Ahmed Muztaba Zamal, director of the Dhaka International Film Festival and one of the most influential cultural figures in South Asian cinema, has spent more than three decades shaping the cinematic landscape of Bangladesh through DIFF, the country’s leading and longest-running film event. As a guest of the 43rd Fajr International Film Festival in Shiraz, he spoke with us about the challenges facing poetic cinema, the changing habits of contemporary audiences, and the essential role festivals play in discovering new voices and sustaining meaningful film culture.
As you know, this year’s festival focuses on poetic cinema. What are your thoughts on that? Do you think poetic cinema is still a common genre?
Poetic cinema has almost disappeared in today’s world. Audiences no longer look for poetic films or poetic forms of storytelling. Most mainstream viewers now prefer horror or action films built around anti-heroes. These genres dominate the market, especially in regions like Bangladesh and India, where a huge number of people gravitate toward this kind of entertainment. But I believe every festival has a responsibility to promote the aesthetic dimension of filmmaking – the poetic, the experimental, and, of course, the artistic side of cinema.
Where do you think this poetic approach in cinema originates from?
It can grow out of anything that is thought-provoking or spiritual. “Poetic” is just a word, but it functions like an umbrella that can cover many different ideas and sensibilities.
In your opinion, what makes a film poetic?
I’ve watched countless films in my life, but the one I remember most vividly – and also the first Iranian film I ever saw – is “Bashu, the Little Stranger” by Bahram Beyzai. It felt like a window opening before me, and I still recall it clearly. Its storytelling and overall sensibility affected me in a very personal way. I’ve seen films from all over the world, each with its own character. Every individual is drawn to something different, so it’s very difficult to declare what is “the best.” You have to take everything together – you have to feel it.
In the Dhaka International Film Festival, how do you approach this idea of promoting poetic or aesthetically driven cinema?
Our festival is completely independent – it is not run by the government and is organized privately. Even in the middle of a major financial crisis, we continue to do our best because we believe that film is, above all, an art form. Cinema cannot revolve solely around entertainment. It must contribute to people’s education, their learning process, and their aesthetic development.
For us, films should help shape people’s ways of thinking – not simply provide pleasure, especially not the kind of cheap entertainment that dominates the market today. That is why we emphasize works that address fundamental human needs: education, human rights, democracy, and even the influence of good literature. We believe cinema should offer high-level, thought-provoking ideas, and this principle guides the way we curate the festival.
Today, it seems much harder for directors to sustain long careers. What challenges do contemporary filmmakers face, and how does this impact poetic or artistic cinema?
We have witnessed many great filmmakers in our era – like in Iran, Abbas Kiarostami, Majid Majidi, and others internationally. But nowadays, it is very difficult to name any filmmaker with a long career because most of them can’t survive. They make one or two films and then disappear. There is no continuation, mostly due to a lack of support and a lack of audience. People don’t go to theaters anymore; they watch movies on their mobile phones. The culture has changed. Everything is changing. Behaviors are changing; people’s tastes are changing – and that is mostly because of social media. Its influence is very negative.
How do changing audience habits and the growing reliance on digital technology, software, and AI affect filmmaking, particularly the intellectual and creative aspects of cinema?
Of course, we need the internet. I’m not against online platforms or digital formats. But I do miss 35mm film, the big camera, the action–cut–editing process. Now people rely so heavily on computers, software, and AI. They’re even making films through AI, and this heavy dependence on technology means we often don’t see the intellectual side or true creativity. That is probably why we no longer see continuity in filmmakers’ major works.
Given these challenges, what role do festivals play in supporting new talents and promoting meaningful cinema, and why are you optimistic about the future of filmmaking?
I’m sure very good things will happen soon, and we will see some great films again. I’m certain that festivals are the only places where you can explore and find new talents, fresh ideas, and good films – and then promote them. This is exactly what we try to do in our festival.
So, you believe festivals such as FIFF and DIFF can promote meaningful culture?
Absolutely. Any festival can play that role. Most classic or independent festivals genuinely aim to promote meaningful culture alongside valuable films, and that is exactly what makes them essential for cinema and society.
This is not your first time at FIFF, is it?
No, I have been attending the Fajr Festival since 1994.
Do you see any differences in this year’s edition compared to previous ones?
Well, I am familiar with Tehran, but this is my first time in Shiraz. I’ve never visited Shiraz before, although I’ve heard a lot about the city. I’m really looking forward to seeing Hafezieh and Saadieh, and I definitely want to explore Shiraz beyond the festival screenings, to experience its cultural and historical richness firsthand.
How do you feel about the atmosphere of this year’s festival?
It’s good. Of course, this is the first time the festival is being held in Shiraz, so there is always a learning curve. I’m confident that if it returns next year, the experience will be even better. It’s always complicated at the beginning, but once things get moving, they can improve rapidly.
What is your purpose for being here?
We are here not only to watch films but also to meet new people. We want to engage with different audiences – ordinary viewers, filmmakers, distributors, and guests from other countries. Festivals are the perfect opportunity to connect, explore, and exchange cultures. I always attend festivals to meet people, discover new ideas, and foster cultural dialogue.
