Directed by Bangladeshi filmmaker Mejbaur Rahman Sumon, the filmmaker behind the critically acclaimed Hawa,
Tushi played the role of Sadhu’s wife. The relationship between Sadhu and his wife forms the emotional core of the film. Their connection is not presented through the familiar language of modern romance. Instead, it exists somewhere between devotion, dependency, tenderness, possession, fear and longing. Their bond feels almost primordial, rooted in instincts that predate contemporary ideas of love and partnership.
Sadhu keeps trying to loose her, but she keeps coming back like trying to get rid of your past.
Roid is a deceptively simple story, but beneath its surface unfolds a rich tapestry of mythology, folklore, religion, desire, memory, symbol and human instinct. The film’s central symbol, the palm fruit, functions as a powerful metaphor that invites multiple interpretations.
For the viewers, it recalls the forbidden fruit from the Abrahamic religious tale of Adam and Hawa (Eve). Like the biblical fruit, the palm fruit in Roid becomes a symbol of temptation.
Sumon constructs a cinematic world where symbols remain fluid rather than fixed. The palm fruit can signify temptation, fertility, memory, loss, or desire depending on the emotional context of a scene. Much like folklore itself, the film refuses to provide a single authoritative interpretation. This ambiguity is central to the film’s power.
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