Perception Media — Ethnographic documentary, 2026

Mrucha Chiasodpoi

Mru Festival of Sacrifice

As Manle leads a dying tradition to save his child from illness, we enter the heart of the Mru festival of sacrifice, where music and ritual converge in a profound act of devotion.

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Dir. Mashrukur Rahman Khan 54:23 Bengali / Mru · English subtitles Scroll to explore ↓

01 / The film

A father’s love.
A community’s devotion.

In the remote hills of the Chittagong Hill Tracts in Bangladesh, Manle, a master craftsman of the ‘Plung’, an ancient bamboo flute, faces a profound spiritual and personal challenge. His young child has fallen ill, and in the Mru tradition, only the gods can restore health through the ritual of ‘Chiasodpoi’, a ceremonial dance and sacrificial offering.

The documentary unfolds as Manle prepares his community for the festival, crafting the sacred ‘Plung’, and orchestrating intricate rituals that intertwine music and spirituality. Performers from neighboring villages gather to engage in extraordinary orchestral battles, using the ‘Plung’ to communicate with divine forces.

‘Mrucha Chiasodpoi’ is a story of resilience, faith, and identity, where music becomes a bridge between the human and the divine. Through Manle’s journey, the film reveals the profound cultural heritage of the Mru people, offering a rare glimpse into a world where ancient traditions and modern struggles collide. It is a poignant exploration of a father’s love, a community’s devotion, and the endangered legacy of an indigenous people.

02 / Behind the film

Jan 2023Filming began in Bandarban
40+ hrsOf Mru-language footage
1 yearOf filming
2 yearsOf post-production

Director’s statement

In January 2023, I first visited the Chittagong Hill Tracts of Bangladesh and came across an indigenous bamboo flute called the ‘Plung’.

Traditionally played by the Mru people, it has a daunting, almost surreal tonality. Upon joining our Mru friends on a 6-hour journey through the dark, we reached the reserve forest, where members of a Mru community were organizing a sacrificial festival, “Chiasodpoi.” What followed was an entire night of surreal orchestral battles with the plung, culminating to a sacrifice of a cow in the morning.

At the time, I understood little about the roots of this tradition. However, what I observed was unlike anything else I have ever seen. With almost child-like curiosity, we started shooting what was the beginning of the film ‘Mrucha Chiasodpoi’ (Mru Festival of Sacrifice). We began shooting with our phones because we had nothing else at the time. At a place where electricity was inaccessible, we could only charge our phones with solar power.

Upon editing the mobile version of this festival, I realised the ritualistic and spiritual complexities of this sacrifice. Months later, when I got a call that Manle must make a sacrifice for his child, I began documenting the ritual processes in detail. Keeping in mind the historical and ethnographic significance of the documentation of this ritual, I started filming, much of it in the indigenous Mru language. It eventually took one year to film, and two more years of post-production to finish.

— Mashrukur Rahman Khan, Director

03 / Watch & buy

Coming soon
to stream & own.

Mrucha Chiasodpoi will be available to watch and buy online soon. Leave your email and we’ll tell you the day it’s released, along with new screening dates.

04 / Screenings

See it on a big screen, with the people who made it.

We are bringing the film to universities and schools, film clubs and festivals, cultural centres, libraries and museums, community halls and village gatherings, and any space where people come together to watch and talk. Many screenings include a Q&A with the director.

Upcoming

Past screenings

Request a screening

Any group or space can host the film for its audience, large or small, on a campus or in a community. Here are three ways to do it.

01

A general screening event

An open event for any audience, whether on a campus, at a cultural centre, in a community space or at a festival: a way into a subject people may know little about, and a chance to learn about the indigenous communities living in Bangladesh today.

02

A film club screening or film course

The film can anchor a film club programme or a documentary unit. It opens up discussion of ethnographic documentary as a form, and of documentary ethics, including consent-forward filmmaking: working with a community rather than simply filming it.

03

In an anthropology or ethnography course

Students watch the film as part of the syllabus or at an open viewing, alongside supporting materials, then write reviews, response papers or other graded work. Suits anthropology, ethnography, sociology, development and cultural studies.

Q&As, webinars and workshops

Any format can be followed by a Q&A with the director, a discussion session, an online webinar or a workshop shaped around your audience. Screening fees are shared on enquiry.

What we provide

  • The film for your screening
  • Supporting materials for course use
  • The director, available for a Q&A or workshop
  • Printed materials with QR codes, so viewers can rate the film, share feedback or get their own copy
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05 / The Mru community

Mru
means human.

In their own language, ‘Mru’ means “human”, a name that reflects their deep connection to their ancestral lands and identity.

The Mru people are one of the oldest Indigenous communities in the Chittagong Hill Tracts (CHT) of southeastern Bangladesh, with smaller populations in the adjoining borderlands of Myanmar and India. They are part of the larger Chin ethnic group and are known for their unique cultural and spiritual traditions.

Primarily agrarian, the Mru practice ‘jhum’ (shifting) cultivation, a traditional method of farming suited to the hilly terrain they inhabit. Their economy and lifestyle are deeply tied to the forests and hills, reflecting a symbiotic relationship with their natural environment. However, these practices are increasingly threatened by deforestation and external pressures to modernize.

AThe Plung: a musical and spiritual instrument

The ‘Plung’ is a bamboo flute central to Mru identity, spirituality, and communal life. Made from carefully selected bamboo, each ‘Plung’ is unique, varying in size, shape, and tone based on the craftsmanship and style of the maker. It is not merely a musical instrument but a personal and communal voice for the Mru, with each player infusing their character into its melodies.

The ‘Plung’ is often used in ceremonial battles, where musicians from different villages compete by performing intricate, improvisational melodies. These battles are not adversarial but celebratory, showcasing the individual styles and technical skills of the players while reinforcing community bonds. In spiritual contexts, the ‘Plung’ serves as a conduit for prayer and ritual; its sound is believed to connect the Mru with their ancestors and spiritual forces.

The making of a ‘Plung’ is itself a sacred process. Craftsmen carefully select bamboo based on its age, density, and resonance, and the instrument is tuned to suit the tonal range of the player. The craftsmanship, combined with the performer’s skill, ensures that no two ‘Plungs’ sound alike, embodying the individuality and artistry of the Mru people.

BChiasodpoi: the Festival of Sacrifice

The ‘Chiasodpoi’, or Festival of Sacrifice, is one of the most profound expressions of Mru spirituality and culture. This ritualistic festival, traditionally performed during times of hardship such as epidemics or to appease spiritual forces, is deeply rooted in the animistic beliefs of the Mru. It is both a spiritual offering and a celebration of life, community, and the harvest season.

The multi-day festival includes intricate rituals centered around the sacrificial offering of a cow. Participants encircle the sacrificial animal within a bamboo enclosure, dancing to the resonant melodies of the ‘Plung’. This ritual symbolizes the offering of sustenance to the spiritual realm in exchange for blessings, health, and prosperity. The event culminates in the sacrifice itself, a moment of both reverence and renewal for the community.

‘Chiasodpoi’ reflects the Mru’s close ties to nature and their understanding of life as a cycle of giving and receiving. The ritual reinforces communal solidarity and serves as a living repository of Mru traditions, passed down orally and through practice.

CThe Mru language: an endangered heritage

The Mru language is an essential marker of their identity, encapsulating their worldview, traditions, and oral history. Historically, the language was exclusively oral, but the development of a written script in the 1980s by Manley Mro, a cultural leader, marked a significant milestone in preserving their linguistic heritage. The script, however, remains underutilized, and younger generations increasingly shift to dominant regional languages like Bengali for economic and social mobility.

This linguistic shift places the Mru language at risk of erasure, threatening the continuity of their cultural identity. The loss of language would not only silence a unique voice in the world’s cultural diversity but also sever the link to centuries of accumulated knowledge and traditions encoded in their speech.

DChallenges in the Chittagong Hill Tracts

The Mru, like other Indigenous groups in the CHT, face systemic challenges stemming from rapid modernization, militarization, and socio-economic marginalization. Land dispossession, deforestation, and the encroachment of mainstream cultural and economic practices have disrupted their traditional way of life. The militarization of the region has further exacerbated their vulnerability, limiting access to necessities such as healthcare, education, and infrastructure.

Despite these challenges, the Mru continue to resist cultural assimilation, striving to preserve their heritage through music, rituals, and communal life. Documenting and promoting their traditions, as this project aims to do, is a critical step toward raising awareness about their struggles and celebrating their contributions to the cultural tapestry of Bangladesh.

EWhy preserve Mru heritage?

The traditions of the Mru people, including their music, language, and rituals, represent a unique and irreplaceable aspect of human culture. As globalization and modernization threaten Indigenous practices worldwide, efforts to document and celebrate such traditions become vital. The Mru’s story is not only a testament to their resilience but also a reminder of the richness and diversity that Indigenous cultures bring to the global community.

By preserving and sharing the Mru’s heritage, we can foster greater understanding, respect, and support for their way of life, ensuring that their voices continue to resonate through the hills of the Chittagong Hill Tracts and beyond.

06 / Team & collaborators

The people behind the film.

A Perception Media production, made with Mru collaborators from Bandarban at every stage.

Full credits +

Directed byMashrukur Rahman Khan

ProducersThong Pre Mro
Ashraf Naheed
Shibbir Ahmed Shiblee

Executive ProducersNafi Khan
Atik Sameer
Hamza Yusuff

CinematographyMohammad Zobaer

EditorMohammad Mojahid

Sound RecordistSimion Khandaker

Sound DesignAkram Siddique (Jazz Baul)

GraphicsFahmidul Hasan
Mahfuzul Haque Tunan

Production ManagersYong Mro
Lokwai Mro
Aung Ching Mro
Launi Mro

Drone OperatorHamim Hasan Seam

TranslationThong Pre Mro
Manle Mro
Nyuen Mro

Poster ArtNabila Hossain Samara

Poster DesignShahrukh Masnad

Special Thanks toAmirul Arham
Wajed Al Rahman
Risana Malik
Janeju Darad
Shafeem Shehzad Chowdhury
Homa Zader Khan
Rifat Abrar Anik

AppearancesManle Mro, Paurung Mro, Tingwai Mro, Songtam Mro, Mangpren Songpao, Songrum Rumding, Babulok Mro, Pongrao Mro, Chingring Mro, Kaingpre Mro, Menkrat Mro, Ruitai Mro, Tumpat Mro, Raoring Mro, Manleo Mro, Prenpong Mro, Rumroi Mro, Rengling Mro, Ningkung Mro, Inyong Mro, Chikpiyo Mro, Renglok Mro, Rengweng Mro, Luwai Mro, Renchong Mro, Lairu Mro, Deuleng Mro, Loli Mro, Runle Mro, Uiro Mro, Rengkri Mro, Raong Mro, Menpa Mro, Ruiwai Mro, Parao Mro, Loshang Mro, Pashing Mro, Mangpun Mro, Shagrun Mro, Menong Mro, Yongko Mro, Rumsong Mro, Kratlai Mro, Tonpao Mro, Tumwai Mro, Tumle Mro, Tumsong Mro, Plimram Mro, Kosong Mro, Mennik Mro

07 / Reviews & audience

What audiences are saying.

09 / For educators & film clubs

Teach with the film.

Full-length ethnographic films about the indigenous communities of Bangladesh are rare. Mrucha Chiasodpoi suits courses in anthropology, ethnography, sociology, ethnomusicology, sound, cultural studies and documentary film. These free resources help you plan a screening and lead the conversation afterwards.

Want the educational screening for your course or club? Tell us your format and timing and we’ll propose dates and details.

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10 / Contact & follow

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to your campus.

team@perceptionmedia.art ↗

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