As a leader of the local community, Amin Chairman bans every kind of image in his water-locked village in rural Bangladesh. He even goes on to claim that imagination is also sinful since it gives one the license to infiltrate into any prohibited territory. But change is a desperate wind that is difficult to resist by shutting the window. The tension between this traditional window and modern wind grows to such an extent that it starts to leave a ripple effect on the lives of a group of typically colorful, eccentric, and emotional people living in that village. But at the very end of the film, Television, which he hated so much, comes to the rescue and helps Amin Chairman reach a transcendental state where he and his God are unified. A new twist to the story makes him embrace IMAGE and IMAGINATION.

We had no television set in our houses growing up, because it was considered to be un-Islamic. Time has changed now. Television is now a household item. But the old perception still remains in some areas. We encountered such character during the shooting of the film as if our character ‘Chairman’ suddenly jumped off the script and confronted us.
The disapproving of image is not all that makes of this film, there is more. This film is a celebration of human imagination, a celebration of dialectical existence between the real world and the imaginary world in which imaginary world sometimes takes over the real world. All in all this a simple story of human relationship and their differences in a changing world.

2012 Busan International Film Festival - Closing Film
2012 Dubai International Film Festival - Competition, Special Mention
2012 Cinemanila International Film Festival - Competition
2012 Asia Pacific Film Festival Award - nominated for Best Screenplay and Best Cinematography