TFP Film Club

TFP Film Club FILM CLUB of the department of Television, Film and Photography, University of Dhaka.

āĻĒā§āϝāĻžāĻ¤ā§āϰāĻŋāϏāĻŋāĻ“ āϗ⧁āϜāĻŽāĻžāύ (Patricio GuzmÃĄn)(ā§§ā§§ āφāĻ—āĻ¸ā§āϟ ⧧⧝ā§Ēā§§, āϏāĻžāĻ¨ā§āϤāĻŋāϝāĻŧāĻžāĻ—ā§‹ – ā§§ā§Ģ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ ⧍ā§Ļ⧍ā§Ŧ, āĻĒā§āϝāĻžāϰāĻŋāϏ)āϚāĻŋāϞāĻŋāϰ āĻŦāĻŋāĻļā§āĻŦāĻ–ā§āϝāĻžāϤ āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝ...
21/09/2026

āĻĒā§āϝāĻžāĻ¤ā§āϰāĻŋāϏāĻŋāĻ“ āϗ⧁āϜāĻŽāĻžāύ (Patricio GuzmÃĄn)
(ā§§ā§§ āφāĻ—āĻ¸ā§āϟ ⧧⧝ā§Ēā§§, āϏāĻžāĻ¨ā§āϤāĻŋāϝāĻŧāĻžāĻ—ā§‹ – ā§§ā§Ģ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ ⧍ā§Ļ⧍ā§Ŧ, āĻĒā§āϝāĻžāϰāĻŋāϏ)

āϚāĻŋāϞāĻŋāϰ āĻŦāĻŋāĻļā§āĻŦāĻ–ā§āϝāĻžāϤ āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝāϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž āĻĒā§āϝāĻžāĻ¤ā§āϰāĻŋāϏāĻŋāĻ“ āϗ⧁āϜāĻŽāĻžāύ āĻ—āϤ āϏāĻĒā§āϤāĻžāĻšā§‡ āφāĻŽāĻžāĻĻ⧇āϰ āĻ›ā§‡ā§œā§‡ āϚāϞ⧇ āϗ⧇āϛ⧇āύāĨ¤ āϤāĻžāρāϰ āĻ•āĻžāĻœā§‡āϰ āϕ⧇āĻ¨ā§āĻĻā§āϰ⧇ āĻ›āĻŋāϞ āχāϤāĻŋāĻšāĻžāϏ, āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āĻ¸ā§āĻŽā§ƒāϤāĻŋ, āĻ¸ā§āĻŦ⧈āϰāĻļāĻžāϏāύ, āύāĻŋāĻ°ā§āĻŦāĻžāϏāύ āĻ“ āϚāĻŋāϞāĻŋāϰ āϜāĻžāϤ⧀āϝāĻŧ āĻĒāϰāĻŋāϚāϝāĻŧāĨ¤

āφāϜ āϤāĻŋāύāĻŋ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāĻžāĻā§‡ āύ⧇āχāĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāϰ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇ āϧāĻžāϰāĻŖ āĻ•āϰāĻž āĻŽāĻžāύ⧁āώ⧇āϰ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋ āĻĨ⧇āϕ⧇ āϝāĻžāĻŦ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāύ⧇āĨ¤ āϤāĻžāϰ āĻ¸ā§āĻŽā§ƒāϤāĻŋāϰ āĻĒā§āϰāϤāĻŋ āĻ—āĻ­ā§€āϰ āĻļā§āϰāĻĻā§āϧāĻž āϜāĻžāύāĻŋā§Ÿā§‡ āφāĻŽāĻžāĻĻ⧇āϰ āĻāĻŦāĻžāϰ⧇āϰ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻĒā§āϰāĻĻāĻ°ā§āĻļāύ⧀āĨ¤

⧧⧝⧭⧧ āϏāĻžāϞ⧇ āϏāĻžāϞāĻ­āĻžāĻĻā§‹āϰ āφāϝāĻŧ⧇āĻ¨ā§āĻĻ⧇āϰ āϏāĻŽāĻžāϜāϤāĻžāĻ¨ā§āĻ¤ā§āϰāĻŋāĻ• āϏāϰāĻ•āĻžāϰ⧇āϰ āϏāĻŽāϝāĻŧ⧇ āϤāĻŋāύāĻŋ āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻ•āϰ⧇āύ El primer aÃąo (⧧⧝⧭⧍)āĨ¤ āĻāϰāĻĒāϰ ā§§ā§¯ā§­ā§Š āϏāĻžāϞ⧇āϰ āϏāĻžāĻŽāϰāĻŋāĻ• āĻ…āĻ­ā§āϝ⧁āĻ¤ā§āĻĨāĻžāύ⧇āϰ āϘāϟāύāĻžāĻŦāϞāĻŋ āĻ•ā§āϝāĻžāĻŽā§‡āϰāĻžāϝāĻŧ āϧāĻžāϰāĻŖ āĻ•āϰ⧇āύāĨ¤ āϏ⧇āχ āĻĢ⧁āĻŸā§‡āϜ āĻĨ⧇āϕ⧇āχ āϤāĻŋāύ āĻĒāĻ°ā§āĻŦ⧇āϰ The Battle of Chile (⧧⧝⧭ā§Ģâ€“ā§­ā§¯), āϝāĻž āφāϝāĻŧ⧇āĻ¨ā§āĻĻ⧇ āϏāϰāĻ•āĻžāϰ⧇āϰ āĻĒāϤāύ, āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āϏāĻ‚āϘāĻžāϤ āĻ“ āĻĒāĻŋāύ⧋āĻļ⧇āϤ⧇āϰ āĻ…āĻ­ā§āϝ⧁āĻ¤ā§āĻĨāĻžāύ⧇āϰ āĻĒā§āϰāĻ¤ā§āϝāĻ•ā§āώ āĻĻāϞāĻŋāϞāĨ¤ āĻāϟāĻŋ āϞāĻžāϤāĻŋāύ āφāĻŽā§‡āϰāĻŋāĻ•āĻžāϰ, āĻāĻŽāύāĻ•āĻŋ āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻļā§āϰ⧇āĻˇā§āĻ  āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝāϚāĻŋāĻ¤ā§āϰ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻŦāĻŋāĻŦ⧇āϚāĻŋāϤāĨ¤

ā§§ā§§ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ ā§§ā§¯ā§­ā§Š-āĻāϰ āĻ…āĻ­ā§āϝ⧁āĻ¤ā§āĻĨāĻžāύ⧇āϰ āĻĒāϰ āϤāĻŋāύāĻŋ āĻ—ā§āϰ⧇āĻĢāϤāĻžāϰ āĻšāύ āĻāĻŦāĻ‚ āĻĒā§āϰāĻžāϝāĻŧ āĻĻ⧁āχ āϏāĻĒā§āϤāĻžāĻš āϏāĻžāĻ¨ā§āϤāĻŋāϝāĻŧāĻžāĻ—ā§‹āϰ āĻ¨ā§āϝāĻžāĻļāύāĻžāϞ āĻ¸ā§āĻŸā§‡āĻĄāĻŋāϝāĻŧāĻžāĻŽā§‡ āĻŦāĻ¨ā§āĻĻāĻŋ āĻĨāĻžāϕ⧇āύāĨ¤ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ āĻĻ⧇āĻļ āĻ›āĻžāĻĄāĻŧ⧇āύ, āĻĒā§āϰāĻĨāĻŽā§‡ āĻ•āĻŋāωāĻŦāĻžāϝāĻŧ, āĻĒāϰ⧇ āĻ¸ā§āĻĒ⧇āύ āĻ“ āĻĢā§āϰāĻžāĻ¨ā§āϏ⧇āĨ¤ āĻĢ⧁āĻŸā§‡āϜ āĻĒāĻžāϚāĻžāϰ āĻ•āϰ⧇ āĻŦāĻžāχāϰ⧇ āύ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧ āĻāĻŦāĻ‚ āĻ•āĻŋāωāĻŦāĻžāϝāĻŧ āϏāĻŽā§āĻĒāĻžāĻĻāύāĻžāϰ āĻ•āĻžāϜ āĻāĻ—ā§‹āϝāĻŧāĨ¤ āĻļ⧇āώ⧇ āϤāĻŋāύāĻŋ āĻĒā§āϝāĻžāϰāĻŋāϏ⧇ āĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻšāύāĨ¤

āĻĒāϰāĻŦāĻ°ā§āϤ⧀ āĻœā§€āĻŦāύ⧇ āϗ⧁āϜāĻŽāĻžāύ⧇āϰ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝāϚāĻŋāĻ¤ā§āϰ:
Chile, Obstinate Memory (⧧⧝⧝⧭)
The Pinochet Case (⧍ā§Ļā§Ļā§§)
Salvador Allende (⧍ā§Ļā§Ļā§Ē)
Nostalgia Trilogy: Nostalgia for the Light (⧍ā§Ļā§§ā§Ļ), The Pearl Button (⧍ā§Ļā§§ā§Ģ, āĻŦāĻžāĻ°ā§āϞāĻŋāύ⧇ āϏ⧇āϰāĻž āϚāĻŋāĻ¤ā§āϰāύāĻžāĻŸā§āϝ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻŋāϞāĻ­āĻžāϰ āĻŦāĻŋāϝāĻŧāĻžāϰ), The Cordillera of Dreams (⧍ā§Ļ⧧⧝)āĨ¤ āĻāϤ⧇ āĻŽāĻšāĻžāĻ•āĻžāĻļ, āϏāĻŽā§āĻĻā§āϰ āĻ“ āĻĒāĻ°ā§āĻŦāϤ⧇āϰ āϏāĻ™ā§āϗ⧇ āϚāĻŋāϞāĻŋāϰ āĻ­ā§‚āĻ—ā§‹āϞ, āχāϤāĻŋāĻšāĻžāϏ āĻ“ āύāĻŋāĻ–ā§‹āρāϜ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āϝ⧁āĻ•ā§āϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤
My Imaginary Country (⧍ā§Ļ⧍⧍), ⧍ā§Ļ⧧⧝ āϏāĻžāϞ⧇āϰ āϚāĻŋāϞāĻŋāϰ āĻ—āĻŖāφāĻ¨ā§āĻĻā§‹āϞāύ āύāĻŋāϝāĻŧ⧇āĨ¤ āĻāϟāĻŋāχ āϤāĻžāρāϰ āĻļ⧇āώ āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝāϚāĻŋāĻ¤ā§āϰāĨ¤

āϗ⧁āϜāĻŽāĻžāύ⧇āϰ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻāĻ•āϟāĻŋ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦ⧈āĻļāĻŋāĻˇā§āĻŸā§āϝ āĻšāϞ⧋, āϤāĻŋāύāĻŋ āĻĄāϕ⧁āĻŽā§‡āĻ¨ā§āϟāĻžāϰāĻŋāϕ⧇ āĻļ⧁āϧ⧁ āϘāϟāύāĻž āϰ⧇āĻ•āĻ°ā§āĻĄ āĻ•āϰāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽ āĻšāĻŋāϏ⧇āĻŦ⧇ āύāϝāĻŧ, āχāϤāĻŋāĻšāĻžāϏ āĻ“ āĻ¸ā§āĻŽā§ƒāϤāĻŋ āĻĒ⧁āύāĻ°ā§āĻŦāĻŋāĻŦ⧇āϚāύāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϤāĻžāρāϰ āύāĻŋāĻœā§‡āϰ āĻ­āĻžāώāĻžāϝāĻŧ, “A country without documentaries is like a family without a photo album.”

āĻāχ āĻ•āĻŋāĻ‚āĻŦāĻĻāĻ¨ā§āϤāĻŋ āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝāϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻžāϰ āĻ¸ā§āĻŽāϰāϪ⧇ TFP Film Club āĻāϰ āĻŦāĻŋāĻļ⧇āώ āφāϝāĻŧā§‹āϜāύ - 'A TRIBUTE TO PATRICIO GUZMÁN: A Defining Voice of Modern Documentary Cinema'

āφāĻ—āĻžāĻŽā§€ ⧍ā§Ē āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ (āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ) āĻĒā§āϰāĻĻāĻ°ā§āĻļāĻŋāϤ āĻšāĻŦ⧇ āĻĒā§āϝāĻžāĻ¤ā§āϰāĻŋāϏāĻŋāĻ“ āϗ⧁āϜāĻŽāĻžāύ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āĻĒā§āϰāĻžāĻŽāĻžāĻŖā§āϝāϚāĻŋāĻ¤ā§āϰ - Nostalgia for the Light (⧍ā§Ļā§§ā§Ļ)āĨ¤

āĻĒā§āϰāĻĻāĻ°ā§āĻļāύ⧀ āĻļ⧇āώ⧇ āϗ⧁āϜāĻŽāĻžāύ⧇āϰ āύāĻŋāĻ°ā§āĻŽāĻžāĻŖāĻļ⧈āϞ⧀ āĻ“ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻĻāĻ°ā§āĻļāύ āύāĻŋāϝāĻŧ⧇ āφāϞ⧋āϚāύāĻž āĻ•āϰāĻŦ⧇āύ āĻĸāĻžāĻ•āĻž āĻĄāĻ• āĻ˛ā§āϝāĻžāĻŦ⧇āϰ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āϤāĻžāϰ⧇āĻ• āφāĻšāĻŽā§‡āĻĻāĨ¤

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ: Nostalgia for the Light (2010)
āĻĒāϰāĻŋāϚāĻžāϞāĻ•: āĻĒā§āϝāĻžāĻ¤ā§āϰāĻŋāϏāĻŋāĻ“ āϗ⧁āϜāĻŽāĻžāύ
āĻ¸ā§āĻĨāĻžāύ: āϰ⧁āĻŽ āύāĻ‚ - ā§­ā§Ļ⧝, āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻāĻ¨ā§āĻĄ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāĻ—, āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻŦāĻŋāĻœā§āĻžāĻžāύ āĻ…āύ⧁āώāĻĻ, āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ
āϤāĻžāϰāĻŋāĻ– āĻ“ āϏāĻŽāϝāĻŧ: ⧍ā§Ē āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ (āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ), āĻĻ⧁āĻĒ⧁āϰ ā§§:ā§Šā§Ļ

āϗ⧁āϜāĻŽāĻžāύ⧇āϰ āϏāĻŋāύ⧇āĻŽā§āϝāĻžāϟāĻŋāĻ• āĻ­āĻžāώāĻžāϝāĻŧ āϚāĻŋāϞāĻŋāϰ āχāϤāĻŋāĻšāĻžāϏ, āĻ¸ā§āĻŽā§ƒāϤāĻŋ āφāϰ āϜāĻžāϤ⧀āϝāĻŧ āĻœā§€āĻŦāύāϕ⧇ āĻŦā§‹āĻāĻžāϰ āĻāχ āĻ•ā§āώ⧁āĻĻā§āϰ āĻĒā§āϰāϝāĻŧāĻžāϏ TFP Film Club āϏāĻ•āϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻĒā§āϰ⧇āĻŽā§€ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āφāĻŽāĻ¨ā§āĻ¤ā§āϰāĻŖ āϜāĻžāύāĻžāϝāĻŧ, TFP Film Club āĻāϰ āĻŦāĻŋāĻļ⧇āώ āφāϝāĻŧā§‹āϜāύ - 'A TRIBUTE TO PATRICIO GUZMÁN: A Defining Voice of Modern Documentary Cinema' āϤ⧇āĨ¤

āĻāχ āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ āĻāĻ• āĻ­āĻŋāĻ¨ā§āύāϧāĻ°ā§āĻŽā§€ āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āĻĨāĻžāϕ⧁āύ TFP Film Club āĻāϰ āϏāĻžāĻĨ⧇āĨ¤

"Cloudy with a Chance of Meatballs (2009), directed by Phil Lord āĻ“ Christopher MillerāĨ¤āϏ⧋āϝāĻŧāĻžāϞ⧋ āĻĢāϞāϏ āύāĻžāĻŽā§‡āϰ āϛ⧋āĻŸā§āϟ āĻāĻ• āĻĻā§āĻŦā§€āĻĒ āĻļ...
18/09/2026

"Cloudy with a Chance of Meatballs (2009), directed by Phil Lord āĻ“ Christopher MillerāĨ¤
āϏ⧋āϝāĻŧāĻžāϞ⧋ āĻĢāϞāϏ āύāĻžāĻŽā§‡āϰ āϛ⧋āĻŸā§āϟ āĻāĻ• āĻĻā§āĻŦā§€āĻĒ āĻļāĻšāϰ āϝāĻ–āύ āĻĻāĻžāϰāĻŋāĻĻā§āĻ°ā§āϝ⧇ āϜāĻ°ā§āϜāϰāĻŋāϤ, āϤāĻ–āύ āωāĻĻā§āĻ­āĻžāĻŦāĻ• āĻĢā§āϞāĻŋāĻ¨ā§āϟ āϞāĻ•āωāĻĄ āĻāĻ• āĻ…āĻĻā§āϭ⧁āϤ āϝāĻ¨ā§āĻ¤ā§āϰ āĻŦāĻžāύāĻžāϝāĻŧ āϝāĻž āĻĒāĻžāύāĻŋāϕ⧇ āĻ–āĻžāĻŦāĻžāϰ⧇ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻŋāϤ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āĻļ⧁āϰ⧁āϤ⧇ āφāĻ•āĻžāĻļ āĻĨ⧇āϕ⧇ āύ⧇āĻŽā§‡ āφāϏāĻž āϏ⧁āĻ¸ā§āĻŦāĻžāĻĻ⧁ āĻ–āĻžāĻŦāĻžāϰ⧇āϰ āĻŦ⧃āĻˇā§āϟāĻŋ āĻļāĻšāϰ⧇ āϖ⧁āĻļāĻŋāϰ āĻŦāĻ¨ā§āϝāĻž āĻŦāχāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧ, āĻĢā§āϞāĻŋāĻ¨ā§āϟ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇ āύāĻžāϝāĻŧāĻ•āĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āϝāĻ¨ā§āĻ¤ā§āϰ⧇āϰ āύāĻŋāϝāĻŧāĻ¨ā§āĻ¤ā§āϰāĻŖ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϗ⧇āϞ⧇ āĻ–āĻžāĻŦāĻžāϰ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇ āĻŦāĻŋāĻļāĻžāϞāĻžāĻ•āĻžāϰ āφāϰ āĻŦāĻŋāĻĒāĻœā§āϜāύāĻ•, āφāϰ āĻ—ā§‹āϟāĻž āĻĒ⧃āĻĨāĻŋāĻŦā§€ āĻĒāĻĄāĻŧ⧇ āϝāĻžāϝāĻŧ āĻ§ā§āĻŦāĻ‚āϏ⧇āϰ āĻŽā§āϖ⧇āĨ¤ āĻāχ āĻ—āĻ˛ā§āĻĒ⧇āχ āĻ—āϤ ā§§ā§­āχ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ TFP Film Club-āĻāϰ āϏāĻžāĻĒā§āϤāĻžāĻšāĻŋāĻ• āĻ¸ā§āĻ•ā§āϰāĻŋāύāĻŋāĻ‚āϝāĻŧ⧇ āĻĻāĻ°ā§āĻļāĻ• āĻšāϞāϜ⧁āĻĄāĻŧ⧇ āĻšā§‡āϏ⧇āϛ⧇ āĻĒā§āϰāĻžāĻŖāϖ⧁āϞ⧇, āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰ⧇āϛ⧇ āĻ–āĻžāĻŦāĻžāϰ⧇āϰ āĻŦ⧃āĻˇā§āϟāĻŋāϰ āĻ…āĻŦāĻŋāĻļā§āĻŦāĻžāĻ¸ā§āϝ āĻ•āĻ˛ā§āĻĒāύāĻžāĻļāĻ•ā§āϤāĻŋ, āφāĻŦāĻžāϰ āύ⧀āϰāĻŦ āĻšāϝāĻŧ⧇ āϗ⧇āϛ⧇ āĻĢā§āϞāĻŋāĻ¨ā§āϟ āφāϰ āϤāĻžāϰ āĻ¸ā§āĻŦāĻ˛ā§āĻĒāĻ­āĻžāώ⧀ āĻŦāĻžāĻŦāĻž āϟāĻŋāĻŽā§‡āϰ āϏ⧇āχ āĻšā§‡āύāĻž āĻĻā§‚āϰāĻ¤ā§āĻŦ āĻĻ⧇āϖ⧇āĨ¤ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ āĻĨ⧇āϕ⧇āχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇āĻ“ āĻŦā§āϝāĻžāĻĒāĻ• āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞ āĻāχ āϏāĻŋāύ⧇āĻŽāĻž āϏ⧇āϰāĻž āĻ…ā§āϝāĻžāύāĻŋāĻŽā§‡āĻŸā§‡āĻĄ āĻĢāĻŋāϚāĻžāϰ āĻĢāĻŋāĻ˛ā§āĻŽ āĻŦāĻŋāĻ­āĻžāϗ⧇ āĻ—ā§‹āĻ˛ā§āĻĄā§‡āύ āĻ—ā§āϞ⧋āĻŦ āĻ“ āĻ…ā§āϝāĻžāύāĻŋ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄā§‡āϰ āĻŽāύ⧋āύāϝāĻŧāύ āĻĒ⧇āϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ­āĻžāĻˇā§āϝ⧇ āĻŦāĻžāϰāĻŦāĻžāϰ āωāϠ⧇ āĻāϏ⧇āϛ⧇ āĻāĻ•āχ āĻ•āĻĨāĻž- āĻšāĻžāϞāĻ•āĻž āĻ•āĻŽā§‡āĻĄāĻŋāϰ āφāĻĄāĻŧāĻžāϞ⧇ āĻĢā§āϞāĻŋāĻ¨ā§āϟ āĻ“ āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āχ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āφāϏāϞ āĻšā§ƒāĻĻāϝāĻŧ, āĻŦāĻžāĻŦāĻžāϰ āĻ•āĻžāĻ› āĻĨ⧇āϕ⧇ āĻ¸ā§āĻŦā§€āĻ•ā§ƒāϤāĻŋ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āφāϕ⧁āϤāĻŋ āφāϰ āĻ•āĻĨāĻžāϝāĻŧ āύāϝāĻŧ āĻŦāϰāĻ‚ āĻ•āĻžāĻœā§‡ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰāĻž āĻāĻ• āĻŦāĻžāĻŦāĻžāϰ āφāϚāĻŽāĻ•āĻž āϏāĻžāĻšāϏ⧀ āĻĒāĻĻāĻ•ā§āώ⧇āĻĒ āĻ…āύ⧇āϕ⧇āϰ āĻ•āĻžāϛ⧇āχ āĻŽāύ⧇ āĻšāϝāĻŧ⧇āϛ⧇ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āĻŽā§āĻšā§‚āĻ°ā§āϤāĨ¤ āύāĻŋāĻ›āĻ• āĻ–āĻžāĻĻā§āϝāĻŦ⧃āĻˇā§āϟāĻŋāϰ āĻŽāϜāĻžāϰ āĻ—āĻ˛ā§āĻĒ āύāϝāĻŧ, āĻŦāϰāĻ‚ āĻĒāϰāĻŋāĻŦāĻžāϰ, āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϧ⧂āϏāϰ āϜāĻ—ā§Ž āφāϰ āύāĻŋāĻœā§‡āϰ āĻŽāϤ⧋ āĻšāϝāĻŧ⧇ āĻ“āĻ āĻžāϰ āĻāĻ• āωāĻˇā§āĻŖ āĻŦāĻžāĻ°ā§āϤāĻžāĻŦāĻžāĻšā§€ āĻ•āĻžāϜ āĻšāĻŋāϏ⧇āĻŦ⧇āχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ⧇ āϗ⧇āρāĻĨ⧇ āĻĨāĻžāĻ•āĻŦ⧇āĨ¤ āφāϰ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧇āώ⧇ āĻ›āĻŋāϞ TFP Film Club-āĻāϰ āĻŦāĻŋāĻļ⧇āώ āφāϝāĻŧā§‹āϜāύ āϕ⧁āχāϜ, āϝ⧇āĻ–āĻžāύ⧇ āĻŦāĻŋāϜāϝāĻŧā§€ āĻšāύ āϟāĻŋāĻāĻĢāĻĒāĻŋ āĻŦāĻŋāĻ­āĻžāϗ⧇āϰāχ āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€ āχāϞāĻšāĻžāĻŽ āĻāĻŦāĻ‚ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻšāĻŋāϏ⧇āĻŦ āϤāĻžāϰ āĻšāĻžāϤ⧇ āϏ⧈āϝāĻŧāĻĻ āĻŽā§āϜāϤāĻŦāĻž āφāϞ⧀āϰ āĻ•āĻžāϞāϜāϝāĻŧā§€ āĻ­ā§āϰāĻŽāĻŖāĻ•āĻžāĻšāĻŋāύ⧀ 'āĻĻ⧇āĻļ⧇ āĻŦāĻŋāĻĻ⧇āĻļ⧇' āĻŦāχāϟāĻŋ āϤ⧁āϞ⧇ āĻĻ⧇āύ āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻ“ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāϗ⧇āϰ āĻšā§‡āϝāĻŧāĻžāϰāĻĒāĻžāĻ°ā§āϏāύ āϏāĻžāχāϝāĻŧā§āϝāĻŋāĻĻ āĻļāĻžāĻšāϜāĻžāĻĻāĻž āφāϞ āĻ•āĻžāϰ⧀āĻŽāĨ¤ āĻĒā§āϰāϤāĻŋ āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ āĻ āĻŋāĻ• āĻĻ⧁āĻĒ⧁āϰ āĻĻ⧇āĻĄāĻŧāϟāĻžāϝāĻŧ āĻāĻŽāύāχ āĻŽāϜāĻžāϰ āφāϰ āφāĻŦ⧇āĻ—āϘāύ āĻāĻ• āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āφāĻĒāύāĻžāϕ⧇ TFP Film Club āφāĻŽāĻ¨ā§āĻ¤ā§āϰāĻŖ āϜāĻžāύāĻžāϝāĻŧāĨ¤
āĻĨāĻžāϕ⧁āύ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻ™ā§āϗ⧇āĨ¤ āĻĨāĻžāϕ⧁āύ TFP Film Club-āĻāϰ āϏāĻ™ā§āϗ⧇āĨ¤

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻĒā§āϰ⧇āĻŽā§€āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āϏāĻĒā§āϤāĻžāĻšā§‡āϰ āφāϝāĻŧā§‹āϜāύ⧇ āĻĨāĻžāĻ•āϛ⧇ āĻ…ā§āϝāĻžāύāĻŋāĻŽā§‡āĻŸā§‡āĻĄ āĻ•āĻŽā§‡āĻĄāĻŋ Cloudy with a Chance of Meatballs (2009), āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϝāĻŧ...
15/09/2026

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻĒā§āϰ⧇āĻŽā§€āĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āϏāĻĒā§āϤāĻžāĻšā§‡āϰ āφāϝāĻŧā§‹āϜāύ⧇ āĻĨāĻžāĻ•āϛ⧇ āĻ…ā§āϝāĻžāύāĻŋāĻŽā§‡āĻŸā§‡āĻĄ āĻ•āĻŽā§‡āĻĄāĻŋ Cloudy with a Chance of Meatballs (2009), āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϝāĻŧ āĻĢāĻŋāϞ āϞāĻ°ā§āĻĄ āĻ“ āĻ•ā§āϰāĻŋāĻ¸ā§āĻŸā§‹āĻĢāĻžāϰ āĻŽāĻŋāϞāĻžāϰāĨ¤

āϏ⧋āϝāĻŧāĻžāϞ⧋ āĻĢāϞāϏ āύāĻžāĻŽā§‡āϰ āϛ⧋āĻŸā§āϟ āĻāĻ• āĻĻā§āĻŦā§€āĻĒ āĻļāĻšāϰ⧇āϰ āĻ…āĻ°ā§āĻĨāύ⧀āϤāĻŋ āĻĻā§€āĻ°ā§āϘāĻĻāĻŋāύ āϧāϰ⧇ āϏāĻžāĻ°ā§āĻĄāĻŋāύ āĻŽāĻžāϛ⧇āϰ āĻŦā§āϝāĻŦāϏāĻžāϰ āĻ“āĻĒāϰ āύāĻŋāĻ°ā§āĻ­āϰāĻļā§€āϞ āĻ›āĻŋāϞāĨ¤ āϏ⧇āχ āĻŦā§āϝāĻŦāϏāĻž āϧāϏ⧇ āĻĒāĻĄāĻŧāĻžāϰ āĻĒāϰ āĻļāĻšāϰāϟāĻŋ āϝāĻ–āύ āĻĻāĻžāϰāĻŋāĻĻā§āĻ°ā§āϝ āĻ“ āϏāĻ‚āĻ•āĻŸā§‡ āĻĄā§āĻŦ⧇ āϝāĻžāϝāĻŧ, āϤāĻ–āύ āϤāϰ⧁āĻŖ āωāĻĻā§āĻ­āĻžāĻŦāĻ• āĻĢā§āϞāĻŋāĻ¨ā§āϟ āϞāĻ•āωāĻĄ āĻāĻŽāύ āĻāĻ• āĻ…āĻĻā§āϭ⧁āϤ āϝāĻ¨ā§āĻ¤ā§āϰ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ āĻ•āϰ⧇, āϝāĻž āĻĒāĻžāύāĻŋāϕ⧇ āĻ–āĻžāĻŦāĻžāϰ⧇ āϰ⧂āĻĒāĻžāĻ¨ā§āϤāϰāĻŋāϤ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϤāĻžāϰ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ⧇āϰ āĻĒāϰ āφāĻ•āĻžāĻļ āĻĨ⧇āϕ⧇ āĻ–āĻžāĻŦāĻžāϰ⧇āϰ āĻŦ⧃āĻˇā§āϟāĻŋ āĻļ⧁āϰ⧁ āĻšāϞ⧇ āĻļāĻšāϰ⧇āϰ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ āĻŦāĻĻāϞ⧇ āϝ⧇āϤ⧇ āĻĨāĻžāϕ⧇āĨ¤ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻāχ āĻ…āĻ­āĻžāĻŦāύ⧀āϝāĻŧ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ āĻ•āĻŋ āϏāĻ¤ā§āϝāĻŋāχ āϏ⧋āϝāĻŧāĻžāϞ⧋ āĻĢāϞāϏ⧇āϰ āϏāĻŦ āϏāĻŽāĻ¸ā§āϝāĻžāϰ āϏāĻŽāĻžāϧāĻžāύ āĻ•āϰāĻŦ⧇, āύāĻžāĻ•āĻŋ āφāϰāĻ“ āĻŦ⧜ āϏāĻŽāĻ¸ā§āϝāĻž āĻŦā§Ÿā§‡ āφāύāĻŦ⧇?

āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϏ⧇āϰāĻž āĻ…ā§āϝāĻžāύāĻŋāĻŽā§‡āĻŸā§‡āĻĄ āĻĢāĻŋāϚāĻžāϰ āĻĢāĻŋāĻ˛ā§āĻŽ āĻŦāĻŋāĻ­āĻžāϗ⧇ āĻ—ā§‹āĻ˛ā§āĻĄā§‡āύ āĻ—ā§āϞ⧋āĻŦ āĻāĻŦāĻ‚ āĻ…ā§āϝāĻžāύāĻŋ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄā§‡āϰ āĻŽāύ⧋āύāϝāĻŧāύ āĻĒ⧇āϝāĻŧ⧇āĻ›āĻŋāϞ, āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻ­āĻŋāĻœā§āϝ⧁āϝāĻŧāĻžāϞ āχāĻĢ⧇āĻ•ā§āϟāϏ āϏ⧋āϏāĻžāχāϟāĻŋ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄ āĻ“ āĻ¸ā§āϝāĻžāĻŸā§‡āϞāĻžāχāϟ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄā§‡āĻ“ āĻŽāύ⧋āύ⧀āϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āĻĢāĻŋāϞ āϞāĻ°ā§āĻĄ āĻ“ āĻ•ā§āϰāĻŋāĻ¸ā§āĻŸā§‹āĻĢāĻžāϰ āĻŽāĻŋāϞāĻžāϰ⧇āϰ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻšāĻŋāϏ⧇āĻŦ⧇ āĻ…āĻ­āĻŋāώ⧇āĻ• āϘāĻŸā§‡ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇, āϝāĻž āĻĒāϰāĻŦāĻ°ā§āϤ⧀āϤ⧇ āϤāĻžāĻĻ⧇āϰ āĻ…ā§āϝāĻžāύāĻŋāĻŽā§‡āĻļāύ āĻ“ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϜāĻ—āϤ⧇ āĻ…āĻ¨ā§āϝāϤāĻŽ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻŋāϤ āĻ•āϰ⧇āĨ¤

āϟāĻŋāĻāĻĢāĻĒāĻŋ āĻĢāĻŋāĻ˛ā§āĻŽ āĻ•ā§āϞāĻžāĻŦ āϏāĻ•āϞ āϏāĻŋāύ⧇āĻŽāĻžāĻĒā§āϰ⧇āĻŽā§€ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āφāĻŽāĻ¨ā§āĻ¤ā§āϰāĻŖ āϜāĻžāύāĻžāĻšā§āϛ⧇ āφāĻ—āĻžāĻŽā§€ āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ (ā§§ā§­ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ), āĻĻ⧁āĻĒ⧁āϰ āĻĻ⧇āĻĄāĻŧāϟāĻžāϝāĻŧ āφāĻŽāĻžāĻĻ⧇āϰ āϏāĻžāĻĨ⧇ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝāĨ¤

āϏāĻŋāύ⧇āĻŽāĻž: Cloudy with a Chance of Meatballs (2009)
āĻĒāϰāĻŋāϚāĻžāϞāĻ•: āĻĢāĻŋāϞ āϞāĻ°ā§āĻĄ āĻ“ āĻ•ā§āϰāĻŋāĻ¸ā§āĻŸā§‹āĻĢāĻžāϰ āĻŽāĻŋāϞāĻžāϰāĨ¤
āϤāĻžāϰāĻŋāĻ–: ā§§ā§­ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ, āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ
āϏāĻŽāϝāĻŧ: āĻĻ⧁āĻĒ⧁āϰ ā§§:ā§Šā§Ļ āĻŽāĻŋāύāĻŋāϟ
āĻ¸ā§āĻĨāĻžāύ: āϰ⧁āĻŽ āύāĻ‚ ā§­ā§Ļ⧝, āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāĻ—, āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

āϏāĻ•āϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻĒā§āϰ⧇āĻŽā§€āĻĻ⧇āϰ āφāĻŦāĻžāϰāĻ“ āϟāĻŋāĻāĻĢāĻĒāĻŋ āĻĢāĻŋāĻ˛ā§āĻŽ āĻ•ā§āϞāĻžāĻŦ āϜāĻžāύāĻžāϝāĻŧ Cloudy with a Chance of Meatballs āĻĻ⧇āĻ–āĻžāϰ āφāĻŽāĻ¨ā§āĻ¤ā§āϰāĻŖāĨ¤

āϞ⧋āĻ•āĻ•āĻĨāĻž, āĻŽāĻŋāĻĨ, āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ•āĻŋāĻ‚āĻŦāĻž āĻĒā§āϰāϜāĻ¨ā§āĻŽ āĻĨ⧇āϕ⧇ āĻĒā§āϰāϜāĻ¨ā§āĻŽā§‡ āϚāϞ⧇ āφāϏāĻž āĻ—āĻ˛ā§āĻĒ, āĻāϏāĻŦ⧇āϰ āĻŽāĻ§ā§āϝ⧇āχ āϜāĻŽāĻž āĻĨāĻžāϕ⧇ āĻāĻ•āϟāĻŋ āϏāĻŽāĻžāĻœā§‡āϰ āĻŦāĻšā§ āĻ¸ā§āĻŽā§ƒāϤāĻŋāĨ¤ āϏāĻŋāύ⧇āĻŽāĻž āϝāĻ–āύ ...
14/09/2026

āϞ⧋āĻ•āĻ•āĻĨāĻž, āĻŽāĻŋāĻĨ, āĻŦāĻŋāĻļā§āĻŦāĻžāϏ āĻ•āĻŋāĻ‚āĻŦāĻž āĻĒā§āϰāϜāĻ¨ā§āĻŽ āĻĨ⧇āϕ⧇ āĻĒā§āϰāϜāĻ¨ā§āĻŽā§‡ āϚāϞ⧇ āφāϏāĻž āĻ—āĻ˛ā§āĻĒ, āĻāϏāĻŦ⧇āϰ āĻŽāĻ§ā§āϝ⧇āχ āϜāĻŽāĻž āĻĨāĻžāϕ⧇ āĻāĻ•āϟāĻŋ āϏāĻŽāĻžāĻœā§‡āϰ āĻŦāĻšā§ āĻ¸ā§āĻŽā§ƒāϤāĻŋāĨ¤ āϏāĻŋāύ⧇āĻŽāĻž āϝāĻ–āύ āϏ⧇āχ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋āϕ⧇ āĻĒāĻ°ā§āĻĻāĻžā§Ÿ āύāĻŋā§Ÿā§‡ āφāϏ⧇, āϤāĻ–āύ āϏ⧇āϗ⧁āϞ⧋ āĻļ⧁āϧ⧁ āĻ—āĻ˛ā§āĻĒ āĻĨāĻžāϕ⧇ āύāĻž; āύāϤ⧁āύ āĻ•āϰ⧇ āϤ⧈āϰāĻŋ āĻšā§Ÿ āĻĻ⧇āĻ–āĻžāϰ āĻ“ āĻŦā§‹āĻāĻžāϰ āϏ⧁āϝ⧋āĻ—āĨ¤

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāϕ⧇ āϘāĻŋāϰ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻ•ā§āϞāĻžāĻŦ⧇āϰ āύāĻŋ⧟āĻŽāĻŋāϤ āφāϞ⧋āϚāύāĻžāϰ āĻĒāϰāĻŋāϏāϰ⧇āϰ āϏāĻžāĻĨ⧇ āĻāĻŦāĻžāϰ āϝ⧁āĻ•ā§āϤ āĻšā§Ÿā§‡āĻ›āĻŋāϞ āĻĢā§‹āĻ•āϞ⧋āϰ āĻ“ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻ¸ā§āĻŽā§ƒāϤāĻŋāϰ āĻĒā§āϰāϏāĻ™ā§āĻ—āĨ¤ āĻāĻŦāĻžāϰ Visual Anthropology Club-āĻāϰ āĻ†ā§Ÿā§‹āϜāύ⧇, TFP Film Club-āĻāϰ āϏāĻšāϝ⧋āĻ—āĻŋāϤāĻžā§Ÿ āĻ…āύ⧁āĻˇā§āĻ āĻŋāϤ āĻšāϞ⧋ “Folklore as Cultural Memory in Cinema” āϏ⧇āĻļāύāĨ¤

āφāϞ⧋āϚāύāĻžā§Ÿ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻ“ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āϤ⧁āϞ⧇ āϧāϰāĻžāϰ āϜāĻ¨ā§āϝ āĻŽā§‡āϜāĻŦāĻžāωāϰ āϰāĻžāĻšāĻŽāĻžāύ āϏ⧁āĻŽāύ āĻāĻŦāĻ‚ āύāĻžāϜāĻŋāĻĢāĻž āϤ⧁āώāĻŋ-āϕ⧇ āĻ…āϏāĻ‚āĻ–ā§āϝ āϧāĻ¨ā§āϝāĻŦāĻžāĻĻāĨ¤

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋā§Ÿā§‡ āφāĻŽāĻžāĻĻ⧇āϰ āĻ­āĻžāĻŦāύāĻž āĻ“ āφāϞ⧋āϚāύāĻžāϰ āĻĒāϰāĻŋāϏāϰ⧇ āĻāĻŽāύ āφāϰāĻ“ āφāĻ¨ā§āϤāσāĻŦāĻŋāώ⧟āĻ• āϏāĻ‚āϝ⧋āĻ— āφāĻŽāϰāĻž āĻĒā§āϰāĻ¤ā§āϝāĻžāĻļāĻž āĻ•āϰāĻŋāĨ¤ Visual Anthropology Club-āĻāϰ āϏāĻ™ā§āϗ⧇ āĻāχ āĻ†ā§Ÿā§‹āϜāύ⧇ āϏāĻšāϝ⧋āĻ—ā§€ āĻšāϤ⧇ āĻĒ⧇āϰ⧇ TFP Film Club āφāύāĻ¨ā§āĻĻāĻŋāϤāĨ¤ āφāϞ⧋āϚāύāĻžā§Ÿ āĻ…āĻ‚āĻļ āύ⧇āĻ“ā§ŸāĻž āϏāĻŦāĻžāχāϕ⧇ āϧāĻ¨ā§āϝāĻŦāĻžāĻĻ āφāĻŽāĻžāĻĻ⧇āϰ āϏāĻ™ā§āϗ⧇ āĻĨāĻžāĻ•āĻžāϰ āϜāĻ¨ā§āϝāĨ¤

How does folklore find a new visual language through cinema? And how do films transform folk stories and beliefs into a ...
12/09/2026

How does folklore find a new visual language through cinema? And how do films transform folk stories and beliefs into a reflection of our collective cultural memory?
Join us for an engaging conversation with filmmaker Mejbaur Rahman Sumon and actress Nazifa Tushi.
Date: 13 September 2026
Time: 10:00 AM – 12:00 PM
Venue: Room 712, 6th Floor, Faculty of Social Sciences, University of Dhaka
Open to all. See you there!

Hello, Cine-Maniacs! Only 10 days left! How is your writing coming along?Whether you are a filmmaker, critic, academicia...
11/09/2026

Hello, Cine-Maniacs! Only 10 days left! How is your writing coming along?

Whether you are a filmmaker, critic, academician of TFP, or simply a fan of the big screen, whoever you may be, there is a space in the pages of TFP Magazine for your writing, for your thoughts.

We are accepting write-ups in both Bengali and English on any of the following topics:

1. Behind the Scenes: Shooting set stories, BTS photos, or albums.
Graduation Film Journey: The story behind your graduation film.
2. On-Set Experience: Your experiences and learnings from any set.
Film Review: Honest opinions on any Bangladeshi film released in the last six months.
3. Profile of a Bangladeshi Director: A discussion on the work of your favourite filmmaker.
4. The Movie That Changed Your Life: The story of that one specific film.
5. Sharp Film Analysis: Critical essays or academic papers.
6. Film Theory in Your Words: An easily understandable explanation of any theory.
7. Film Book Review: A book that left a deep impression on you.
8. About "Mukh O Mukhosh" (1956): Write about the history, production, or its position in our cinema heritage as the film that marked the beginning of Bangladeshi cinema.
9. About Ritwik Ghatak: A discussion on the life, philosophy, or work of one of Bengal's most uncompromising filmmakers.

How to Submit
Language: Bengali or English, whichever you feel comfortable with
Writing File: .doc or .docx
Images: JPEG or PNG
Submission Deadline: September 20, 2026
Send to this Email: [email protected]
We are waiting to read your writing.

ISSN: 3134-7878

Experiences of the International Film Market: A Conversation with Bangladeshi FilmmakersWhat happens when Bangladeshi fi...
30/08/2026

Experiences of the International Film Market: A Conversation with Bangladeshi Filmmakers

What happens when Bangladeshi filmmakers step into the global film industry?

Earlier this year, two separate delegations of Bangladeshi filmmakers participated in the industry programmes of MarchÊ du Film – Festival de Cannes and Sheffield DocFest. Their experiences offer valuable insights into how filmmakers can navigate international film markets, build professional networks, and create new opportunities for their projects.

The Department of Television, Film and Photography, University of Dhaka, and Dhaka DocLab invite filmmakers, film students, researchers, and enthusiasts to an experience-sharing session with members of both delegations.

MarchÊ du Film – Festival de Cannes
Kazi Arefin Ahmed
Chitto Anondi
Sumon Delwar
Azhar Huq

Sheffield DocFest
Tayran Razzak
Piplu R Khan
Makbul Chowdhury
Kazi Arefin Ahmed

Date: Thursday, 3 September 2026
Time: 2:00 PM
Venue: Room-709, Department of Television, Film and Photography, Level-6, Social Sciences' Building, University of Dhaka

Registration is required.
Those interested in attending are requested to register by filling out the form below:

Registration Form:
https://forms.gle/mevi5MGzRrgY7V5VA

We welcome filmmakers, students, academics, and anyone interested in exploring the possibilities of taking Bangladeshi cinema to the international stage.

⧍⧭āĻļ⧇ āφāĻ—āĻ¸ā§āϟ ⧍ā§Ļ⧍ā§Ŧ TFP Film Club āĻ“ Cultural Center, Embassy of Islamic Republic of Iran āĻāϰ āϝ⧌āĻĨ āύāĻŋāĻŦ⧇āĻĻāύ⧇ āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ⧇...
28/08/2026

⧍⧭āĻļ⧇ āφāĻ—āĻ¸ā§āϟ ⧍ā§Ļ⧍ā§Ŧ TFP Film Club āĻ“ Cultural Center, Embassy of Islamic Republic of Iran āĻāϰ āϝ⧌āĻĨ āύāĻŋāĻŦ⧇āĻĻāύ⧇ āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ⧇āϰ āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻāĻ¨ā§āĻĄ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāϗ⧇ āĻĒā§āϰāĻĻāĻ°ā§āĻļāĻŋāϤ āĻšāϝāĻŧ āχāϰāĻžāύāĻŋ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž āĻŽāĻžāϜāĻŋāĻĻ āĻŽāĻžāϜāĻŋāĻĻāĻŋāϰ Muhammad: The Messenger of GodāĨ¤

āĻāχ āφāϝāĻŧā§‹āϜāύ⧇ āĻŦāĻŋāĻļ⧇āώ āĻ…āϤāĻŋāĻĨāĻŋ āĻšāĻŋāϏ⧇āĻŦ⧇ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤ āĻ›āĻŋāϞ⧇āύ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇ āύāĻŋāϝ⧁āĻ•ā§āϤ āχāϏāϞāĻžāĻŽā§€ āĻĒā§āϰāϜāĻžāϤāĻ¨ā§āĻ¤ā§āϰ āχāϰāĻžāύ āĻĻā§‚āϤāĻžāĻŦāĻžāϏ⧇āϰ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āωāĻĒāĻĻ⧇āĻˇā§āϟāĻž āϜāύāĻžāĻŦ āĻŽāĻžāĻšāĻĻā§€ āĻŽā§ŒāϞāĻžāϝāĻŧā§€ āφāϰāĻžāύ⧀āĨ¤ āφāϰāĻ“ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤ āĻ›āĻŋāϞ⧇āύ āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ⧇āϰ āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻāĻ¨ā§āĻĄ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāϗ⧇āϰ āĻšā§‡āϝāĻŧāĻžāϰāĻĒāĻžāϰāϏāύ āϏāĻžāχāϝāĻŧā§āϝāĻŋāĻĻ āĻļāĻžāĻšāϜāĻžāĻĻāĻž āφāϞ āĻ•āĻžāϰ⧀āĻŽāĨ¤

āĻĒā§āϰāϤāĻŋāĻŦāĻžāϰ⧇āϰ āĻŽāϤ⧋ āĻāĻŦāĻžāϰāĻ“ āφāĻŽāĻžāĻĻ⧇āϰ āĻĒā§āϰāĻĻāĻ°ā§āĻļāĻŋāϤ āϏāĻŋāύ⧇āĻŽāĻžāϕ⧇ āϘāĻŋāϰ⧇ āĻ†ā§Ÿā§‹āϜāύ āĻ•āϰāĻž āĻšā§Ÿ āĻāĻ•āϟāĻŋ āϕ⧁āχāϜāĨ¤ āĻāĻŦāĻžāϰ⧇āϰ āϕ⧁āχāĻœā§‡ āĻŦāĻŋāĻœā§Ÿā§€ āĻšā§Ÿā§‡āϛ⧇āύ āχāϰāĻžāύāĻŋ⧟āĻžāύ āĻ•āĻžāϞāϚāĻžāϰāĻžāϞ āϏ⧇āĻ¨ā§āϟāĻžāϰ⧇ āĻ…āĻ§ā§āϝ⧟āύāϰāϤ āϏāĻžāϞāĻŋāĻšāĻŋāύ āĻŦāĻŋāύ āĻ•āĻžāĻŽāϰ⧁āϞāĨ¤ āĻŦāĻŋāϜāϝāĻŧā§€āϰ āĻšāĻžāϤ⧇ āĻŦāχ āωāĻĒāĻšāĻžāϰ āϤ⧁āϞ⧇ āĻĻ⧇āύ āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻāĻ¨ā§āĻĄ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāϗ⧇āϰ āĻšā§‡āϝāĻŧāĻžāϰāĻĒāĻžāϰāϏāύāĨ¤

āĻāϰāĻĒāϰ āφāϏ⧇ āϏāĻŦāĻĨ⧇āϕ⧇ āφāĻ•āĻ°ā§āώāĻŖā§€āϝāĻŧ āĻĒāĻ°ā§āĻŦ - āϏāĻŋāύ⧇āĻŽāĻž āύāĻŋāϝāĻŧ⧇ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āφāϞ⧋āϚāύāĻž, āϚ⧁āϞāĻšā§‡āϰāĻž āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāĨ¤ āύāĻŦā§€ āĻšāϝāϰāϤ āĻŽā§āĻšāĻžāĻŽā§āĻŽāĻĻ (āϏ) āĻāϰ āϜāĻ¨ā§āĻŽ, āϤāĻžāρāϰ āϏāĻŽāϝāĻŧāĻ•āĻžāϰ āĻ…āĻŦāĻ•ā§āώāϝāĻŧā§€ āϏāĻŽāĻžāϜ, āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύāĻžāϚāĻžāϰ āωāϠ⧇ āĻāϏ⧇āϛ⧇ āĻŽāĻžāϜāĻŋāĻĻ āĻŽāĻžāϜāĻŋāĻĻāĻŋāϰ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϝāĻŧāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻŋāύ⧇āĻŽāĻžāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ, āϞāĻžāχāϟāĻŋāĻ‚ āĻāϰ āϏāĻžāĻĨ⧇ āĻ. āφāϰ āϰāĻšāĻŽāĻžāύ⧇āϰ āĻŽāĻ°ā§āĻŽāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āϏāĻ™ā§āĻ—ā§€āϤ āφāϝāĻŧā§‹āϜāύāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ, āφāϞ⧋āϰ āĻŦā§āϝāĻŦāĻšāĻžāϰ, āĻļāĻŦā§āĻĻ āĻ“ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻžāϰ āύāĻžāĻ¨ā§āĻĻāύāĻŋāĻ• āĻ•ā§ŒāĻļāϞ āϕ⧀āĻ­āĻžāĻŦ⧇ āĻāĻ•āϟāĻŋ āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āĻ“ āϧāĻ°ā§āĻŽā§€āϝāĻŧ āφāĻ–ā§āϝāĻžāύāϕ⧇ āĻĒāĻ°ā§āĻĻāĻžāϝāĻŧ āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻ•āϰ⧇āϛ⧇, āϤāĻž āύāĻŋāϝāĻŧ⧇ āϚāϞ⧇ āĻ—āĻ­ā§€āϰ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāĨ¤

āφāϞ⧋āϚāύāĻžāϝāĻŧ āĻĻāĻ°ā§āĻļāĻ•āϰāĻž āĻŦāϞ⧇āύ āϏāĻŽāĻžāϜ-āϏāĻ­ā§āϝāϤāĻžāϰ āĻ•ā§āϰāĻŽāĻŦāĻŋāĻ•āĻžāĻļ⧇ āϕ⧀āĻ­āĻžāĻŦ⧇ āϧāĻ°ā§āĻŽā§‡āϰ āφāĻŦāĻŋāĻ°ā§āĻ­āĻžāĻŦ āĻšāϞ⧋, āφāϰ āĻ…āĻŦāĻ•ā§āώāϝāĻŧā§€ āϏāĻŽāĻžāϜ āĻŦā§āϝāĻŦāĻ¸ā§āĻĨāĻžāϝāĻŧ āϧāĻ°ā§āĻŽā§‡āϰ āĻĒā§āϰāĻ—āϤāĻŋāϰ āĻŦāĻžāĻŖā§€ āϕ⧀āĻ­āĻžāĻŦ⧇ āϏāĻ•āϞ āĻŽāĻžāύ⧁āώ⧇āϰ āĻļā§‹āώāϪ⧇āϰ āĻļ⧃āĻ™ā§āĻ–āϞ āϭ⧇āϙ⧇ āϤāĻžāĻĻ⧇āϰ āĻāĻ• āĻ•āϰ⧇āĻ›āĻŋāϞāĨ¤ āĻāĻ­āĻžāĻŦ⧇āχ āĻĒā§āϰāϤāĻŋāĻ•ā§āϰāĻŋāϝāĻŧāĻžāϰ āĻŦāĻŋāĻĒāĻ•ā§āώ⧇ āĻĒā§āϰāĻ—āϤāĻŋāϰ āϚāĻŋāĻ¤ā§āϰ āϤ⧁āϞ⧇ āϧāϰ⧁āĻ• āϏāĻŋāύ⧇āĻŽāĻžāĨ¤

āϏāĻŋāύ⧇āĻŽāĻž āϤ⧋ āϕ⧇āĻŦāϞ āύāĻŋāĻ›āĻ• āĻŦāĻŋāύ⧋āĻĻāύ āύāϝāĻŧ, āϏāĻŋāύ⧇āĻŽāĻž āĻšāϞ⧋ āϏāĻŽāĻžāϜ - āϏāĻ­ā§āϝāϤāĻžāϰ āφāϝāĻŧāύāĻžāĨ¤ āφāϰ āĻāχ āφāϝāĻŧāύāĻžāϰ āĻĻ⧃āĻļā§āϝāĻžāĻŦāϞ⧀ āĻĻ⧇āĻ–āϤ⧇ TFP Film Club āĻĒā§āϰāϤāĻŋ āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ, āĻ āĻŋāĻ• āĻĻ⧁āĻĒ⧁āϰ āĻĻ⧇āĻĄāĻŧāϟāĻžāϝāĻŧ āϏāĻ•āϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻĒā§āϰ⧇āĻŽā§€ āĻŽāĻžāύ⧁āώāϕ⧇ āφāĻŽāĻ¨ā§āĻ¤ā§āϰāĻŖ āϜāĻžāύāĻžāϝāĻŧāĨ¤

āĻĨāĻžāϕ⧁āύ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻžāĻĨ⧇āĨ¤ āĻĨāĻžāϕ⧁āύ TFP Film Club āĻāϰ āϏāĻžāĻĨ⧇āĨ¤

āώāĻˇā§āĻ  āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āĻŽāĻ•ā§āĻ•āĻžāĨ¤ āĻ•āĻžāĻŦāĻž āĻļāϰāĻŋāĻĢ āĻ§ā§āĻŦāĻ‚āϏ⧇āϰ āωāĻĻā§āĻĻ⧇āĻļā§āϝ⧇ āĻ‡ā§Ÿā§‡āĻŽā§‡āύ⧇āϰ āĻšāĻžāĻŦāĻļāĻŋ āĻļāĻžāϏāĻ• āφāĻŦāϰāĻžāĻšāĻž āĻāĻ• āĻŦāĻŋāĻļāĻžāϞ āĻŦāĻžāĻšāĻŋāύ⧀ āύāĻŋā§Ÿā§‡ āĻŽāĻ•ā§āĻ•āĻžāϰ āĻĻāĻŋāϕ⧇ āĻ…āĻ—ā§āϰāϏāϰ āĻšāύāĨ¤ ...
25/08/2026

āώāĻˇā§āĻ  āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āĻŽāĻ•ā§āĻ•āĻžāĨ¤ āĻ•āĻžāĻŦāĻž āĻļāϰāĻŋāĻĢ āĻ§ā§āĻŦāĻ‚āϏ⧇āϰ āωāĻĻā§āĻĻ⧇āĻļā§āϝ⧇ āĻ‡ā§Ÿā§‡āĻŽā§‡āύ⧇āϰ āĻšāĻžāĻŦāĻļāĻŋ āĻļāĻžāϏāĻ• āφāĻŦāϰāĻžāĻšāĻž āĻāĻ• āĻŦāĻŋāĻļāĻžāϞ āĻŦāĻžāĻšāĻŋāύ⧀ āύāĻŋā§Ÿā§‡ āĻŽāĻ•ā§āĻ•āĻžāϰ āĻĻāĻŋāϕ⧇ āĻ…āĻ—ā§āϰāϏāϰ āĻšāύāĨ¤ āĻŽāĻ•ā§āĻ•āĻžāϰ āύāĻŋāĻ•āϟāĻŦāĻ°ā§āϤ⧀ āĻšāϝāĻŧ⧇ āĻ•āĻžāĻŦāĻžāϰ āĻĻāĻŋāϕ⧇ āĻ…āĻ—ā§āϰāϏāϰ āĻšāĻ“āϝāĻŧāĻžāϰ āϏāĻŽāϝāĻŧ āϘāĻŸā§‡ āĻāĻ• āĻŦāĻŋāĻ¸ā§āĻŽāϝāĻŧāĻ•āϰ āϘāϟāύāĻžāĨ¤ āĻŦāĻžāĻšāĻŋāύ⧀āϰ āĻšāĻžāϤāĻŋ āĻŽāĻ•ā§āĻ•āĻžāϰ āĻĻāĻŋāϕ⧇ āφāϰ āĻāĻ—ā§‹āϤ⧇ āĻ…āĻ¸ā§āĻŦā§€āĻ•ā§ƒāϤāĻŋ āϜāĻžāύāĻžāϝāĻŧāĨ¤ āĻāϰāĻĒāϰ āĻāĻžāρāϕ⧇ āĻāĻžāρāϕ⧇ āϛ⧋āϟ āĻĒāĻžāĻ–āĻŋ āφāĻŦāϰāĻžāĻšāĻžāϰ āĻŦāĻžāĻšāĻŋāύ⧀āϰ āωāĻĒāϰ āĻĒāĻžāĻĨāϰ āĻŦāĻ°ā§āώāĻŖ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻŦāĻžāĻšāĻŋāύ⧀āϟāĻŋ āύāĻŋāĻļā§āϚāĻŋāĻšā§āύ āĻšāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤

āĻāϰ āĻ…āĻ˛ā§āĻĒ āĻ•āĻŋāϛ⧁āĻĻāĻŋāύ āĻĒāϰ āϜāĻ¨ā§āĻŽ āύ⧇āύ āĻšāϝāϰāϤ āĻŽā§āĻšāĻžāĻŽā§āĻŽāĻĻ (āϏāĻž.), āϝāĻžāρāϰ āφāĻ—āĻŽāύ āĻŦāĻĻāϞ⧇ āĻĻ⧇āϝāĻŧ āφāϰāĻŦ⧇āϰ āχāϤāĻŋāĻšāĻžāϏ, āĻāĻŦāĻ‚ āĻĒāϰāĻŦāĻ°ā§āϤ⧀āĻ•āĻžāϞ⧇ āϏāĻŽāĻ—ā§āϰ āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āχāϤāĻŋāĻšāĻžāϏāĨ¤

⧍ā§Ļā§§ā§Ģ āϏāĻžāϞ⧇ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āχāϰāĻžāύāĻŋ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ Muhammad: The Messenger of God-āĻ Children of Heaven-āĻ–ā§āϝāĻžāϤ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻž āĻŽāĻžāϜāĻŋāĻĻ āĻŽāĻžāϜāĻŋāĻĻāĻŋ āύāĻŦā§€ āĻŽā§āĻšāĻžāĻŽā§āĻŽāĻĻ (āϏāĻž.)-āĻāϰ āϜāĻ¨ā§āĻŽ āĻĨ⧇āϕ⧇ āĻļ⧈āĻļāĻŦ⧇āϰ ā§§ā§Š āĻŦāĻ›āϰ āĻĒāĻ°ā§āϝāĻ¨ā§āϤ āϏāĻŽāϝāĻŧāϕ⧇ āϕ⧇āĻ¨ā§āĻĻā§āϰ āĻ•āϰ⧇ āώāĻˇā§āĻ  āĻļāϤāĻžāĻŦā§āĻĻā§€āϰ āĻŽāĻ•ā§āĻ•āĻžāϰ āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻ“ āϧāĻ°ā§āĻŽā§€āϝāĻŧ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻž, āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ, āύāĻŋāĻĒā§€āĻĄāĻŧāύ, āϏāĻ‚āϘāĻžāϤ āĻ“ āĻŽāĻžāύāĻŦāĻŋāĻ•āϤāĻžāϰ āĻāĻ• āĻŽāĻšāĻžāĻ•āĻžāĻŦā§āϝāĻŋāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻ­āĻžāĻˇā§āϝ āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻ•āϰ⧇āϛ⧇āύāĨ¤

TFP Film Club āĻ“ Cultural Centre, Embassy of the Islamic Republic of Iran-āĻāϰ āϝ⧌āĻĨ āφāϝāĻŧā§‹āϜāύ⧇ āĻ…āύ⧁āĻˇā§āĻ āĻŋāϤ āĻšāϤ⧇ āϝāĻžāĻšā§āϛ⧇ āĻāχ āĻŦāĻŋāĻļ⧇āώ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻĒā§āϰāĻĻāĻ°ā§āĻļāύ⧀āĨ¤ āĻĒā§āϰāĻĻāĻ°ā§āĻļāύ⧀āϤ⧇ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤ āĻĨāĻžāĻ•āĻŦ⧇āύ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļ⧇ āύāĻŋāϝ⧁āĻ•ā§āϤ āχāϏāϞāĻžāĻŽā§€ āĻĒā§āϰāϜāĻžāϤāĻ¨ā§āĻ¤ā§āϰ āχāϰāĻžāύ āĻĻā§‚āϤāĻžāĻŦāĻžāϏ⧇āϰ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āωāĻĒāĻĻ⧇āĻˇā§āϟāĻž āϜāύāĻžāĻŦ āĻŽāĻžāĻšāĻĻāĻŋ āĻŽā§ŒāϞāĻžā§Ÿā§€ āφāϰāĻžāύāĻŋāĨ¤

āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ: Muhammad: The Messenger of God
āĻĒāϰāĻŋāϚāĻžāϞāĻ•: āĻŽāĻžāϜāĻŋāĻĻ āĻŽāĻžāϜāĻŋāĻĻāĻŋ
āϤāĻžāϰāĻŋāĻ–: ⧍⧭ āφāĻ—āĻ¸ā§āϟ, āĻŦ⧃āĻšāĻ¸ā§āĻĒāϤāĻŋāĻŦāĻžāϰ
āϏāĻŽāϝāĻŧ: āĻĻ⧁āĻĒ⧁āϰ ā§§:ā§Šā§Ļ āĻŽāĻŋāύāĻŋāϟ
āĻ¸ā§āĻĨāĻžāύ: āϰ⧁āĻŽ āύāĻ‚ ā§­ā§Ļ⧝, āĻŸā§‡āϞāĻŋāĻ­āĻŋāĻļāύ, āĻĢāĻŋāĻ˛ā§āĻŽ āĻ…ā§āϝāĻžāĻ¨ā§āĻĄ āĻĢāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ āĻŦāĻŋāĻ­āĻžāĻ—, āĻĸāĻžāĻ•āĻž āĻŦāĻŋāĻļā§āĻŦāĻŦāĻŋāĻĻā§āϝāĻžāϞāϝāĻŧ

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TFP Film Club-āĻāϰ āĻĒāĻ•ā§āώ āĻĨ⧇āϕ⧇ āϏāĻ•āϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāĻĒā§āϰ⧇āĻŽā§€āϕ⧇ āϜāĻžāύāĻžāχ āφāĻ¨ā§āϤāϰāĻŋāĻ• āφāĻŽāĻ¨ā§āĻ¤ā§āϰāĻŖāĨ¤

Sixth-century Mecca. Abraha, the Abyssinian ruler of Yemen, advanced toward Mecca with a massive army with the intention of destroying the Holy Kaaba. As his forces approached Mecca and moved toward the Kaaba, a miraculous event took place. The army’s elephant refused to move any further toward Mecca. Then, flocks of small birds began pelting Abraha’s army with stones, and the army was completely destroyed.

Shortly afterward, Prophet Muhammad (PBUH) was born. His arrival transformed the history of Arabia and, in time, the history of the entire world.

Released in 2015, the Iranian film Muhammad: The Messenger of God, directed by Majid Majidi, the acclaimed filmmaker of Children of Heaven, focuses on the period from the birth of Prophet Muhammad (PBUH) to the age of 13. Through an epic cinematic portrayal of sixth-century Mecca, Majidi explores its social and religious realities, the lives of its people, oppression, conflict, and humanity.

TFP Film Club, in collaboration with the Cultural Centre of the Embassy of the Islamic Republic of Iran, is organizing this special film screening. The screening will be attended by Mr. Mahdi Molaee Arani, Cultural Counsellor of the Embassy of the Islamic Republic of Iran in Bangladesh.

Film: Muhammad: The Messenger of God
Director: Majid Majidi
Date: Thursday, 27 August
Time: 1:30 PM
Venue: Room No. 709, Department of Television, Film & Photography, University of Dhaka

Join us on an epic cinematic journey through history, faith, humanity, and cinema.

TFP Film Club cordially invites all film enthusiasts to be a part of this special screening.

TFP-āϏāĻŋāύ⧇-āĻŽā§āϝāĻžāύāĻŋāϝāĻŧāĻžāĻ•āϏ, āĻāĻŦāĻžāϰ āφāĻĒāύāĻžāĻĻ⧇āϰ āĻĒāĻžāϞāĻž!āϏāĻŋāύ⧇āĻŽāĻž āĻ•āĻŋ āφāĻĒāύāĻžāϕ⧇ āĻšāĻžāϏāĻžā§Ÿ? āύāĻžāĻ•āĻŋ āĻ…āĻā§‹āϰ⧇ āĻ•āĻžāρāĻĻāĻžā§Ÿ? āĻšā§ŸāϤ⧋ āϕ⧋āύ⧋ āϏāĻŋāύ⧇āĻŽāĻž āĻĻ⧇āϖ⧇ āĻ­ā§€āώāĻŖ āĻšāϤāĻžāĻļ āĻšā§Ÿā§‡āϛ⧇...
23/08/2026

TFP-āϏāĻŋāύ⧇-āĻŽā§āϝāĻžāύāĻŋāϝāĻŧāĻžāĻ•āϏ, āĻāĻŦāĻžāϰ āφāĻĒāύāĻžāĻĻ⧇āϰ āĻĒāĻžāϞāĻž!
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āϕ⧀āĻ­āĻžāĻŦ⧇ āϜāĻŽāĻž āĻĻ⧇āĻŦ⧇āύ
āĻ­āĻžāώāĻž: āĻŦāĻžāĻ‚āϞāĻž āĻŦāĻž āχāĻ‚āϰ⧇āϜāĻŋ, āϝ⧇āϟāĻžāϤ⧇ āϏāĻžāĻšā§āĻ›āĻ¨ā§āĻĻā§āϝ āĻŦā§‹āϧ āĻ•āϰ⧇āύ
āϞ⧇āĻ–āĻžāϰ āĻĢāĻžāχāϞ: .doc āĻŦāĻž .docx
āĻ›āĻŦāĻŋ: JPEG āĻŦāĻž PNG
āϞ⧇āĻ–āĻž āϜāĻŽāĻž āĻĻā§‡ā§ŸāĻžāϰ āĻļ⧇āώ āϤāĻžāϰāĻŋāĻ–: ⧍ā§Ļ āϏ⧇āĻĒā§āĻŸā§‡āĻŽā§āĻŦāϰ, ⧍ā§Ļ⧍ā§Ŧ
āĻĒāĻžāĻ āĻžāύ āĻāχ āχāĻŽā§‡āχāϞ⧇: [email protected]

āφāĻŽāϰāĻž āφāĻĒāύāĻžāϰ āϞ⧇āĻ–āĻž āĻĒāĻĄāĻŧāĻžāϰ āϜāĻ¨ā§āϝ āĻ…āĻĒ⧇āĻ•ā§āώāĻž āĻ•āϰāĻ›āĻŋāĨ¤
(āĻĻā§āϰāĻˇā§āϟāĻŦā§āϝ: āϟāĻŋāĻāĻĢāĻĒāĻŋ-āĻāϰ āĻŦāĻ°ā§āϤāĻŽāĻžāύ āĻ•āĻŋāĻ‚āĻŦāĻž āĻĒā§āϰāĻžāĻ•ā§āϤāύ, āϝ⧇āϕ⧋āύ⧋ āĻļāĻŋāĻ•ā§āώāĻžāĻ°ā§āĻĨā§€āχ āϞ⧇āĻ–āĻž āĻĒāĻžāĻ āĻžāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āύāĨ¤)
ISSN: 3134-7878

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