Sabbir Parvez Shohan

A dark and visceral journey. A language that tears apart the morbid nature of the dead-old primal human eyes. No warning was given. No mercy was shown.

A dark and visceral journey. A language that tears apart the morbid nature of the dead-old primal human eyes. No warning was given. No mercy was shown.

A dark and visceral journey. A language that tears apart the morbid nature of the dead-old primal human eyes. No warning was given. No mercy was shown.

Repercussion is a political statement of existence through poetic counterpoint of images and sound.

Repercussion is a political statement of existence through poetic counterpoint of images and sound.

Repercussion is a political statement of existence through poetic counterpoint of images and sound.

TECHNICOLOR DREAM is a video art of vivid imagery and symbolic scenarios. It is a portrayal of passion,agony,memories and melancholy through unorthodox fusion of sight and sound.

TECHNICOLOR DREAM is a video art of vivid imagery and symbolic scenarios. It is a portrayal of passion,agony,memories and melancholy through unorthodox fusion of sight and sound.

TECHNICOLOR DREAM is a video art of vivid imagery and symbolic scenarios. It is a portrayal of passion,agony,memories and melancholy through unorthodox fusion of sight and sound.

A late adolescent outsider tells his story while wandering through his city. Zero is the chronicles of a soul dissolved in poetry and existential limbo of nostalgia.

A late adolescent outsider tells his story while wandering through his city. Zero is the chronicles of a soul dissolved in poetry and existential limbo of nostalgia.

A late adolescent outsider tells his story while wandering through his city. Zero is the chronicles of a soul dissolved in poetry and existential limbo of nostalgia.

In this early exercise work of the director, three vignettes get intertwined within space and time. Often raw, often illusory, each vignette focuses on different surfaces of existential crisis of seemingly different characters. But, are they really different at all?

In this early exercise work of the director, three vignettes get intertwined within space and time. Often raw, often illusory, each vignette focuses on different surfaces of existential crisis of seemingly different characters. But, are they really different at all?

In this early exercise work of the director, three vignettes get intertwined within space and time. Often raw, often illusory, each vignette focuses on different surfaces of existential crisis of seemingly different characters. But, are they really different at all?

In this early exercise work of the director, three vignettes get intertwined within space and time. Often raw, often illusory, each vignette focuses on different surfaces of existential crisis of seemingly different characters. But, are they really different at all?