While Labor Day typically brings attention to garments workers, construction laborers, and transport employees, one group remains largely invisible despite working tirelessly in the glare of lights, cameras, and celebrity glamour: the backstage crew of Bangladesh’s television and film industry. From assistant directors, set builders, lightmen, makeup artists, to production managers — these individuals are the uncelebrated workforce who carry the burden of every drama, movie, and advertisement, often without recognition, security, or compensation.
Take Abbas, a seasoned production manager with 23 years in the industry, who is currently supervising the shoot of an upcoming Eid special in Purbail. “We arrive before everyone and leave after all the work is done,” he says. “When the show airs, nobody knows we were even there. Our names appear at the very end — if at all — and no one reads them. But the work lives on, even if the name doesn’t.” Even on May Day, these workers are on set, reflecting a life where labor continues regardless of acknowledgment.
The absence of a formal salary structure or permanent contracts makes this profession precarious. Workplace accidents or sudden job loss often go uncompensated, as there are no legal frameworks to demand justice. Abbas shares his concern: “God forbid if I face an accident today, my family will bear the burden. We are like day laborers — we have no authority to demand more. Even if a production house owes us money, and we report it to the associations, legally there’s nothing we can do.”
Raj, an assistant director working for the past seven years, shares a heartbreaking memory: “Last Eid, I worked on six productions. There were days during Ramadan when everyone was breaking their fast and I was rushing to New Market or preparing the next scene with just a date in my mouth. I edited through Chand Raat. When I asked for my payment after submitting the final product to channels and platforms, they said payment would be made after airing. I couldn’t go home. I spent Eid with an empty pocket, in old clothes, crying alone in my mess. And I am not alone in this — every assistant director has gone through this, or is still going through it.” Still, Raj acknowledges the exceptions — industry veterans who have offered support during times of personal crisis, providing not just money, but mentorship.
Not all is bleak, though. Some stars actively appreciate their unit crew, offering bonuses, arranging iftar meals, or lending personal support. Popular actors like Arsh Khan and Aisha Khan see the production team as family. “These people behind the camera are vital. We feel special because of the care they provide,” says Arsh. He recalls moments where tired crew members, burdened with 30 kg equipment, would still make way for him on stairs. “That’s when I realize how lucky I am,” he says.
Aisha Khan echoes similar sentiments. “Every compliment I receive, every scene that looks perfect, is their doing,” she says. From carrying luggage to ensuring she has water or tea, from helping her embody a character to setting the lighting that flatters her best angles — the crew is her unseen support system. “Assistant directors guide us through each sequence. The makeup team builds our confidence. They make us feel secure,” she adds.
Yet the reality isn’t always so heartwarming. There have been instances of crew members facing abuse — not only from actors but also from directors and producers. Just last year, a production manager named Din Islam Dinar accused director Rubel Anush of physical assault over a pay dispute. In protest, several production managers threatened to go on strike.
Industry organizations, while attempting to offer support, have not implemented any universal labor policies or healthcare structures. According to Abu Zafar, president of the Television Media Production Manager Association, they constantly monitor payment and treatment across units. “Complaints about unpaid dues and mistreatment are regular. We meet with other associations frequently, but the problems persist,” he admits.
The assistant directors’ union, Television Assistant Directors Organization of Bangladesh, presents an even grimmer picture. President Jibon Roy states, “We often join a project from the early planning stage, a month before production even begins, but we remain unpaid long after broadcast. If we demand payment, we risk being dropped from future projects. We’re the most exploited.” Despite repeated demands for contracts and fixed working hours, nothing has materialized. “Not everyone becomes a director. Many leave the industry out of frustration. Those who stay are in a constant state of uncertainty,” he adds.
One glimmer of hope lies in the Confederation, a collective initiative representing professionals across film, television, and digital platforms. While their goals aim high, including labor rights reform and standardized welfare policies, the pace of change remains slow.
As another Labor Day passes, the lights shine on-screen, but the real labor — the sweat, the sacrifice, and the silent tears — stays behind the curtain, unseen and unheard.