MADE IN BANGLADESH director Rubaiyat Hossein paints a vibrant portrait of a woman whose life - like Dhaka, the city she lives in - is still under construction. Actress Roya puts her passion for her art before marriage and motherhood. Meanwhile working class Moyna starts her journey into motherhood and life as a factory worker. A staging of Rabindranath Tagore’s play 1926 Red Oleanders, which launched a critique on industrialization at a time when the whole world was celebrating it, forms the backdrop to this multifaceted exploration of female empowerment. 

“Cinema is a very powerful medium. It is a medium that has always used women’s bodies to create a sense of erotic pleasure for the spectator. Women are objectified in films, thus, there is the greatest potential and urgency to challenge that notion through cinema itself.” Rubaiyat Hossein

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Mae Rubaiyat Hossein cyfarwyddwr MADE IN BANGLADESH yn paentio portread bywiog o fenyw y mae ei bywyd - fel Dhaka, y ddinas lle mae’n byw - yn dal i gael ei adeiladu. Mae'r actores Roya yn rhoi ei brwdfrydedd dros ei chelf cyn ei phriodas a bod yn fam. Yn y cyfamser mae’r Moyna dosbarth gweithiol yn cychwyn ar ei thaith i fod yn fam ac i fywyd fel gweithiwr ffatri. Mae llwyfaniad o Red Oleanders, drama 1926 Rabindranath Tagore a lansiodd feirniadaeth ar ddiwydiannu ar adeg pan oedd y byd i gyd yn ei glodfori, yn ffurfio cefndir yr archwiliad amlochrog hwn i rymuso menywod.