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The 15th edition of the Five Flavours Asian Film Festival will feature, for the first time, a seat reservation system at cinema screenings for holders of passes and stationary accreditations. It is important to us that we take care not to overcrowd the rooms and avoid queues at the entrance.
Only a reservation guarantees you a seat at a screening!
The reservation system is very simple and is based on similar principles as buying tickets for individual screenings - just login to your account, visit the page of the selected film and click "book". Detailed information can be found below.
Please make reservations only for the screenings you wish to attend. Reservations can be cancelled, even at the last minute - please remember this and always cancel your reservation if you cancel your screening - this will allow other viewers to use the available space.
Reservations will be possible from Tuesday, 16 November from 12:00 p.m. for all the festival's films.
Reservation of seats
for pass and accreditation holders
Tuesday, November 16, 12:00 pm
If you decide to attend a screening at the last minute or for any other reason you do not book in advance, and there are seats available in the auditorium, your booking will be made "automatically" at the entrance to the auditorium after scanning your pass.
For most of the screenings there will be free seats before the show itself. However, please pay special attention to the screenings of Wong Kar Wai's works and the screenings of those films that we only show in the cinema - we expect the highest attendance at these screenings.
This year, you will also be able to use an electronic pass by presenting it to ticket takers on your phone screen.
Rehana is a tough and uncompromising teacher at the Medical Academy in Dhaka. Struggles with reality are her daily bread – she single-handedly raises her little daughter and supports the family. One day she witnesses her superior molesting one of the students. Punishing the perpetrator becomes her life mission and she will readily push boundaries and make sacrifices to achieve it. But will the institution that she is a part of let her bring the guilty man to justice?
Rehana embarks on an angry journey through a labyrinth of corridors, offices and classrooms. The camera tries to keep up with her, cornering her in the narrow, dark-blue frames, creating an emotionless record of her lonely mission. Made with a distressing tremor, reminiscent of the best achievements of Iranian cinema, "Rehana" is an outstanding, fascinating portrait of a heroine that is nowhere near perfect.
With his second film, tense like a full-blooded thriller, Saad confirms that he is an incredibly talented artist with a critical outlook on the everyday reality of his country. But the success of the film would not be possible without Badhon, who resembles a bullet shot with great power towards the corrupt system and the indifferent society.
Abdullah Mohammad Saad
Bron in 1985 in Bangladesh, before he turned to film, he studied pedagogy at Dhaka University. In his own studio, he produced short films and TV commercials. He debuted with the film "Live From Dhaka," which cost 10,000 dollars and received a Siver Screen Award for Best Director at the 27th Singapore IFF.
His subsequent directorial endeavor, "Rehana," is the first film from Bangladesh shown in one of the main sections of the festival in Cannes.
2016 Dhaka na żywo / Live from Dhaka
2021 Rehana / Rehana Maryam Noor