Choukath (চৌকাঠ)

Mrinal is suffering from a serious illness. Her husband Rudra is a writer. Mrinal's cousin Kamal takes care of Mrinal. Rudra’s friend doctor visits Mrinal for regular checkups. Mrinal often looks at her thin, pale white face in the mirror. In Mrinal's consciousness, thoughts of beauty, thoughts of God, thoughts of death and finally the urge to relieve her pain parallel to nature comes randomly. Rudra loves Mrinal. Mrinal and Rudra do not have marital discord but conflicts as Rudra comes closure with Kamal. But his love for Mrinal is also deep. The doctor remains disinterested after seeing Rudra and Kamal's intimate moment. And Kamal falls in love with Rudra, even physically, but discovers herself through Mrinal's death and leaves home. Rudra lies alone. The main character of the film is basically a sense between life and death. This sense includes dreams, beauty, envy, love, lust and the desire to dissolve into the ethereal form of nature.

Rudra has come back one morning, has return to his friend Saruar's home. He had disappeared from home leaving no cue, a year ago. Saruar first came to know about Rudra's disappearance in Rudra's mother's call. Then he had gone to Rudra's home and saw how his agitated parents and elder brother were tracing out reasons of his desertion. Rudra do not answer any of these questions of Saruar now. He become immutable and eloquent. He only replies that he is tired and cinema experience Rudra's exhaustion from this world's journey in a non-narrative way. Rudra's consciousness become aware of a bigger crisis. Rudra just express interest to go to sleep for a while.

The cinema depicts the daily sexual harassment of a woman by speech, physical and gaze and the resulting emotional strain on her personal and professional life. In a patriarchal society, women themselves along with men participate in the attitude towards women, thus depicting the fact that even though she is a woman, she is carrying the seeds of patriarchy. As the psychological introspection of a model, actress, self-reliant, independent woman in her personal life will come up in this movie, so will her own experience about the subject matter of this cinema.

Feelings of parental rights over the child, skepticism towards socially accepted relationships and the idea of individual freedom in the social-state sphere.

Bani standing on the door with volatility. She founds footsteps with blood on the floor which leads her inside. Scarcely she knocks back on the wall and discovers hand marks on the wall. Then she begins to touch the marks hesitantly. Looking ahead she found a mirror and become apprehensive about it. Coming in front of the mirror she looks herself absurd. She puts on and wears saree, wig, shackle, ornaments from the dressing table, then begins to rotate and turns pale. As she rotates, her saree and ornaments fall down one by one. Now she moves towards the door, be taken aback, sees the room for once and goes away.

Filmmaker and her mother, a village housewife: their experiences of life, abusive marriages, violence, and home. Although it’s a personal story, it could be the story of countless women in a patriarchal society of Bangladesh.