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Lal Rang , Bangladeshi Cinema, Identity Politics, Otherness, Borderlands, Riverine Ecology, Religious Coexistence. 1. Introduction In an era of rising religious nationalism and border militarization globally, Tauquir Ahmed’s Lal Rang (2016) emerges as a quietly devastating counter-narrative. The film is set in the remote, shifting sandbanks of the Padma (Ganges) River, a liminal space where national borders are fluid and survival depends on communal cooperation. The narrative centers on Shibchar (Fazlur Rahman Babu), a middle-aged Hindu fisherman, who rescues and adopts a young, mute Muslim boy (played by child actor Foyez Nurnobi). This act of transgressive compassion ignites a conflict with the local Muslim majority, led by a corrupt village head, ultimately leading to a tragic yet meaningful denouement. This paper will analyze how Lal Rang employs setting, character dynamics, and visual symbolism to challenge monolithic religious identities, instead proposing a grounded, ecological model of belonging rooted in shared labor and place. 2. The Char as a Borderland: Deconstructing Spatial and Social Boundaries Film scholars such as Hamid Naficy have theorized the concept of "accented cinema" and the representation of liminal spaces. Lal Rang literalizes this liminality through its char setting. The char is not merely a backdrop but an active agent in the narrative. Constantly eroded and reformed by the river’s currents, it renders permanent borders—both geographical and communal—impossible.

Tauquir Ahmed’s 2016 Bangladeshi film Lal Rang (Red Color) transcends conventional narrative cinema to offer a profound meditation on identity, otherness, and the illusory nature of borders. Set against the politically and ecologically volatile backdrop of the Ganges River basin’s char (riverine island) lands, the film follows Shibchar, a Hindu fisherman, and his unlikely bond with a young Muslim boy from a rival community. This paper argues that Lal Rang uses its minimalist, character-driven plot to deconstruct essentialist notions of religious and national identity. Through its lyrical cinematography, symbolic use of color, and tragic climax, the film critiques the socio-political weaponization of religious difference while simultaneously affirming the possibility of human solidarity rooted in shared vulnerability and economic interdependence. laal rang movie

Deconstructing Identity and Belonging: A Critical Analysis of Tauquir Ahmed’s Lal Rang Lal Rang , Bangladeshi Cinema, Identity Politics, Otherness,