will tie the knot later this month in Udaipur. While neither Rashmika nor Vijay has issued an official announcement, a recent interaction with paparazzi has added fresh fuel to the rumours.

Actor Siam Ahmed has said he does not see Dhallywood megastar Shakib Khan as a competitor, stressing that his only focus is improving his own work as an actor.

Amar Bhashar Cholochitro Utshob 1432 kicked off yesterday at the University of Dhaka. Organised by the Dhaka University Film Society, this year marks the 24th edition of the festival.

Bangladeshi filmmaker Mezbaur Rahman Sumon’s latest feature film “Roid” has received a major international boost, with Widishaa Originals, the production house led by International Emmy Award-winning producer Apoorva Bakshi of “Delhi Crime” fame, joining the project as executive producer. The development was announced while the film is competing in the Tiger Competition section at the ongoing International Film Festival Rotterdam (IFFR).

Originally written in 1959, Pinter’s “The Applicant” examines the dehumanising structures of modern capitalist systems through the framework of a job interview. The adaptation highlights how institutional power often reduces individuals to objects of control in the name of discipline and professionalism.

A multiple-time National Film Award winner at home and a frequent recipient of honours in India, Jaya now returns to the big screen with her latest film, “OCD”, set for release on February 6.

The director’s second feature film “Mastul” has been screened and praised at several international festivals, including the Moscow International Film Festival. The film received clearance for theatrical release in Bangladesh last year, but has yet to reach cinemas. Its release has been stalled due to financial constraints.

Trump’s anger centred on Noah’s opening monologue. Before announcing Song of the Year, the comedian joked that the award was coveted “almost as much as Trump wants Greenland,” adding that since “Epstein’s island is gone, he needs a new one to hang out with Bill Clinton.” The remark drew audible gasps from the audience, prompting Noah to quip, “It’s my last year—what are you going to do about it?”

From the outset, Rangamancha has taken on two parallel creative projects. One is a stage adaptation based on stories from Humayun Ahmed’s “Misir Ali” series, a psychological thriller that remains one of the most influential works in Bangla popular literature. Rehearsals for the production are already underway.

If you live in Dhaka long enough, you learn how the city runs on things you do not see: back-end labour, silent trades, invisible costs politely filed under the word industry. “Into My Lungs”, a multimedia exhibition by artists Ayman Alazraq and Emanuel Svedin, walks straight into that blind spot and refuses to look away. Running from January 23 to February 7, 2026, at Alliance Française de Dhaka, Gulshan, the exhibition takes a subject most people never talk about and places it directly in front of you, impossible to ignore.

BTS is officially returning, and excitement is soaring among fans across the globe. Netflix has teamed up with the group to live-stream their long-awaited comeback, marking their first major reunion after completing mandatory military service.

Singer-songwriter Ishaan Mozumder, who rose to prominence with songs such as “Darale Duare”, “Nithur Monohor”, “Jene Niyo” and “Gulbahar”, has released a new song titled “Jabo Jabo Mon”. The track was unveiled yesterday to mark Maghi Purnima.

Actor Ranveer Singh has officially kicked off promotions for the sequel to his blockbuster spy thriller “Dhurandhar”. On Tuesday morning, the actor revealed the first-look poster of the film and confirmed that “Dhurandhar 2” is titled “Dhurandhar: The Revenge”.

Dhanmondi Lake began as part of a natural water system before being reshaped through planning decisions that accompanied the growth of the neighbourhood. Over the decades, it has absorbed new roles as a recreational space, ecological corridor, and social meeting ground. The exhibition traced these shifts with care, presenting the lake as an accumulation of layers formed through use, intervention, neglect, and attachment.

Dwip Gallery returns with another exhibition by Swiss artist Augustin Rebetez. Titled “Burn Baby Burn”, the show brings together works from Rebetez’s Light-box series alongside pieces by several emerging but underrepresented Bangladeshi artists, creating a visual space where brightness and unease coexist.

Another recent highlight is the much-discussed drama “Eta Amaderi Golpo”, which has struck a chord with viewers. “It’s a family drama,” he says. “The story, performances, and direction—all of it works together beautifully. That’s why audiences have embraced it so warmly.”

“Chithiwala” avoids slogans and sermonising. It lets a letter do the work, quietly and persistently, treating language as inheritance rather than nostalgia. In doing so, it poses a simple but unsettling question. What does progress cost, when memory is the price?