Moshari is a short film directed by a young director of our modern era named Nuhash Humayun. The film takes place in a post-apocalyptic world where vicious creatures known as “vampires” roam the earth’s surface. Nuhash attempts something unique, drifting away from the ordinary—a horror film that the Bangladeshi audience may have a different opinion about. He started making films and series with an unconventional genre, and surprisingly, he succeeded in connecting with the audience. The first Bangladeshi short film to win three Oscar-qualifying festivals is “Moshari.” Another key aspect that contributed to the anticipation was the post-apocalyptic setting, where creatures that resemble vampires control the night. Major magazines from all around the world gave the movie rave reviews. In this review, we are going to discuss two key points about Moshari: the technical side and the critical analysis of this short film. 

When talking about the technical aspect of this short, the first thing we see is the cinematography. Ejaz Mehedi’s framing selection is excellent and well executed. It is important for a cinematographer to understand a director’s point of view so that he can portray what the director wants. Director Nuhash and Mehedi demonstrated that producing material of international caliber does not require a million-dollar budget. He managed to capture a stunning image of a post-apocalyptic metropolis on a seriously tight budget. His crew had to be inventive with the makeup, costuming, and artwork within the budget cap, and they did so efficiently. However, one could question the choices made by the directors, or even the casting directors themselves. Sunerah Binte Kamal and Nairah Onora Saif, who play the lead in the movie, are members of the same family, although they speak Bangla very differently. Juries from other countries have no concept of how Bangladeshi accents and dialects function. The director’s decision to cast two sisters whose languages are incompatible was amateurish. The movie’s script is only adequate. The movie leaves many unanswered questions throughout, particularly concerning the conflict between the two sisters and their dominance over Bangla. There are no hints as to how the vicious beasts took over the planet. While the final scene was brutal, it was also incredibly dull, foreshadowing the story’s inevitable conclusion. However, the ambience, music, musical score, and mixing are all excellent.

Now it’s time to gain insight into the meaning of “Moshari.” Let’s start with the word “Moshari” in the title. In Bangladesh, we use mosharis to protect us from mosquitoes. Meanwhile, this film utilizes mosharis as a metaphor. In a movie theater, the title usually tells us the entire plot. There may be several ways to interpret the title. Some of these include the fact that it serves as a safeguard for women in our culture. Firstly, before dusk, the two sisters head back to their house. People are vocally warning others about the lurking vampires in the city, stating, “Sondha howar agei moshari tanay nen, kono rokom montro, tabiz apnader bachate parbe na,” implying that women in this society are not safe after dusk. That’s why everyone uses Moshari to stay safe on the roads. In this scenario, vampires act as stand-ins for men who attempt to coerce women. The older sister’s speech, such as “Sabdhane thakis tui, karon tarao young meyeder blood chay,” further emphasizes this point. The director uses the line, “Moshari tancchi jeno Vampire ra amder rokto khete na pare.” The director intends to convey how dominant men are over women in these two statements. Other than that, talking about menstruation is taboo in our society. Many individuals in our predominantly male-dominated society hold the belief that a girl or woman loses her purity during her period. Nuhash attempted to illustrate the extent to which a woman suffers from this and how, as a result, they grow to be so strong that they have no fear of anything else. In one scene, Ayra, the younger sister, flees the vampire and tries to hide in her closet. The vampire made numerous attempts to enter the wardrobe. At this point, Ayra kept saying, “Eta amar jayga, tumi ekhane ashte parba na.” The vampire had left by this point, and Apu instructed Ayra to remain there for at least another two to three hours. Ayra was often blamed for escaping the Moshari and for causing all of these things to occur. Ayra was telling Apu that she was unable to breathe inside for a while. Every woman’s private place is revealed in this unique moment, into which no one is permitted. Without knowing the truth, society would always place the blame on the victim. Ayra’s moment of suffocation depicts the victim’s state. At this point, her family is the primary protagonist. Given that Apu is the only member of her family present, she is integral to the entire family dynamic. When Ayra felt choked, Apu let her go, and ultimately, she sacrificed her own life to save Ayra. Despite becoming a vampire, Apu continues to be kind to her sister. Ayra sleeps soundly, so she wasn’t trying that. 

Beyond that, there are numerous possible interpretations. For instance, one could interpret it as a political portrayal, consider it a mental health-related film that relates to the COVID situation, and so on. This all depends on how each individual interprets the film. I firmly believe that everyone has a different perspective on how to see and interpret everything. And one more thing: in a good cinema, the more we watch, the more we learn new things.