For over a decade and a half, Mohsina Akhter has been a formidable force in Bangladeshi theatre, dedicating her very essence to the stage, its narratives, and its craft. While her world was once entirely shaped by the proscenium, the global upheaval of the COVID-19 pandemic catalysed a surprising yet profound journey to the silver screen. This transition sees her making her cinematic debut in ‘Jaya Aar Sharmin,’ directed by Piplu R Khan. In this compelling feature, she shares the screen with celebrated co-stars Jaya Ahsan and Tanjim Saiyara Totini, with the film having recently premiered in multiplexes on May 16, 2025. For an artist of her calibre, this film undoubtedly marks a defining second act in her already remarkable career.
You have spent so much time in theatre – how did that translate, personally, when you stepped onto the film set for this project?
From 2005 until this film, my thoughts, work, and time were entirely dedicated to theatre. I was deeply immersed, building characters, designing costumes and sets, conducting drama workshops, teaching, and constantly learning through national and international workshops. This intense focus meant I never had the chance to look beyond theatre, that is, until the COVID-19 pandemic forced a re-evaluation of our routines.
It was during this period that I received the offer for this film from Piplu R Khan, a director whose work I respected even though we hadn’t met. I was initially a little hesitant. However, when a group demonstrates such a sincere desire to create something beautiful, or a true work of art, it becomes difficult to decline.
Starting this journey, and navigating a new environment brought with it some doubts about how things would operate and how I would fit in. Despite my theatre background, the experience was wonderful because both sides – myself from theatre and the film crew – shared a common goal of creation. The director’s own theatre roots meant our initial rehearsals included theatre exercises which eased my transition.
On set, I maintained my theatre discipline, at the same time, I remained open to understanding the filmmaking process, how a story is visually told, and the working methods of a director like Piplu R Khan. Everyone on set was incredibly receptive to me. This synergy, I believe, is what made the film possible, and I learned a tremendous amount from this experience. It was an extraordinary journey.
Your character, Sharmin, comes from a different socio-economic background than Jaya’s character. How did you prepare to embody her perspective and the specific challenges she might have faced during the lockdown?
Sharmin’s character appealed to me due to the distinct socio-economic gap between her and Mohsina. Often, the lives and struggles of individuals from backgrounds like Sharmin’s are overlooked, their histories seemingly erased.
My goal was to embody someone who blends into the background. My preparation focused on exploring the mindset of someone considered unimportant. I contemplated the physical and mental manifestations of a life lived without the social standing I possess. Sharmin exists to support Jaya, a public figure, creating a stark contrast – one life garners immense public interest, while the other serves almost invisibly. My initial approach was to create that sense of non-existence, shyness, and inertia within myself.
In terms of physical portrayal, I focused on details like Sharmin’s daily attire. She typically doesn’t sit on chairs or tables on set, I mostly sat on the floor in a small room. My interactions were limited with most people, but I spoke extensively with those who assisted us, including a helping hand who has long supported me at home. Understanding these subtle shifts greatly aided my characterisation. The success of this portrayal is now for the audience to judge.
Piplu R Khan mentioned the theme of interdependence. How does Sharmin depend on Jaya, and vice versa, within the confined space of the home?
The lockdown highlighted a stark contrast in the struggles faced by people. For those living hand-to-mouth with no alternatives, losing their jobs meant venturing out just to survive. Their fear was fundamentally different from ours.
Sharmin, fortunately, did not lose her job, allowing her to continue working. This meant her crisis was, therefore, not as severe as Jaya’s, whose work came to a complete halt. For Sharmin, the primary impact of the lockdown was the pervasive awareness of widespread deaths. Beyond that, the confinement didn’t significantly alter her life, unlike Jaya, because Sharmin was already accustomed to being indoors. Her main concerns revolved around the deaths and Jaya’s struggles.
Society inherently relies on interdependence, a truth we often overlook. For instance, society cannot function without sweepers. The pandemic made this interdependence strikingly evident.
In the film, Sharmin and Jaya’s interdependence goes deeper than necessity. At first, their reliance is practical – Jaya needs Sharmin for food and household management, while Sharmin relies on Jaya for her livelihood and accommodation. However, as the film progresses, their interdependence surpasses economic and practical needs. With limited external interaction, they begin to share their mental states, and each person’s condition influences the other. In this sense, their mutual dependence is undeniable.
As you transition from stage to screen, what kind of cinematic roles or projects are you hoping to explore next, and do you have anything else in the pipeline that you can share with us?
I am open to exploring all kinds of characters, whether positive, negative, comedic, or tragic, as long as the role and its story contribute positively to society. As an artist and actor, I believe it’s crucial to avoid content that might be harmful, regardless of the character’s cleverness. I prefer roles without constraints, offering a broad spectrum to inhabit diverse personalities.
Beyond acting, I am currently focused on transforming our long-standing drama troupe, Spardha, an Independent Theatre Collective, into an academy. We are working diligently to establish a training ground for actors and designers. We also have an upcoming Spardha festival planned, where we intend to stage three previously performed plays; I will be acting in two of them. I am keen to stage a new production of ‘The Little Prince.’ As for films, I am in discussions for a few projects, but there’s nothing concrete enough to share at this moment.