Forty-five films hit theatres this year, yet only five managed to make a dent — almost all powered by the Eid release window.
The year opened in a slump: eight January–February titles drifted through cinemas with little audience interest and almost no critical chatter. Then Eid-ul-Fitr arrived on April 1, and the box office finally showed signs of life.
Three April releases emerged as the year's clear performers. "Borbaad", starring Shakib Khan opposite Idhika Paul, established itself as an industry benchmark; its energetic soundtrack and quotable lines drove strong word-of-mouth that carried the film into overseas markets.
The family-friendly "Jongli", led by Siam Ahmed and Shobnom Bubly, grew by audience demand after an initially limited release. "Daagi", a tightly mounted drama directed by Shihab Shaheen and anchored by Arfan Nisho and Tama Mirza, also found a steady commercial footing. Together, these films signalled that when marketing, star power and festival timing align, local productions can still break through.
Eid-ul-Azha supplied a second surge. Raihan Rafi's "Taandob", despite an early HD-print leak, maintained strong audience interest; Tanim Noor's "Utshob", a large-cast drama, ran for weeks in multiplexes and performed well in overseas circuits. But outside the two holiday windows, the market proved unforgiving: roughly 22 films released after Eid failed to find meaningful audiences. Many suffered from weak production values, thin distribution and scant publicity, and most did not recover.
A handful of non-commercial films, however, won critical attention and festival invitations even when they did not translate into box-office returns. These titles — smaller in reach but notable in ambition — point to an uneven ecosystem in which artistic recognition and commercial viability remain only loosely connected.
The release schedule across the year was busy and varied. Early releases included films such as "Moddhobitto," "Makeup," "Kishore Gang," "Rickshaw Girl" and "Moyna".
The April Eid slate featured "Borbaad", "Jongli", "Daagi", "Chokkor 302", "Antaratma" and "Jinn 3." May–June saw titles like "Jaya Ar Sharmin" and "Anto Nagar". The June 7 Eid-ul-Azha window delivered "Taandob", "Insaaf", "Utshob", "Tagar", "NeelChokro", and "Esha Murder". Releases through July–December ranged from commercial entertainments to smaller, experimental projects: "Anyadin", "Delupi", "Khilari", "Saba", "Mon Je Bojhe Na", and others filled screens unevenly across the city and regions.
A clear structural pattern emerged: festival windows remain the primary engine of box-office success. Producers and distributors continue to schedule their biggest commercial titles for Eid, while mid- and low-budget films struggle to secure screens and marketing muscle outside those peaks. The result is a cycle in which theatrical habit is reinforced in short bursts rather than nurtured year-round.
The year's mixed record offers a simple diagnosis and an operational imperative: if the industry wants to sustain a broad slate of quality films, it must strengthen distribution, expand multiplex access beyond holiday seasons, and invest in promotion for non-festival releases. At the same time, the appetite for locally made stories remains real — when filmmakers match craft with an effective release strategy, audiences still respond.
