Published: 12:30 AM, 25 June 2026
Closed Cinema Halls and Shrinking Cultural Space: What Extremism Means for Bangladesh's Entertainment Industry
The gradual decline of cinema halls across Bangladesh is more than an economic story. It is also a cultural story, a social story, and for many observers, a warning about the consequences of intolerance and extremist influence on artistic expression. While technological change, streaming platforms, and shifting consumer habits have contributed to the closure of many theatres, another troubling factor has frequently entered public discussion: the erosion of a safe and open environment for artists, filmmakers, writers, musicians, and cultural institutions.
Bangladesh was founded on the ideals of linguistic, cultural, and religious pluralism. Its Liberation War was fought not merely for political sovereignty but also for the protection of a distinct Bengali identity rooted in literature, music, art, and secular cultural traditions. Cinema halls, theatres, book fairs, art galleries, and cultural festivals have long served as pillars of that national identity.
Yet, over the years, cultural spaces have repeatedly come under pressure from forces seeking to narrow the boundaries of acceptable expression.
One of the darkest reminders of the dangers of violent extremism was the terrorist attack on the Holey Artisan Bakery in Dhaka on 1 July 2016. Militants stormed the restaurant in the capital's diplomatic zone, taking hostages and killing numerous victims before security forces ended the siege. The attack shocked Bangladesh and the world, demonstrating the devastating consequences of militant ideology.
The Holey Artisan tragedy was not an isolated event in the country's struggle against extremism. Earlier, on 17 August 2005, Bangladesh witnessed one of the most coordinated militant operations in its history when hundreds of bombs exploded across dozens of districts within a short period. The attacks exposed the organizational reach of extremist groups and raised concerns about threats to the country's democratic and cultural foundations.
Such incidents did not merely target lives and property. They also created a climate of fear that affected intellectual and cultural life. Artists and entertainers thrive in environments where ideas can be exchanged freely. Extremism, by contrast, seeks to impose conformity through intimidation.
Over the past two decades, Bangladesh has repeatedly witnessed attacks, threats, and acts of mob violence directed at writers, publishers, bloggers, academics, cultural activists, and members of the entertainment community. Painters have faced objections to their work. Authors have encountered attempts to suppress controversial viewpoints. Film directors and performers have sometimes found themselves targeted by organized campaigns seeking to dictate what can and cannot be shown on screen.
Even when violence does not occur, the fear of violence can be equally damaging. Self-censorship becomes common. Producers avoid sensitive topics. Investors hesitate to finance ambitious projects. Theatre owners become reluctant to take risks. As a result, the creative ecosystem gradually contracts.
The consequences are visible in the cinema industry. Once a central feature of social life in towns and cities across Bangladesh, many cinema halls have disappeared. Economic factors certainly play a major role. The rise of television, digital entertainment, online streaming platforms, and changing audience preferences have transformed the market.
However, economics alone cannot explain the broader decline of public cultural spaces. A healthy entertainment industry depends on freedom, security, and confidence. Audiences must feel comfortable attending cultural events. Artists must believe they can create without intimidation. Investors must trust that productions will not become targets of politically or ideologically motivated campaigns.
In recent years, public debates have intensified over the treatment of entertainers, actors, and public figures during periods of political transition. Supporters of some artists have alleged that certain investigations, legal actions, or public accusations were politically motivated. Critics dispute those claims and argue that legal processes should be allowed to proceed independently. Regardless of where the truth ultimately lies in individual cases, the perception of selective targeting can have a chilling effect on artistic communities. Allegations and counter-allegations should therefore be examined through transparent legal procedures rather than through public intimidation or mob pressure.
Equally concerning is the rise of online harassment and organized campaigns against cultural personalities. Social media has created unprecedented opportunities for communication, but it has also enabled coordinated attacks against artists, actors, writers, and academics. A single controversy can quickly escalate into threats, calls for boycotts, or demands for censorship.
History demonstrates that vibrant cultural industries flourish when diversity of thought is protected. Bangladesh's greatest cultural achievements emerged from environments that encouraged creativity rather than fear. The works of the country's celebrated filmmakers, musicians, novelists, and painters gained international recognition because they reflected a society confident enough to embrace artistic experimentation.
The future of Bangladesh's entertainment sector depends on preserving that confidence. Reviving cinema halls requires investment, modernization, and better infrastructure. Yet bricks and mortar alone are not enough. Cultural revival also requires protecting freedom of expression, ensuring public safety, defending artistic independence, and rejecting all forms of violent extremism.
The lessons of the Holey Artisan attack and the nationwide bombings of 2005 remain relevant today. Extremist violence seeks to frighten societies into silence. Democratic and cultural resilience require the opposite response: a commitment to openness, dialogue, and creativity.
Bangladesh's artists, filmmakers, authors, actors, scholars, and cultural workers represent one of the nation's greatest strengths. Their ability to create, challenge, entertain, and inspire is essential to the country's identity. Protecting that freedom is not merely a matter of supporting the arts; it is a matter of defending the pluralistic values upon which modern Bangladesh was built.
As cinema halls continue to disappear from the national landscape, the country faces an important question. Will cultural space continue to shrink under the weight of intolerance and fear, or will Bangladesh reaffirm its long tradition of creativity, diversity, and intellectual freedom? The answer will help shape not only the future of its entertainment industry but also the character of its democracy itself.
Mahfuz Ul Hasib Chowdhury is a
contributor to different English
newspapers and magazines.
