It was her adoration for writing that carried Azmeri Haque Badhon to acting. She had been an understudy of dentistry at Bangladesh Medical College in 2006, when the require a marvel exhibition grabbed her attention — the victors of the event would get an opportunity to work in a film dependent on a novel by one of the nation’s most notable authors, Humayun Ahmed (1948-2012). “I come from an extremely traditionalist family.
I can’t sing or move. I don’t know about theater. Yet, I entered the show simply because I needed to meet Humayun Ahmed sir once,” says the Bangladeshi entertainer, with a chuckle. Badhon wound up as the second sprinter up in the exhibition, and in addition to the fact that she had an opportunity to meet Ahmed, she before long ended up getting a whirlwind of offers for serials, advertisements, and, ultimately, films. “In our general public, working in the media accompanies a shame. My family was disturbed about it and there was a ton of tension on me (to stop). I did a couple of undertakings to a great extent, yet I never viewed it in a serious way. It was uniquely in 2017, in the wake of having gone through numerous hardships in my own life that I chose to seek after my vocation truly,” says the 37-year-old.
In July this year, when Bangladesh’s first authority passage to the Cannes Film Festival, chief Abdullah Mohammad Saad’s Rehana Maryam Noor was screened, Badhon knocked some people’s socks off on honorary pathway with her flawless exhibit of South Asian couture. In any case, it was in the obscurity of the theater, at the film’s screening, that the genuine wizardry unfurled. The tale of a firm on lady her choice to get down on a sexual stalker, Badhon plays Rehana, an associate teacher in a private clinical school. A single parent, whose pay supports her little girl, guardians and her jobless sibling, Rehana takes on a male associate whom she discovers making lewd gestures towards an understudy. Badhon had practiced for the film in scenes, the whole content contacting her only a couple of months before the shoot, to keep up with immediacy in scenes. Shot generally in monochromes of blue that feature the smothering idea of the clinical school, Badhon had never watched the succinct account after its culmination. Its similitudes with her life were really close — despite the fact that she has never polished, as a specialist, she knew about how clinical universities worked. All the more critically, as Rehana, she, as well, is a single parent bringing up a girl, and a lady enduring in her pushback against man controlled society.
Far away from home, watching it on screen interestingly, Badhon felt overpowered by a surge of natural feelings. “From numerous points of view, Rehana’s battle was my own. We live with comparable mental contentions, with similar vulnerabilities and dismissals, and face comparable conflicts. I was crying in the assembly room as I watched the film,” she says. As the credits came in and the lights came on, she was staggered when the crowd stood up and the film got an overwhelming applause. “It was past my fantasies. I didn’t have the foggiest idea how to respond. It has involved extraordinary satisfaction, pride and regard for me to have had the option to address my nation there. I will put regard over all others, particularly, for the foundation I come from, the general public I come from, the existence I have driven. I have grown up disguising a ton of embarrassment, insolence and misuse from outcasts, however from my family, my personal accomplice, the general set of laws. Also, interestingly, I am not a special case. Numerous ladies face this regardless of whether they don’t shout out about it. So the appreciation at Cannes for my work appeared to be a recompense for quite a long time of hurt and embarrassment. The way that I was there to address my country, that individuals knew me by my name, and drew in with my work expertly involved incredible bliss and pride for me. In any event, for this uncommon film that has a lady leading the pack, before my exhibition was valued at Cannes, many floated over my name when talking about the film,” she says.
However the pandemic has driven the dramatic arrival of Rehana Maryam Noor into vulnerability, the warm gathering at Cannes has spurred her to assume on projects that position the lady solidly in the focal point of the story. Chief Piplu R Khan’s Joy Hok, a melodic short on the event of Bangladesh’s 50th commemoration recently, honors the country’s public writer Kazi Nazrul Islam by comparing his tune against each lady’s battle for liberation. Her most recent undertaking, Rabindranath Ekhane Kokhono Khete Asenni (Rabindranath Never Came to Dine Here), a nine-section web series by Indian chief Srijit Mukherji that delivered as of late on the streaming stage Hoichoi, is a variation of another artistic work — Bangladeshi creator Mohammad Nazim Uddin’s novel of a similar name. “One thing that I hold exceptionally dear is the reaction I have gotten not simply from the Bengali-talking local area across borders, yet from cineastes overall. Star chiefs, for example, Anurag Kashyap have been shower with their commendation, the jury at Cannes was staggeringly warm in their acclaim. It shows how when we hold each other up, we account for one another to sparkle,” she says.