Tucked away on the first floor of a quiet building in Banani 11, Tara Books has gradually become one of Dhaka's most intimate cultural sanctuaries. What began as a small independent bookshop has evolved into a rare space for film enthusiasts in the city's otherwise commercial northern neighborhoods. Managed by Arfun Ahmed, the shop now doubles as a micro-cinema, hosting regular weekend screenings that have turned into a refuge for conversation, curiosity, and community.

Arfun Ahmed (1985), a Dhaka-based artist, embodies the spirit of a true wanderer. Trained in photography at Pathshala South Asian Media Institute, he has built a multifaceted practice that spans photography, visual art, literature, and sound. Over the years, he has worn many hats – from student activist and illustrator for national dailies to educator of photographic history and independent artist. This rich interdisciplinary journey shapes the philosophy behind Tara Books, which functions simultaneously as an extension of a clothing store, a bookshop, and an improvised cinema.

For the past two years, Tara Books has hosted film screenings almost every weekend. The setup is modest yet intentional; a projector positioned between a bookshelf and a narrow corridor, encircled by a handful of cushions and low seats for ten or twelve viewers. Tickets are sold on the spot for 200 taka, just enough to cover the electricity bill. "There is no profit," Arfun explains. "The ticket price is mostly to keep the lights on, and the community alive."

The films selected for screening are personally curated by Ahmed, reflecting a distinct and thoughtful vision. Instead of following trends or commercial appeal, the selections emphasise cinema of depth, culture and conscience and a high aestheticism. Over the past two years, Tara Books has screened films such as "Chinatown", "Ikiru", "La Grande Illusion", "Quatre Nuits d'un Rêveur", "The Man Without a Past", "Millennium Actress", "Barfi!", "Just 6.5", and "Ghashful" – a cross-section of world cinema spanning Japanese humanism, French poetic realism, American neo-noir, and South Asian social narratives. The programming consistently favours films that explore solitude, resistance, and ethical conflict. By balancing classic masterpieces with contemporary independent works, Arfun nurtures a cinematic education grounded in empathy, critical reflection, and global awareness.

Unlike Dhanmondi or Bailey Road, Banani and Gulshan offer few spaces for meaningful cultural engagement; something Tara Books addresses with great conviction. Over time, it has nurtured a small yet cohesive community of regular visitors who come not only to watch films but also to engage in thoughtful discussions afterward. The shop has additionally hosted musical performances by Gonje Feresta and premiered Akram Khan's "Ghashful"; the first Bangla film screened there – with the director himself in attendance.

My visit to Tara Books confirmed what makes this place extraordinary. I attended a screening of Singin' in the Rain, and by a stroke of coincidence, it began to rain outside just as the film was about to start. Before the screening, the projector played Debabrata Biswas's Rabindra Sangeet on rain, setting an atmosphere that felt both cinematic and deeply Bengali. The sound of rainfall blended with Biswas's voice; together, they cast a meditative spell across the room. The shelves glowed softly under the light, lined with literary classics, essays, and poetry collections untouched by the sensationalism of modern social media publishing. The experience was so immersive that it reminded me art can still exist as a shared encounter rather than mere background noise.

Arfun often cites Zahir Raihan, Alamgir Kabir, and Tanvir Mokammel – the architects of Bangladesh's film movement as his guiding inspirations. To him, they exemplify a belief in cinema as a medium of consciousness, reform, and cultural identity. Tara Books upholds that legacy in its own modest way, sustaining the principle that film should provoke dialogue and preserve humanity rather than chase spectacle.

In a part of Dhaka dominated by commercial cafés and boutiques, Tara Books stands out as something rare: a space where art and thought coexist. It proves that meaningful culture depends not on scale but on sincerity.

If you ever find yourself in Banani on a quiet or rainy evening, climb the narrow staircase to the first floor. Bring 200 taka, silence your phone, and take a seat between the books and the wall. As the projector hums to life, you may realise that this small corridor; lit by flickering images and shared attention; carries forward a tradition larger than itself: a continuation of community, reflection, and the most ordinary yet enduring human act – watching a film together.