Mohin Rakhaine is a Bangladeshi filmmaker who grew up in the Chittagong Hill Tracts and is rooted in the coastal area of Cox’s Bazar. He completed his BA Honours in Film and Media Studies at Jatiya Kabi Kazi Nazrul Islam University. His short film “A Snail Without a Shell” was officially selected for prestigious festivals such as the 12th Diaspora Film Festival in South Korea, the 23rd New York Asian Film Festival, Dharamshala International Film Festival, and the Busan International Short Film Festival, where we caught it.
A Snail Without a Shell is screening at Busan International Short Film Festival
The short begins with a long shot of a man walking two oxen in a field by something that resembles a lake. In the next scene, a woman is calling chickens in her yard before the aforementioned man arrives at the same place. He then prepares tea for the two of them, which they enjoy outside their house while feeding the cats in their yard. The narrative continues along this path, with the man working in the fields and the woman tending the house, eventually shown reading the Bible, in a version that also includes a Bangla translation.
The next scene has the man, Acchu, meeting a young man who has brought him two letters, one from the Forest Department, which has been sent to all the people in the area, and the other from Chittagong. As Acchu cannot read, the young man reads the letters to him. The second letter is from Acchu’s grandson, who is planning to visit on Saturday. Ambi, Acchu’s wife, seems particularly happy about the visit, but the preparations strain the couple, especially since they appear to have little or no money. News of a tragic accident in Chittagong, however, changes everything.
The comments Rakhaine seeks to make are presented subtly, through fleeting yet significant moments. The young men wishing to leave the village, and eventually the country, is one such comment. He also addresses the poverty of rural people, whose lives are depicted as difficult, even though they themselves don’t seem to complain. A news report, heard in the background, becomes the pivotal point that shifts the story forward. Rakhaine implies the unfolding drama without ever directly showing it. The realization, which seems to arrive in the final scene, is also gently communicated, with the music enhancing the emotional impact. Lastly, the letter from the Forest Department seems to imply that the people in the are might as well have to move soon, in yet another comment about the situation in the area.
That Acchu does not listen to the news, cannot read, and that the only thing his wife reads is the Bible can be seen as a comment on how religion functions for people with limited access to education, though this remark could be interpreted in various ways. Lastly, the titular snail seems to act as a metaphor for the people of Bangladesh, whose country’s circumstances have essentially rendered them homeless.
Samiul Karim Shuptak’s cinematography emerges as one of the short’s strongest aspects. His long shots highlighting the landscape, close-ups of the protagonists and their actions, and especially the beautifully lit and framed, recurring image of the house’s doorstep are likely to linger in the viewer’s mind. His approach also lends a documentary-like texture to the short, which suits the narrative well. The editing by Ahsabul Yamin and Rakhaine results in a brisk pace that allows the story to unfold without feeling rushed, highlighting both the narrative and the setting.
Subinath Mankhin and Projuta Raksam deliver naturalistic performances, likely playing themselves in the film. Their acting adds to the realism that permeates the short, though a few moments of dramatic flair do exist, particularly in the scene where Acchu inquires about the visitors from Chittagong.
“A Snail Without a Shell” is a competent and evocative short film that presents its social commentary in a subtle but intelligent way. Beautifully shot and well-paced, it blends drama and documentary elements seamlessly over the course of its 15-minute runtime.
