Dui Diner Duniya, a supernatural road thriller directed by Anam Biswas, the famed director of ‘Debi,’ and written by Ashraful Alam Shao, has been available on the OTT platform Chorki since October 16.
The film has created much buzz in social media, mostly because the film boasts of the first-time face-off between two of the most versatile actors of our generation - Chanchal Chowdhury and Fazlur Rahman Babu.
The viral track ‘Teka Pakhi’ has also helped the film to gain publicity. Apart from the two lead actors, Tania Brishty, Moushumi Hamid, Tanvin Sweety, Rakib Hossain Evon and Iqbal Hossain are playing the star cast in this movie as well.
The film revolves around the journey of the truck driver Samad, played by Chanchal Chowdhury, as he meets Jamshed, played by Fazlur Rahman Babu, on his journey to Dinajpur.
Samad offers him a ride. Jamshed claims he is from the year 2033 and can predict the future. Samad does not believe him for a while and suspects him to be a fraud.
However, as time progresses, he starts to believe something is wrong, as Jamshed’s predictions are fulfilled. Now, Samad starts to see something mysterious happening, and his life begins to spiral out of control very quickly. As the plot thickens, Samad faces his sins in a cosmic encounter of karma.
Both the lead actors have shown their acting prowess in the film. Neither Chanchal Chowdhury nor Fazlur Rahman Babu has overshadowed each other. Their respective arcs have been well-crafted, even though the film had many chances to expand their characters and develop them better.
Tanvin Sweety has returned to the screen as a blessing. The background score by Emon Chowdhury has been intriguing and not at all overbearing. Masha Islam’s song ‘Teka Pakhi’ has added more depth to a critical scene.
The cinematography has been average, lacking the bigger picture there. The use of lights and shadows could have been better. The use of repeated shots feels a bit too jarring at some point. In short, the technical aspects fail to create lasting impressions.
The screenwriting needed more care, as the plot fails to tie the loose ends in the end, and also, in the second part of the film, the new subplots have taken a little too much creative liberty. Ashraful Alam has done a good job in dialogue writing.
There are elements of metaphysics and supernatural expositions that have not been seen in Bangladeshi films. The plot builds up tension with much deftness, and the tension can be felt in the audience’s hearts. Perhaps that is why it feels unfulfilled when the climax is somewhat bland, despite retaining the speed and the rush.
There are so many things entangled in the plot, but they have not been utilised in the film to their merits. And the ending has been gravely unsatisfactory, mostly undoing several key plot elements in the end.
At the time of the OTT revolution in our country, seeing such an interesting plot failing to create lasting impressions somewhat disappoints the audience.