1. You have built a remarkable journey in the entertainment industry. Can you take us back to how it all started for you? What inspired you to enter this field, and what were some pivotal moments that shaped your career leading up to your role at Hoichoi Technologies Bangladesh Ltd.?

It’s actually been a funny and unplanned journey. Before joining Hoichoi, I was working at a tech-focused company specializing in online payment gateways and telco-based services. I was leading one of their products, e-Tunes, which centered around music. That’s where I first began connecting with musicians.

One day, I pitched the idea of producing original content for e-Tunes. My teammate, Shawon Gaanwala, and I teamed up to create a music video called Ichchey Manush, featuring Jovan and Nadia—it became a hit. Encouraged by its success, we went on to collaborate with renowned artists like Kona and Tahsan.

In 2017, just before Eid, I realized music videos alone weren’t creating enough impact. That’s when I started thinking about fiction. Around that time, I approached a TV channel to explore fiction projects. This eventually led me to Top of Mind, where I met Adil Bhai, Gousul Alam Shaon, Amitabh Reza, and Shahriar Shakil. They were working on the Aynabaji Original Series and they announced that e-Tunes would be their digital partner. I was genuinely surprised—I hadn’t seen that coming. That moment marked my first real exposure to fiction, and soon after, the dramas were released on YouTube. That’s how my journey into fiction truly began.

Meanwhile, Hoichoi had just launched in India (September 2017) and was looking to expand into Bangladesh. They reached out to us for help with online payment systems and market insights. Around the same time, I was also exploring new ideas in music, and collaborated with Anupam Roy to produce Bangladesher Meye—his first song for Bangladesh, featuring Masuma Rahman Nabila. I visited the SVF office in Kolkata as part of that project.

Soon after, Hoichoi decided to invest in Bangladesh and was looking to set up a local team. They needed a CEO—but I never realized that they were considering me. In June 2018, during the FIFA World Cup in Russia, I along with my friends were going to watch Brazil play live. On my way, we had a 7–8 hour transit. During that stopover, I received a call from the SVF office in Kolkata asking to meet. I made a quick visit, and to my surprise, they offered me the role to lead Hoichoi in Bangladesh.

On June 15, 2018, I officially joined Hoichoi. It took hard work to prepare all the documents and set up the company—I learned a lot during the process. Finally, on February 4, 2019, we launched the Bangladesh office, and by February 26, we began subscription payments in Bangladeshi Taka.

Today, Hoichoi Technologies Bangladesh Ltd. is a fully Bangladeshi company. We proudly operate in full compliance with local laws, employ only Bangladeshi nationals, and contribute responsibly to the national economy. Through this platform, I want to tell Bangladeshi stories and ensure that Hoichoi creates a positive impact in the country. 

2. With Hoichoi’s massive content library, how does the team strategize and decide which stories, genres, or formats to invest in? Share the creative thought process behind curating content for such a diverse Bengali-speaking audience.

When it comes to content, quality is our top priority—regardless of genre. The story must reflect Bangladesh while also being commercially viable. That’s always been our core strategy – to create strong, meaningful content that showcases our culture and has the potential to succeed.

We don’t confine ourselves to specific genres. When we speak with a director, our priority is to understand their vision and storytelling style. The first thing we consider is whether their concept aligns with Hoichoi’s core values. Then, we look at how authentically it reflects the Bangladeshi experience—much like Mohanagar, Taqdeer, or Kaiser, which are all deeply grounded in our reality. Above all, originality is essential.

We’re open to stories from anyone. Our aim is to keep audiences engaged with powerful storytelling while staying true to who we are.

3. The OTT industry is growing rapidly, both globally and in Bangladesh. In your opinion, what are some major trends or shifts you foresee in the OTT ecosystem over the next few years?

It’s all part of an evolution. We grew up with cassettes, moved to CDs, and now we’re in the era of streaming—like Spotify, where a single song can reach millions. The transition to OTT is similar. YouTube played a huge role in this shift by giving people the freedom to watch whatever they want, whenever they want. This on-demand culture empowered audiences and changed expectations. OTT platforms now offer everything—thrillers, horror, comedy—viewers choose what speaks to them.

To make OTT thrive in Bangladesh, we’re putting in a lot of effort. But success depends on how much understanding you bring into the business. The right people in the right roles make all the difference. Creative decisions need the right context—knowing the platform, choosing the right language, and addressing the right socio-economic audience.

Next comes the team—cast, crew, and artists—all of whom must bring patience and a deep understanding of the story. Rehearsals, dedication, and a genuine commitment to the craft are essential. Directors, too, need to approach each project with insight, preparation, and a clear vision.

Then there’s the issue of regulation. While a country can’t produce talent overnight, it can establish systems that nurture and develop it. Unfortunately, Bangladesh still lacks formal film institutions—there’s no structured training for directing, cinematography, editing, or production. Visionaries like Mostofa Sarwar Farooki, Shihab Shaheen, Amitabh Reza, Adnan Al Rajib, Ashfaque Nipun, and Shawki have come this far driven purely by passion. Just imagine what more they could achieve with proper institutional support.

At Hoichoi, we are deeply mindful of the impact our content can have. We take care not to offend religious sentiments or misrepresent our country. At the same time, we believe it’s vital to tell stories that reflect the complexities of real life—stories about corruption, bribery, and even difficult subjects like murder or marital rape. These narratives are important and necessary, though we often face challenges in securing the creative freedom to tell them authentically.

4. Many people say we often portray our country negatively on global platforms. What inspired you to join this industry despite the challenges, and what kind of impact do you hope to create?

I joined this industry as I want to change how the world sees our country. I want to showcase Bangladesh through stories that earn global attention. Taqdeer was the first Bangladeshi show from Hoichoi that was dubbed in Hindi—and to me, that was a turning point. It gave Bangla content a wider audience, even creating a buzz as far as Punjab. That was a proud moment, because for years we’ve dubbed content from other countries into Bangla—but this time, our content was being dubbed into another language and aired abroad. After Taqdeer, our other shows also began to be dubbed in Hindi. What matters most to me is that people outside Bangladesh are now talking about our stories.

Unfortunately, we still haven’t made a strong mark on the global stage—and to some extent, we have to take responsibility for that. As a nation, we’ve struggled to build and project a clear identity. Too often, we overlook those who’ve made us proud. Mashrafe Bin Mortaza, for example, pushed through multiple surgeries just to keep playing cricket for his country—facing challenges most would shy away from. Shakib Al Hasan is a world-class cricketer, yet we’re quick to judge them for their missteps, forgetting the dedication and excellence they’ve shown. Still, there’s hope. If we start celebrating our heroes and investing in our identity, there’s no reason the world won’t take notice.

I want to tell stories that confront real issues—corruption, social injustice, political challenges—but in our country, there’s little room for that kind of expression. The creative ecosystem lacks the support and freedom needed to thrive, and without institutional backing, meaningful growth remains out of reach.

Yet, the potential here is immense. I see extraordinary raw talent in Bangladesh, and it pains me to see it go untapped. Without the right opportunities, that talent will continue to be overlooked. If we truly want to reshape our narrative and make a lasting, positive impact, we must commit to building the right environment. Otherwise, we risk being defined only by what holds us back.

5. Artificial Intelligence is transforming industries around the world, including media and entertainment. Do you believe there will come a time when an entire movie, from scriptwriting to production, could be created completely by AI? If so, how do you see AI transforming the media and entertainment industry?

AI is already transforming the media and entertainment industry—and we may soon reach a point where we can’t say for sure if human actors or actresses will always be essential. Our team has started engaging with AI-focused seminars and programs to stay ahead of the curve. From chatbots in customer support to AI-driven post-production tasks like color grading, automation is already here. Hollywood and India are leading the way, and Bangladesh is slowly catching up.

We’re entering a thrilling but uncertain era. At Hoichoi, we always strive to think ahead, so we’re preparing ourselves for this shift and ready to embrace it when the time is right. In fact, many parts of the creative process are already being enhanced or even handled by AI. 

6. As OTT platforms become a major player in the entertainment sector, conversations around policies, regulations, and digital rights are becoming increasingly important. What is your stance on content regulation and the role platforms like Hoichoi can play in shaping responsible digital entertainment?

I’m not in favor of censorship—people should have the freedom to choose what they want to watch. In 2025, no one should be dictating others’ viewing choices. If the content isn’t good, audiences will naturally reject it. That said, a basic policy is important: content should never disrespect the country, its independence, sovereignty, or the sacrifices of our martyrs. Sensitivity to these values is essential.

Everyone involved—platforms, cast, crew, directors, and regulators—shares the responsibility for how content shapes society. Entertainment plays a vital role in easing stress, but the messages we share matter deeply. We need a simple, supportive policy framework that encourages creativity without fear.

Instead of focusing on control, the government should invest in building institutions that support the craft—film direction, art direction, costume design, editing, and more. If we can build that foundation, we’ll nurture a new generation of truly talented professionals in this industry.

7. Looking ahead, what is your long-term vision for Hoichoi?

My main goal is to elevate Bangladeshi content on the global stage. I truly believe our country is home to world-class talent. However, we face significant challenges, such as budget constraints, limited shooting-friendly environments, and the lack of structured, production-oriented sets. These hurdles directly drive-up production costs and stifle the growth of our creative industry. It’s essential for the government to address these issues. To nurture talent and share our stories with the world, we need supportive environments and better infrastructure.

My vision is to establish Hoichoi as a lifestyle brand. When people think of high-quality content, I want Hoichoi to be among the first names they consider—on par with other global content or OTT platforms. I don’t believe in unhealthy competition; our industry needs collaboration, not division. By working together, we can uphold quality standards, and that’s the real strength of the OTT platform—it offers space for everyone to grow.