Director Kakoli Battles Stroke Recovery

Award-winning Bangladeshi filmmaker Shahnewaz Kakoli, best known for directing the critically acclaimed films Uttorer Sur and Nodijon, is currently undergoing a difficult period of recovery following a stroke suffered in October last year. The director has been receiving long-term treatment and rehabilitation at the Centre for the Rehabilitation of the Paralysed (CRP), where she continues physiotherapy aimed at restoring her mobility and strength.

According to her husband, Pran Roy, Kakoli’s condition has shown gradual improvement in recent weeks, although the road to recovery remains long and challenging.

Ongoing Rehabilitation

Roy explained that Kakoli is undergoing regular therapy under the supervision of physiotherapist Manna Papiya. While she initially struggled even to sit upright after the stroke, she can now remain seated for a period when assisted.

“She could not sit at all at first,” Roy said. “Now, when she is placed on a chair, she can remain seated for some time. It is a small improvement, but it gives us hope.”

Walking independently is still not possible. Therapists must support her with a waist belt while helping her take steps during rehabilitation sessions.

Doctors at CRP remain optimistic but cautious about the recovery timeline. Roy said the medical team continues to work tirelessly to improve her condition.

“They are trying their best,” he noted. “Everyone at CRP is extremely sincere and compassionate. Their care and dedication are truly remarkable. Beyond that, everything depends on God’s will.”

Gradual Progress in Speech

One encouraging development is Kakoli’s progress in regaining her speech. According to Roy, she initially found it difficult to speak after the stroke but is now able to communicate more clearly.

“She can talk now,” he said. “Earlier it was very difficult for her. At present she is able to speak about 80 per cent normally. Compared to before, she is improving little by little.”

However, the left side of her body remains severely affected. Her left arm and left leg cannot move independently, requiring assistance during physiotherapy sessions.

Medical Journey So Far

Following the stroke in October, Kakoli spent two months in hospital undergoing emergency treatment. She later returned home briefly but was readmitted to hospital and has now been staying in a cabin for about a month as rehabilitation continues.

Financial Struggles and Community Support

The prolonged treatment has placed a significant financial burden on the family. Roy revealed that he had to sell his car to help cover medical expenses. Nevertheless, friends, colleagues, and members of the cultural community have stepped forward to support the filmmaker.

The Bangladesh Film Artistes’ Association has offered assistance, while many acquaintances from Roy’s time at the Faculty of Fine Arts have also extended help.

“We are grateful to everyone who has stood beside us in this difficult time,” Roy said. “Their support means a great deal.”

Appeal for Government Assistance

Roy also called for greater institutional support, noting that Kakoli is a recipient of the National Film Award, making her a valuable cultural asset to the country.

“When an artist receives a National Film Award, they become a national asset,” he said. “In such situations, it would be appropriate for the government to come forward with support.”

Creative Work Left Incomplete

Before her illness, Kakoli had been working on a new film titled From Bangladesh. Around ten per cent of the project remains unfinished due to financial constraints and her current health condition.

Despite the challenges, Roy remains hopeful that Kakoli will recover and return to filmmaking.

“We ask for everyone’s prayers and good wishes,” he said. “May Kakoli regain her health and return to the creative life she loves.”

Legacy in Bangladeshi Cinema

Kakoli earned the National Film Award for Best Story for Uttorer Sur, while actress Toma Mirza won the National Film Award for her performance in Nodijon. Both films received widespread acclaim from audiences and critics alike, cementing Kakoli’s reputation as a filmmaker capable of portraying powerful human stories rooted in Bangladeshi society.

Her supporters now hope that, with time, treatment, and continued encouragement, the celebrated director will overcome this difficult chapter and once again contribute to the country’s film industry.