Rehana ist Assistenzprofessorin an einer medizinischen Hochschule und quält sich damit, ihre Rollen als Lehrerin, Ärztin, Schwester, Tochter und Mutter unter einen Hut zu bringen. Den komplexen Anforderungen von Beruf und Familie gerecht zu werden, ist zu ihrem täglichen Kampf geworden. Und dann wird Rehana auch noch Zeugin eines sexuellen Übergriffs, als eine weinende Studentin aus dem Büro eines Professors stürmt. Anfangs zutiefst verstört, verlangt sie schon bald Konsequenzen, sogar Vergeltung. Rehana weigert sich, den Wahnsinn der patriarchalen Gesellschaft, in der sie lebt, weiter zu akzeptieren. In ihrem Kampf für Gerechtigkeit, für ihre Schülerin, ihre Tochter, aber auch für sich selbst, riskiert sie alles. Dieser Film ist eine offizielle Oscar-Einreichung 2022.

Rehana, an assistant professor at a medical college, strains to combine her complex roles as a teacher, doctor, daughter, and mother. Keeping the balance between the demands of work and family life is a daily struggle. One evening, she witnesses a crying student storming out of a professor’s office. Deeply touched by this event and the actions leading up to it, Rehana’s life spirals out of control as she resolutely seeks retribution. Rehana refuses to accept the madness of the patriarchal society she lives in. She risks everything in her quest for justice. This film is an official 2022 Oscar submission.

The second feature from writer-director Abdullah Mohammad Saad (Live from Dhaka) is not only a chilling portrait of the psyche of an unbalanced woman, played with extraordinary intensity by newcomer Azmeri Haque Badhon. It is equally a bow of admiration to a woman who sticks to her guns and refuses to look the other way, like everyone else, in a messy case of sexual assault. Her bulldog tenacity makes her both a heroine and an object of pity, making her difficult for feminists to champion, but even more uncomfortable for the apologists of abuse.

Director, Abdullah Mohammad Saad, brilliantly locks us into his title character's point of view, not only placing her in every scene, but never leaving the offices, classrooms, and corridors of the hospital. The setting adds to the claustrophobia, enhanced even further by a striking blue color palette...The first Bangladeshi film at Cannes, this is one to watch for when it finds its way off the Croisette.