A quiet, powerful drama about family and sacrifice

South Asian cinema is not often celebrated for its social realism, but rather for its colorful mix of metaphorical allusions to the struggles of everyday life, wrapped up in spectacular and kinetic set pieces. On the other hand, there has been a hunger for decades, particularly in European and American arthouses, for a certain kind of quiet, slow cinema that grapples with the challenges of poverty and family responsibilities. This form was shaped by postwar neorealism, which emerged on the continent through contemporary works by countless filmmakers who mixed a documentary aesthetic with a gently structured narrative free of anything bordering on bombast.

In this context it is Maksud Hossain’s directorial debut Saba will thrive for many moviegoersa film that presents the raw story of a struggling woman, told with a precision and compassion that rivals many similarly themed works from other regions, and that offers a penetrating insight into the realities of life in a Bangladeshi home, without to ever succumb to the mere romanticization of the suffering of those we meet on screen.

What is “Saba” about?

Hossain’s story focuses on the titular Saba (Mehazabien Chowdhury), a bright, warm-hearted young woman whose life consists of caring for others more than her own needs. Her mother Shirin (Rokeya Prachy) is wheelchair-bound and completely dependent on her daughter for all her needs, but has a snarky attitude that makes accomplishing these tasks even more difficult. Shirin’s aggressive stubbornness prevents Saba from truly thriving, while the daughter dutifully copes with her mother’s fickle moods while trying to find ways to survive emotionally and financially.

Shirin’s paralysis is compounded by a worsening heart condition, forcing Saba to call an ambulance and take her mother to the hospital – one of the rare moments when she leaves the cramped apartment. When Saba is informed of a necessary but costly operation that would prolong her mother’s life, she seeks employment at a local hookah bar and befriends the manager, Ankur (Mostafa Monwar), and valiantly but ineffectively juggles the need to fulfill her duties while simultaneously rushing home to attend to her mother’s many needs.

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Rather than merely presenting a two-dimensional vision of a scolding mother and an unhappy daughter, or more overt anger at the complexities of the lives of the Bangladeshi underclass and the vagaries of tradition and responsibility, Hossain’s film takes a more complicated and therefore more cinematic tactic. Saba is not a pure and selfless angel, and her frustrations are palpable and well-deserved. The dynamic with Ankur is also richly drawn, his backstory takes on weight as the two see in each other both the constraints and the opportunities of their city life.

While Ankur wants to emigrate to France and makes money on the side by circumventing some of the state’s strict social and religious regulations, Saba herself is encouraged to be more morally flexible and take control of her circumstances. These elements collide in a way that will change them all, illustrating how these real forces of commitment and survival trump all other considerations. Saba’s decisions are both understandable and somewhat shockingShe has betrayed some to be unselfish for others, an impossible situation made worse by the added pressures of poverty and the deteriorating health of a person to whom she has felt a guilt-ridden obligation since childhood.

“Saba’s appearance and performances enhance this already rich story.”

Cinematographer Barkat Hossain Polash captures the Bangladeshi capital of Dhaka in muted tones, the dank corridors and sodium-lit streetscapes a swirl of amber and dark blue. This snappy, claustrophobic world still finds moments of warmthfrom the subtle lighting used when Saba is snuggled up on top of her mother in their shared bed, or the time a walk is taken through sunlit trees, a short-lived moment of visual and spiritual catharsis in which the characters soon return are swallowed up in their barren spaces. Even a car dealership is filmed in a way that feels sickly and uninviting, a visual canvas that reflects the emotional travails of these characters throughout.

It’s these fine craftsmanship elements convincing performances from Chowdhury, Prachy and Monwarwhich make Hossain’s feature film debut all the more remarkable. While there are still moments that are more stilted and obvious than others, for the most part the film unfolds smoothly as it navigates the harshest of social situations. None of this would be as effective if we didn’t care about these characters, and thanks to the strong ensemble cast and tight direction, the film is slowly proving itself to be a film worth considering. Saba takes international audiences to both familiar and unique Bangladeshi territories an emotionally rich, visually subtle story This is sure to find an enthusiastic audience around the world.

Saba celebrated its world premiere at the 2024 Toronto International Film Festival.