Mithu Monir is a prominent name in contemporary Bangladeshi cinematography. More than a camera operator, he breathes life into every scene through a harmonious play of light, shadow, color, and form. His aesthetic, postmodern approach has added a unique dimension to Bangladesh’s advertising, television dramas, and films—enriching the country’s media landscape and paving the way for the next generation. His work will be remembered for years to come, inspiring future craftsmen of light and shadow.

Among his many creative achievements, the film Jamdani stands out as a pinnacle of his artistry. In Aniruddha Rasel’s much-anticipated Jamdani, he captures the depth of frame and emotion with rare sensitivity. His signature visual language is also evident in Aranya Palash’s Gantabya, Ananya Mamun’s Indubala, and Rafiq Shikder’s Hriday Jure, where his lens shapes new aesthetic perspectives. Every shot feels like the rhythm of a poem—each scene alive, telling the untold stories of a character’s invisible pain.

Weaving Dreams Through Cinematography

Born in Hasnabad village, Narsingdi, Monir Hossain’s journey to becoming “Mithu Monir” began with the wonder of childhood, the curiosity of youth, and an unwavering passion for cinema. After completing cinematography courses at various institutions in Bangladesh, he picked up the camera—not just as a tool, but as a mirror of emotions.

His professional path was strengthened by experiences such as working with the BBC and operating a live camera at the ICC T20 World Cup in 2014. These shaped his skill, precision, and instinct behind the lens.

The Profound Language of Light and Shadow

In Jamdani, his cinematography reaches new heights. Through his lens, the history, tradition, labor, and pride woven into Bangladesh’s Jamdani saree—a UNESCO-recognised GI product—come alive. Each frame carries meticulous detail, with compositions that are emotionally resonant, allowing viewers not just to see the tradition, but to feel it.

For Mithu Monir, cinematography is more than technical mastery—it is insight. Light becomes a way to reveal a character’s inner conflict; shadow becomes a vessel for society’s unspoken sighs.

Mastery in Framing and Composition

Framing and composition are his greatest strengths. Each frame is balanced yet emotionally charged, reflecting the mental state of the characters. He approaches every scene by first understanding it deeply, then translating the script into a visual language of light, shadow, and color.

In Gantabya, for example, a late-evening shot of a lone figure walking along an empty street becomes a silent symphony through the interplay of framing, movement, and color.

The Dialogue of Color and Sound

His sensitivity to color grading sets him apart. For him, colors speak—blue shadows evoke sadness, warm golden tones suggest hope. Light becomes emotion; color becomes language.

His visuals work hand-in-hand with sound design and background score. He believes cinematography is most powerful when both eyes and ears share the experience.

Role as an Instructor: Shaping the Future

In 2023, Mithu Monir taught Television Camera Operation and Lighting at the Fresh Institute of Film & Television (FIFT). For him, this was a proud milestone—sharing his craft with aspiring filmmakers.

“When young people learn to hold the camera,” he says, “they discover a new Bangladesh—where cinema is not just entertainment, but a tool for revolution.” He hopes this next generation will take part in a global cinematic movement.

Notable Works

TV Dramas: Over 450
Television Series Episodes: 1,000+
Commercials: 300+
Documentaries & Music Videos: 100+ (both government and private)

Films: Gantabya (Aranya Palash), Indubala (Ananya Mamun), Hriday Jure (Rafiq Shikder), Dwitiya Linga (Aniruddha Rasel), Makeup (Ananya Mamun), Besamaal (Rahul Rawshan), Encounter (Aniruddha Rasel), Rukhsar (Mostafizur Rahman), and Jamdani (Aniruddha Rasel).

He is also signed for several upcoming projects scheduled to begin shooting in late 2025.

Awards and Honors

Best Dramatic Cinematographer – TVFB Star Awards 2021 (Jolchobi)
Best Film Cinematographer – BABISAS Awards 2022 (Gantabya)
Best Dramatic Cinematographer – TVFB Star Awards 2022 (Kiptashashur)
Best Film Cinematographer – Ananda Mela Star Awards 2025, Los Angeles (Hriday Jure)

The Big Screen: His True Love

Though highly sought-after in TV dramas and commercials, Mithu Monir feels most at home working in films.

“The big canvas of cinema excites me,” he says. “Every frame gives me space to play with light and shadow. Here, I can truly express myself as an artist.”

He approaches each script with deep attention, believing that beyond camera technique lies the ability to feel the story’s needs. Influenced by cinematographers like Kamrul Hasan Khasru and Rashed Zaman, he brought distinctive artistry to Hriday Jure’s song sequences—an effort that earned Belal Khan the National Film Award for Best Vocalist and Music Director.

An Artist’s Perspective

“The camera,” Mithu Monir says, “is not just a tool—it is my voice. I paint feelings with light and shadow. I want my work to linger in people’s minds, to awaken emotions. I want to live as an artist of the camera.”

These words reflect not just confidence, but the essence of his artistry.

Mithu Monir is a cinematographer who captures not just scenes, but the emotions, silences, and truths beneath them. His camera teaches us to see not only with our eyes, but with our hearts.

The Ministry of Information’s preview committee, after watching Jamdani, described its cinematography as “a living painting—where every light, every color, every composition is a poem.”

Mithu Monir does not merely record moments—he preserves time itself. His work reminds us that cinema is more than a story; it is a feeling, an art, a way of life.