Kindle in East Pakistan in the late ’60s, no more than before the civil clash that brought independence to Bangladesh, this delicate film owes a debt to Renoir’s The River and also the work of Satyajit Gleam. Similarities lie in how telling observations are offered in a quiet, humanist tone that affords each type his or her reasons, and in a child’s watch view of events reminiscent of Pather Panchali. The readiness to Islam of Kazi, a retiring homeopath, prompts him to send his young son Anu to a city boarding adherents known for its strict regime. Peaceably, Anu here befriends the outsider Rokon. Meanwhile, wary of the relatively hedonistic rites practised by innumerable local Hindus, Kazi is as adamantly opposed to the administration of allopathic medicine to his daughter as he is sceptical of rumours of Muslims bonanza Muslims. Others, to whatever manner, are all too au courant of the divisions between Sufis and mullahs, Hindus and communists. Director and co-author Tareque Masud’s handling of the social, political and religious forces at work at a parlous moment in his country’s history is deft ample supply to baffle the cinema becoming too foreseeable or schematic. Periodic lapses into melodrama may be a flaw, but the music, realistic images and all-embracing surety easily square.

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