Born in Rupatoli, Mohammad Rabby Mridha moved to Dhaka in 2007 and began his storytelling journey in 2015 with a TV business for a style model. Thenceforth, he made a whole lot of TV commercials and music movies. “No Floor Beneath the Toes” is his debut fiction movie.
On the event of “No Floor Beneath the Toes” screening at Osaka Asian Movie Pageant, we converse with him about Bangladeshi cinema, compelled marriages and the difficulty with flood the nation faces, Mostofa Monwar and Priyam Archi, and different matters.
Bangladeshi cinema appears to be experiencing a major bloom in the previous few years. There may be you, Abdullah Mohammad Saad, Kamar Ahmad Simon, Amitabh Reza Chowdhury, Rezwan Shahriar Sumit, and Mahde Hasan, all of whom had worldwide success. Why is that do you assume?
Abdullah Mohammad Saad, Kamar Ahmad Shimon, Amitabh Reza Chowdhury, Mostafa Sarwar Farooqi, Abu Shahed Emon, Rezwan Shahriar Sumit are very educated and proficient folks. Their ideas are very deep and that’s the reason they give you good tales and characters. They’ve contributed so much in bringing Bangladeshi movies to the door of success internationally.
What was the inspiration behind “No Floor Beneath the Toes”, and the way near the truth of the nation is the story? Why did you resolve to make the protagonist an ambulance driver?
There is no such thing as a floor underneath my toes. After I sit down to write down a narrative, the very first thing that involves my thoughts is whose story I need to inform. On this case, I wished to inform the story of a person who might be a part of many tales round him. So I selected a personality who’s an ambulance driver. The truth is, at any given second, he’s a sufferer of assorted unusual conditions. An ambulance driver continuously tries to outlive within the midst of a big crowd. I feel ambulance drivers are nice human beings.
How frequent is that this compelled marriage idea in Bangladesh? How dire is the state of affairs with the areas which are flooded? Are they actually individuals who stay in homes the place the water is consistently as much as their knees?
Compelled marriages are nonetheless quite common in our nation. That is what folks in lots of locations use as their instrument.
The riverine areas had been introduced to be in excessive hazard on account of the potential for flooding. In the mean time, there are numerous crises the folks in these areas face, comparable to the shortage of consuming water, habitat, and water borne ailments.
How would you describe Saiful as a personality? Do you want him, within the sense that you want to him to be your buddy?
Saiful is an harmless man. And this harmless man kills himself. Truthfully, if I might, I might be Saiful’s buddy.
How was your cooperation with Mostofa Monwar and the way with Priyam Archi? Did she ever complain about having to behave in water the entire time? How troublesome was the preventing scene to shoot? Generally, what was the casting course of for the movie like?
Mostafa Monwar is a good actor and I loved working with him. I discovered so much from him whereas working. Truly, I picked Priyam Archie for the function as a result of she knew learn how to swim, and it was crucial for her character to know learn how to swim. She sacrificed so much for this character, and on account of her extremely onerous work, we had been capable of end the taking pictures.
The preventing scene was very troublesome to shoot, as a result of the actual location was very harmful.
Manirul Islam and Abu Raihan’s cinematography is on a really excessive degree. Are you able to give us some particulars about your cooperation with them, and your common objective on the visible side of the film?
I did the framing and the lensing of the story myself, as a result of I had decides on these side since I wrote the story and normally, I desire doing my very own framing. Manirul Islam and Abu Raihan are, undoubtedly superb cinematographers. They work with me on a regular basis. I discover nice aid in working with them. I dream so much about them.
Are you able to inform us a bit extra in regards to the areas the movie was shot?
I shot the film primarily exterior of Dhaka, in a location I needed to journey for about 10 hours to achieve. It’s positioned close to a river; when the gates of the river Teesta had been opened, the world was flooded.
What’s your opinion of Bangladeshi cinema in the mean time?
Now is an effective time for Bangladeshi cinema.
Are you engaged on something new?
I’m nearing the top of my second film’s post-production work. Hopefully it will likely be launched this 12 months. The title is “An Apple Tree Inside The pinnacle”.