"বৃষ্টির দিনে দেখে ফেললাম রইদ।" — two Eid targets: Bonolota Sen and Roid. This one came first.

Cinematography

The finest thing about this film is its cinematography. Musavvir Jyoti has done outstanding work here. Watching the trailer on a small laptop screen, I had no idea the hall experience would be this visually elevated. Frame after frame composed from remarkable angles. The rain, the winter, the rivers, day and night — almost every visual of rural Bangladesh is the kind that stays with you.

By any standard — Bangladeshi or global — this film's cinematography places itself at a very high level.

Performances

The second best part of this movie is the acting. Last Eid, Mosharraf Karim and Shyamal Mawla sparked a lot of conversation through Bonolota Express. The two lead characters in Roid deserve even more discussion than that.

Mostafizur Noor Imran plays a role completely unlike his real-life persona or the characters audiences know him for, and his performance is extraordinary. His walk, his posture, the way he stands — every moment proves what a deeply dedicated actor he is.

Nazifa Tushi is perhaps at the peak of her career right now. After Roid, she joined Anni and Andhar — all different genres, all different roles. In this film, she gave everything she had, and succeeded across the board. From the very first frame to the last, she kept pace with Imran evenly — and even if she didn't win, she earned a strong runner-up with full marks.

She has been pursuing unconventional work since the start of her career, and I believe audiences will only grow more interested in her future projects. If that happens, it will be something genuinely new in Bangladesh's male-dominated film industry. The supporting cast did their jobs adequately throughout, and the sound design and background score were also quite good — rain, storms, thunder, hail, fire, cattle, and BGM blended into an immersive sonic environment.

Official Trailer

Official Trailer · Roid (2026) · Facecard Production

Where It Stands

There's nothing special I need to say about Mezbauer Rahman Sumon separately — he's a creative person, and as always, he wanted to do something different. Since virtually the entire vision of a film belongs to its director, the first credit belongs to him — and so does the first responsibility.

But... you spent years building real trees, houses, and roads. You cast remarkable actors. You used extraordinary visuals. And then, at the end of it all, it wasn't clear what you were trying to say. I saw a few people claiming you need to study extensively to understand this film — but even with some reading under my belt, I couldn't clearly identify what message I was walking out of the theatre with.

There was no need to do anything radically out-of-the-box either. Bangla cinema already has examples of simple stories elevated by extraordinary presentation — like Aditya Sengupta's Asha Jaoar Majhe or Srijit's Nirbaak. That's all.

Final Words

For those who loved the film — don't hate for no reason. If it gave you complete satisfaction, there's nothing wrong with that. And if I express my regret that it didn't fill my sixteen annas, I don't think that causes any great harm either.

The acting and the visuals alone make this worth watching in a theatre. You can enjoy the acting on OTT later, but the visuals? You won't get that experience anywhere else. So if you have the time and opportunity, go watch it. The rest is up to you.