Synopsis
Shot in stark black-and-white cinematography, “Whispers of the Ink” follows Rashed, a fearless artist who creates protest cartoons and paintings on social media and city walls during the recent student protests. His pregnant wife, Runa, though yearning to join the movement, remains confined at home. When Runa goes into labor during a nationwide crisis where no ambulance services are available, Rashed desperately ventures out despite the curfew to find help.
At a security checkpoint, Rashed faces aggressive questioning and is forced to unlock his phone. The officers discover his protest paintings, and social media activity, leading to his immediate arrest. Left alone in labor, Runa accidentally knocks over Rashed’s ink, spilling it across his painting—a poignant symbol of how resistance, like ink, spreads uncontrollably despite attempts to contain it. As a result, the fate of Rashed and Runa hangs in the balance.
Director’s Profile
Ishtiyak Ahmad Zihad (24), a young filmmaker from Bangladesh, recently completed his studies in Film and Media Studies at Jatiya Kabi Kazi Nazrul Islam University. He began his creative journey with the experimental short film “God Gift” in 2019. He has explored various narratives in short films, including “Chaya Moricher Bone” (2021), a one-take short inspired by Bangladesh’s liberation war. Ishtiyak has directed several independent shorts that have gained recognition at film festivals worldwide. His film “Run Away” particularly stood out, earning six awards at festivals in Bangladesh, India, the USA, and England, with the UK Film Review praising it as “beautifully tragic.” Ishtiyak recently completed his first feature-length film, titled “The Blind Girl and An Elephant” (2025).
Director’s Statement
As the director of “Whispers of the Ink,” my vision was to create a cinematic experience that transcends individual stories and becomes a larger commentary on the power of art and resistance in the face of political oppression. Set against the backdrop of the July 2024 student protests in Bangladesh, this film is deeply rooted in the real-life struggles of a nation caught in the grips of a repressive government, one that silences its people through violence, censorship, and fear.
At the core of the film is the relationship between Rashed, a cartoonist who channels the pain and frustration of the people into his art as a form of resistance, and his wife Runa. Through them, I wanted to explore the profound sacrifices made by those who stand up for what is right. Runa represents the unsung heroes—the wives, mothers, and loved ones who endure fear and uncertainty as they wait for their loved ones to return from the streets.
The use of ink, both literally in Rashed’s artwork and metaphorically in the chaotic moments of the protests, became a recurring motif. Ink is a tool of expression that can be wiped away or hidden, just as the violence of the protests is concealed by the government’s media blackout. Yet, there is always the possibility of ink returning to the page—new art, new voices, new stories emerging from the ashes of suppression.
What drew me to tell this story is the resilience of the human spirit. Even in the face of unimaginable brutality and oppression, people find ways to resist, to speak, and to fight for their right to be heard.
