Ishtiyak Ahmed Zihad, a young filmmaker based in Bangladesh, captured the chaos and uncertainty of the July uprising in Bangladesh in his short film “Whispers of the Ink”. A Film and Media Studies student at Kazi Nazrul Islam University, Ishtiyak began his directorial journey with the experimental short film “Chaya Moricher Bone”. Having directed six short films over the past [number of years needed], Ishtiyak works to make a difference in Bangladeshi cinema through his understanding of Bangladesh’s society, politics, and most importantly, the lives of the people living in it.

In “Whispers of the Ink”, Ishtiyak portrays what the people of Bangladesh endured during the July 2024 uprising, focusing on digital repression, surveillance and the stifling of artistic expression. His emphasis extends beyond the extreme conditions faced by the general public to include the lasting damage inflicted by the laws imposed during that time.

A Turmoil to Remember

Young people are moved by the film. “This film leaves an impression on those who lived through the uprising, and also those who didn’t,” commented an audience member at a screening in Dhaka. Before discussing the quality and message delivered by the film, it’s worth noting that “Whispers of the Ink” creates an uncomfortable yet memorable impression, which appears to align with the director’s intention.

The film doesn’t attempt to capture all elements of the July Uprising in Bangladesh, as its brief runtime only allows for select instances rather than a comprehensive overview of that period. However, the troubles and misery brought on by the internet shutdown and state surveillance are effectively shown through one of the most fundamental human experiences: reproduction.

The film’s primary impact is raising awareness about the profound sense of powerlessness experienced during internet blackouts. The conclusion reveals that the filmmaker deliberately sought to demonstrate “how the state wields the authority to target society’s foundation, immobilising it to suppress dissent when virtually all existence depends on internet connectivity.” The work also emphasises this theme through a scene depicting an unborn child, illustrating how, in matters of resistance, “even the potential of future generations can be perceived as an unpredictable threat by authorities,” as observed by one viewer.

When Silence Speaks

Screenings of the film have sparked thoughtful and often deeply personal conversations. “During the blackout, I kept checking my phone even though I knew nothing would load. Watching this reminded me of how disoriented and helpless I felt,” shared an attendee at [specific screening event needed]. Another participant added, “We didn’t have a way to speak or connect. This film captured that silence and made it visible.”

Ishtiyak specifically targeted youth who led the uprising and digital rights activists for his screenings, focusing on those who had directly experienced the July 2024 internet blackout. By involving these groups, he created space for reflection and dialogue rooted in real experiences.

“These blackouts weren’t just about internet access,” said an activist during a post-screening discussion at Jatiya Kabi Kazi Nazrul Islam University last March 18, 2025. “They shut down our movement. We couldn’t organise, couldn’t reach out, couldn’t document what was happening on the ground.”

But the blackout wasn’t the only tool of repression. Many attendees shared stories of police brutality and privacy violations that occurred in the absence of public scrutiny. “Once the internet was down, it was open season,” one audience member said at [specific screening needed]. “People were dragged from their homes. Phones were searched without consent. It was a digital and physical invasion all at once.”

A student who attended the screening at [location needed] recalled, “My cousin was detained that week. We had no way of finding out where he was for days. The internet shutdown didn’t just isolate us, it made us feel powerless.” Others spoke of how authorities used private chats, social media activity, and online histories as evidence against activists and protestors.

Another participant shared, “I run a small online business. Those few days set me back weeks financially. But worse than that, I felt erased like our lives just didn’t matter to the people in power.”

The discussions were not only emotional but also charged with a sense of urgency. “It’s not just about what happened in 2024,” one attendee emphasised at [specific event needed]. “This can happen again. And next time, it could be worse.”

Zihad, speaking after a screening at [location needed], said, “What drew me to tell this story is the resilience of the human spirit. Even in the face of brutality and oppression, people find ways to resist, to speak, and to fight for their right to be heard.”

He believes that cinema can be an effective tool to raise social awareness. For him, films like “Whispers of the Ink” transcend storytelling; they help people understand what is at stake when voices are silenced, when privacy is violated, and when state violence goes unchecked.

Despite its brief runtime, “Whispers of the Ink” does more than evoke memory; it confronts the consequences of censorship, surveillance, disconnection, and brutality. Zihad has emerged as a filmmaker driven not just by art, but by a commitment to truth and justice.

Moving Forward

Zihad believes in cinema’s power to move, awaken, and mobilise people. Yet, he remains aware of today’s world, one characterised by technological control, surveillance capitalism, and the rise of authoritarian regimes—systems that often silence or distort human stories. It was within this context that Zihad, like most of his generation, experienced the July Uprising not as a distant political event, but as an immediate, all-encompassing reality.

He wanted his film to capture something profoundly human, something relatable, rooted in everyday struggles. For Zihad, making the film was also a personal act of resistance, a way to contribute to the memory of a movement that ultimately toppled a dictatorship.

He explains that he felt compelled to tell a story highlighting how surveillance and privacy breaches aren’t just abstract concerns; they can determine life-and-death realities for ordinary people. “I just wanted to show,” he adds, “that breach of privacy and surveillance can be inhuman.”

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Film’s Message	Impact Goals	Partners	Type of Change Changing Minds Changing Behaviours Building Communities Changing Structures	Impact Activity	Impact Tasks
Rashed’s story highlights digital privacy violations during political unrest and protests through aggressive questioning and phone searches at security checkpoints.	Raising awareness about the brutalities and human rights implications of state-sponsored crackdowns.	Amnesty International, Human Rights Watch, Digitally Right, and Activate Rights, Voice, Internews, TIB, Article 19 Banglades	Changing Minds	University Film Screenings & Memory Sharing Sessions	Reach out to university film departments and student organisations Prepare a guide for post-screening discussions Create a template for the audience to share July-August 2024 experiences  Document stories  for future projects Engage campus media to cover events Share highlights and audience stories on social media with consistent hashtags
Same as above	Advocating for policy changes regarding freedom of assembly, protection of human rights, and the use of internet shutdowns in politically unstable environments	Digital Rights NGOs, Legal Aid Organizations, Progressive Lawmakers, National Human Rights Commission	Changing Structures	Policy Dialogue on Internet Freedom	Partner with digital rights organizations to host a policy roundtable. Invite representatives from telecom regulatory bodies and human rights institutions. The goal is to create and share key takeaways through film clips and social media content.
Rashed’s protest art and Runa’s connection to the movement during her pregnancy show how the personal becomes political. Their struggles reflect broader societal conflicts, illustrating that love and sacrifice can inspire collective action against injustice.	Encourage empathy and solidarity for marginalised communities, including activists, women, and ordinary citizens caught in the crossfire of political oppression.	Local Art Galleries, Cultural Centers, Artist Collectives, Flash (Film Club), We are Cinemates	Changing Behaviours Building Communities	Screening with Art Exhibit (e.g. Ink of Memory” Art Exhibition)	Partner with a local gallery or cultural space.  Invite artists to create works inspired by the film and the protests. Display selected audience stories alongside film stills. Host an opening night featuring a brief artist talk.  Develop a press kit for local arts and culture journalists.  Create a social media content series showcasing exhibition pieces and artist statements.  Arrange interviews with film critics and culture journalists.  Maintain an active social media presence to highlight festival acceptances and awards.