Fresh off the warm reception of Ali at Cannes, Adnan Al Rajeev reflects on his journey so far and the road ahead
Adnan Al Rajeev had already achieved acclaim as a director in films and advertising in Bangladesh before donning the mantle of producer and setting his sights on international cinema. In a candid conversation with ICE Today, the promising director and producer opens up about the new creative avenues he’s excited to explore.
Congratulations on Ali’s amazing reception at Cannes, especially the Special Jury Mention. And with Radikals (2024), a Filipino short film you co-produced, premiering there too, you are no stranger to international recognition. What’s it been like bringing these films on a global stage, and what do you hope this means for the future of filmmaking in Bangladesh?
Thank you. Cannes has always felt like the summit of cinematic conversation, so to have Ali recognised with a Special Jury Mention was deeply humbling and surreal. Co-producing Radikals in 2024 was a very different kind of immersion. That film was rooted in Filipino resistance culture, and my role was to help amplify a voice from another part of the Global South. In contrast, Ali was extremely personal, it was about voice, identity, and the quiet violence of erasure, which felt urgent to tell from our corner of the world. And most importantly, as a director it’s always amazing to direct rather than produce. Creatively, both projects demanded truthfulness. Logistically, let’s be honest, it’s tough. We’re building films with limited infrastructure, stitching funding, and often relying on sheer conviction. Navigating these challenges for global platforms like Cannes has taught me that authenticity travels. That a story spoken from your backyard can resonate on the world’s biggest stage if told with heart and craft. I hope this moment opens up a bigger conversation around Bangladeshi cinema.
You’ve directed over 500 television commercials. How has the discipline and conciseness required in advertising influenced your approach to longer-form storytelling in films and web series?
I’ve learned an incredible amount from my years in advertising. There’s a common perception that advertising is just about following client instructions and selling products but it’s so much more layered than that. Directing commercials taught me to lead a team effectively, and pay close attention to every detail of the filming process. It pushed me to think deeper about the narrative, visuals, logistics, and to anticipate both the pros and cons of every creative decision. Advertising also connected me with marketers, helping me better understand people, their behaviour, triggers, and unspoken needs. When you start from that level of micro-detail in your work, what you build becomes stronger, more authentic, and in many ways, unbreakable. So now, when I step onto a film set, I bring both a cinematic vision and the survival instincts of someone who once delivered a national TV spot in two days with a broken dolly and a very cranky goat.
After directing numerous fan-favourite TV dramas like All Time Dourer Upor and Bikal Belar Pakhi, how do you feel your directorial style has evolved over the years? Are there any significant changes in your approach to storytelling or visual language?
Every time I look back at my past work, especially the visual storytelling, I always find something I wish I could change. I’ve never fully achieved my vision. So in that sense, it never feels perfect. That’s why, with every new project, I try to approach things with a fresh perspective – exploring new visual languages, testing methods, and pushing myself to try something unfamiliar. There are hundreds of ways to approach a film, and sometimes I feel like I want to try them all. I love that experimentation. It keeps me on my toes. As I grow, I’m also developing a deeper understanding of cinema and more importantly, of my own language within it. Early on, I was very focused on form: dialogue landing, clean shots, smooth transitions. It was about control. Now, my process is more intuitive. I trust silence, hesitation, and even absence. What’s not shown often speaks louder. I listen to the story rather than forcing structure. This shift from controlling to letting the narrative guide me has been transformative in my journey as a filmmaker.
You began as an assistant director at Chabial under Mostofa Sarwar Farooki at just 17. Looking back at that foundational period, what were the most invaluable lessons you learned from that early experience that you still actively carry with you and apply to your craft and leadership at Runout Films today?
Over the years, I’ve learned so much. Not just about filmmaking, but about life. About how to groom a team, treat a film with sensitivity, and most of all, direct an actor – that’s a lifelong craft I pursue. I am not as good as him but I try.
One of the most powerful lessons I’ve absorbed is the idea of colloquialism, making it feel lived-in, grounded, real. It’s about knowing when to let go of the script and lean into the energy of the moment. You may have written the scene in a calm, cosy room, but on set, in the dust and chaos, reality speaks louder. That’s where the real story lives, this is where it needs to be improvised on set. Improvisation has become a vital part of my process. I trust what’s happening now, the body language, the awkward pauses, the accidental genius. That flexibility, responsiveness, has shaped how I direct, collaborate, and grow. Filmmaking, for me, is about staying open, curious, and learning from those who do it with grace and clarity.