Dibarah Mahboob’s path to filmmaking wasn’t straightforward. Against the odds, she took a leap of faith with her independent short film, Kraati, and was rewarded with international film festival recognition. Growing up in a conservative family, Mahboob’s passion for the finance-heavy art form of cinema was an act of resistance. Now, in her thirties, she has seized the opportunity to pursue her creative vision, fuelled by years of academic achievement, adventures as a humanitarian communications professional, and a burning desire to tell stories that foster empathy and social dialogue.
Set against the backdrop of the July Revolution of 2024, Kraati garnered international recognition, securing nominations at Barcelona, Istanbul, Paris, San Francisco film festivals in just 2 months. The Barcelona Cine Experience honoured the film with a nomination for Best Short Film, and awarded Dibarah Mahboob Best First-Time Director, while the lead actresses received an international nomination at the Anatolia International Film Festival. It was Dibarah Mahboob’s conviction in her vision, strong enough to defy her mentor’s doubts, that ultimately led to her triumph.
Congratulations on your international debut! What was the initial reception of Kraati, and how did it feel to see your work resonate both globally and locally?
Thank you! I’d previously made short documentaries, so leading Kraati was a whole new ballgame. Initially, I was thinking it would be only for the Bangladeshi audience, but I quickly realised I wanted to aim for something more—the kind of arthouse cinema I truly appreciate, but with a global reach. That first festival nomination was incredibly validating, especially given the challenges we faced. It was a real confidence boost, making me feel like, with enough conviction and a bit of support, almost anything is achievable. And the impact during the Dhaka screenings, when the audience came up to me and shared how much they connected with the film, was deeply meaningful.
Having worked with Doctors Without Borders and the UNDP, how has your humanitarian experience shaped your approach to filmmaking?
Mount Holyoke College was where I first discovered Doctors Without Borders, and that really opened my eyes to direct humanitarian work. My time in Jordan, working with diverse refugee patients, was an incredible experience, especially as a communications professional in the field. I was really struck by their focus on ethical conduct, on constantly examining how humanitarian principles are applied. That’s something that’s stayed with me, and it’s why I continue to work in the humanitarian space with the UNDP. Those experiences profoundly shape how I approach storytelling and fiction in my writing. Moving forward, I want my films to do more than just entertain. I want them to spark conversations, to contribute to positive social change.
Given your background, what led you to directing, and why did you choose Kraati as your debut film?
Since filmmaking wasn’t my background, I had to do a lot of self-study online and get some pointers from a friend who’d just started directing at Chorki. But at the end of the day, I relied on my gut, on my ability to observe people. I really focused on getting the right expressions out of the actors for each scene. And working with non-actors was a whole other thing. I learned to trust my instinct, to pick the expressions that felt genuinely real.
As a storyteller, I wanted to tell a story that was authentic to me. Kraati is a story that hits close to home for so many people. It’s about the things that happen in everyday life, stories that don’t get told nearly enough. I really wanted to show that our ordinary lives can be compelling on screen, even for a global audience, and hopefully, create a little more empathy for different ways of living.
Did you intentionally choose the film’s distinct perspective and your predominantly female crew during the making of Kraati?
The female perspective was absolutely intentional. Before shooting Kraati, I was in London on a Chevening Fellowship, studying Visual Anthropology. And it really hit me, how powerful visual language is—how it shapes our understanding of the world. And honestly speaking, the existing male gaze has been shaping things for way too long, even how women see themselves. I felt like, as a female director, I had a responsibility to add a female narrative to the mix, and also, to make something for my own inner child.
As for the team, it was small, and yes, mostly women, but there were men too. I really wanted an all-female team, but it just didn’t work out. I especially wanted a female cinematographer, and I even found one, but she had to leave for the American Film Institute. So, I ended up framing every scene myself, all the symbolisms, everything. I drew it all out, and my assistant director carried the torch during recce. Maybe that’s why it’s resonated so much internationally, compared to how it might have been received locally. The film’s really simple, and I truly believe there’s immense power in the ordinary person’s story, something I learned from Satyajit Ray and Mira Nair’s films.
Beyond its festival success, what do you want ‘Kraati’ to achieve, and what’s next?
Honestly, I’m hoping Kraati’s success shows that taking a chance on young female storytellers is worth it. We’ve got so much talent out there, but we really need more strong writing. I want to see more women writing, so that there’s always a female perspective in the room, ensuring that female characters are portrayed with real nuance.
As for me, we have recently secured another international grant! I am working on a new script for a feature and a short film. And I’m also in the process of launching an atelier, named Deeory Ghor, a women-led production house for animation, illustration, and performance art.