Made in Bangladesh: A story of voices that are heard yet unheeded

When we think of women empowerment and equal rights in media, it is mostly an image of corporate, entrepreneurial women who are at the helm of their respective fields. What we do not envision and see as often is the portrayal of underprivileged women whose struggles do not encompass climbing to leadership positions or making major breakthroughs, but rather one of establishing their fundamental rights and standing up against dated notions that hold them back. Rubaiyat Hossain's "Made in Bangladesh", released in the country as "Shimu – Made in Bangladesh", tells the story of a 23-year-old garment worker, Shimu, and the struggles on her path toward union recognition.

Following the loss of a fellow colleague due to an accident at the garments factory she works in, Shimu attends a meeting that her deceased colleague had spoken of, where she learns of the existing labour code. Concerns regarding inhuman working hours, oft-unpaid labour, and the maltreatment of the women are gradually shed light upon as the employees find resources that educate them about favourable policies that are rarely ever implemented by their employers.

What this leads to is a battle of wit, craftiness, and fortitude as our protagonist faces opposition from every direction. Not only does Shimu have to fight her employers, but she also has to fight a deeply chauvinistic husband, a landowner who bashes down her aspirations, and her own colleagues who are, justifiably, skeptical of the outcome of such a drastic move against authority. She learns to operate a smartphone, encourages everyone to sign up for the union, and shoulders the responsibility of a Union President. She tries to appease everyone whilst furtively fighting for her rights as a garments worker. It is soon evident that her fight was one against society, one that fails to catch up.

Rikita Nandini Shimu plays the role of Shimu, the feisty and spirited protagonist whose journey is reminiscent of the struggles of many other garment workers. We see shots of her waiting on her own at the labour ministry, reading the labour code to educate herself further.

Her portrayal of an everyday garments worker with lofty aspirations, despite several drawbacks, is grounded and cerebral. Mostafa Monwar's portrayal of an abusive husband who cannot leave behind the dated norms is convincing. Sohel is a character who initially comes off as sincere and dutiful despite his inability to provide. However, gradually we start to see his insecurity unravel as his unemployment and his wife's dynamic initiation starts to get the best of him. Wahida Mollick Jolly shines in every scene she appears, flourishing in a role reminiscent of many of her other works. Novera Rahman pulls off the role of Daliya, whose aspirations and dreams were crushed by the men in positions of authority.

The movie itself is paced very deliberately, drawing upon the experiences of the garment workers that could be considered mundane. The script of the movie refrains from focusing on unnecessary gentrification of the garment workers for mere appeal.

 As one keeps watching, one will realise that the movie does not have any glimpse of the superficial glitz and glamour of Dhaka. Rather, it draws focus upon the lives of the proletariat, shows us Dhaka in their lens as the city they know, live, and thrive in. "Made in Bangladesh" is beautiful in its simplicity, realism, and modesty. The story of a woman dealing with grassroot-level predicaments, one that is heard but unheeded, is moving and impactful.

The author is a freelance journalist.