In the French Riviera, where cinematic dreams take flight, a 15-minute gem from Bangladesh has captured the world’s attention.
‘Ali’, directed by Adnan Al Rajeev, earned a Special Mention at the 78th Cannes International Film Festival, marking a historic milestone as the first Bangladeshi film in the festival’s short film section.
The announcement, met with resounding applause, echoed through the Grand Théâtre Lumière during the closing ceremony on May 24, 2025, at 6:40 pm local time (10:40 pm Bangladesh time).
German director Maren Ade, head judge of the Short Film and La Cinéfondation section, heralded Ali’s unique storytelling, spotlighting Adnan Al Rajeev as he rose from the audience to a wave of cheers. Screened the previous Friday, the film captivated viewers with its poignant narrative of a teenage girl in a coastal Bangladeshi city, where women are forbidden to sing. Defiant and talented, Ali enters a singing competition, astonishingly performing in a female voice, chasing a dream to escape to the city.
For Adnan, a veteran of TV production for over 15 years, Ali was a labour of love shot over five intense days in Sylhet last December. “I made this film for Bangladesh, but I never imagined it would reach Cannes,” he shared on Facebook. “It’s like a dream.” The idea sparked from a novel concept, fueled by a quiet belief that Bangladeshi stories deserve a global stage. “Some journeys don’t start with a script—they begin with faith,” Adnan wrote, crediting his team’s “friendship, madness, and relentless faith” for the film’s success.
The cast and crew, a symphony of talent, brought Ali to life. Producers Kristine De Leon and Tanveer Hossain provided unwavering support, with Tanveer described as the “light that kept Ali alive.” Screenwriters Arvin Belarmino and Kyla Romero crafted a world that resonated deeply, while cinematographer Kamrul Hasan Khosru lit “souls, not just scenes.”
Costume designer Aniqa Zaheen shaped the film’s creative heartbeat, and editor Taiful Shadhin made a stunning Cannes debut. Post-production by Narra Post-Production Studios and grading by Barebones gave Ali its evocative polish, with music by Arafatul Hasan Shanto and vocals by Dilshad Nahar Kona adding soulful depth.
The film’s journey began with a spark from Al Amin’s online footage, and Indrani Shoma’s portrayal of Ali’s mother was “perfect,” Adnan noted. A cameo by Sunidhi Nayak added star power, while Reaz Mohammad’s CG wizardry and Satyabrata Pal’s graphics elevated the visuals. Adnan’s wife, Mehazabien Chowdhury, was his “silent strength,” enduring his creative highs and lows. “I feel luckier to have married you,” he wrote, calling her his “forever partner.”
Ali’s Cannes nod is more than a personal triumph—it’s a beacon for Bangladeshi and South Asian filmmakers. Through KATALOG, a production bridge between South and Southeast Asia, Adnan and his team showcased the power of regional storytelling. “This isn’t just a Cannes moment,” he declared. “It’s a message: our stories matter, and the world is listening.”
While Israeli director Tawfiq Barhom’s “I’m Glad You’re Dead Now” won the Short Film Palme d’Or, Ali’s Special Mention has etched Bangladesh into Cannes’ storied history. For Adnan and his crew, this is just the beginning—a testament to grit, heart, and the transformative power of cinema.