The Dhaka International Mobile Film Festival (DIMFF) 2026 commenced on Saturday (January 31) with a clear assertion that mobile filmmaking has evolved beyond a mere novelty to establish itself as a legitimate and flourishing cinematic form with a global impact.
Taking place at the University of Liberal Arts Bangladesh (ULAB), the festival’s inaugural day featured two screening sessions presenting 15 films chosen from entries representing 24 countries. Captured entirely on mobile devices, these films delved into various themes such as child labor, displacement, intimacy, memory, and emotional disconnection.
The event began with insights from Professor Dr. Din M Sumon Rahman, head of ULAB’s Department of Media Studies and Journalism and chief advisor of DIMFF. Dr. Rahman highlighted the role of mobile cinema in democratizing storytelling and providing opportunities for emerging filmmakers worldwide. Subsequently, a video message from jury member Léon Desclozeaux praised the quality of submissions and acknowledged the festival’s expanding international prominence.
Renowned director and producer Tanim Noor, the chief guest, delivered the keynote speech, touching upon storytelling integrity, creative accountability, and cinema’s ability to spark conversations. He stressed that impactful cinema is not solely reliant on technology, aligning closely with the festival’s core values.
The initial screening session at 11:15 am set a poignant tone with “Mohammad Ayub: The Uncovered Story of a 13-Year-Old Child Laborer,” addressing exploitation candidly. This was followed by films like “Kata” from the United States, “The Last Ring” from Bangladesh, and “In Their Own Time” from India.
The afternoon lineup broadened both geographically and thematically, showcasing films like “Aaloklota” and “The 6th Element” from Bangladesh, “Puti” from the Philippines, “Cells” from India, and “Arise, My Love” and “Limerent Pittsburgh” from the United States.
Despite their diverse origins, the films exhibited a shared discipline characterized by minimal visual extravagance and a lack of reliance on spectacle. Instead, they excelled in intimacy, capturing faces in close-up, portraying ordinary spaces with precision, and narrating stories authentically without manipulation. The constraints of mobile devices were viewed more as deliberate choices rather than hindrances.
In addition to screenings, a panel discussion was held on film distribution in Bangladesh, focusing on issues like accessibility, dominant platforms, and the obstacles faced by independent filmmakers operating outside mainstream channels. The panel highlighted the importance of sustainable exhibition venues and institutional backing as filmmaking tools become more accessible.
The speakers at the opening ceremony reiterated the festival’s dedication to showcasing emerging voices rather than polished commercial productions, emphasizing the significance of storytelling integrity over technological prowess.
By the end of the day, DIMFF 2026 successfully avoided the common pitfall of many mobile film festivals – the need to defend the medium. The films screened stood on their own merit without seeking validation, placing emphasis on substance over equipment and intent over perfection.
In prioritizing content over technology and substance over surface polish, the festival’s inaugural day made a profound statement: the future of cinema may be compact in scale, but it harbors immense ambitions.
