The Transcom Group, a prominent Bangladeshi conglomerate, allegedly funneled at least 73 crore taka to India for producing the controversial movie Faraaz. This money was reportedly laundered during 2020 and 2021, as revealed by the Criminal Investigation Department (CID) in its preliminary investigation into money laundering activities. The movie, a fictionalized account of events related to Transcom Group CEO Simeen Rahman’s son, Faraaz, was entirely financed by the group, according to the findings.
Despite the significant financial outlay, an analysis of Bangladesh Bank data indicates that Transcom Group did not receive approval to send any funds to India for producing the film. Additionally, internal documents from the group make no mention of such a project. The absence of official records raises concerns about the legitimacy of the transactions, especially given the high-profile nature of the film.
Faraaz was directed by Indian filmmaker Hansal Mehta and released in 2022. In an interview with Filmfare magazine in October 2022, Mehta stated that the movie was a bespoke project, entirely planned, scripted, and financed by Simeen Rahman and her business group. His claims add weight to allegations that the production was a calculated effort to shape public perception.
The movie’s narrative revolves around the 2016 terrorist attack at the Holey Artisan Bakery in Gulshan, Dhaka, where 22 people, including several foreigners, lost their lives. This tragic incident left the nation in shock. Reports from the time suggested that Faraaz, who was present during the attack, was not merely a victim but may have been complicit with the terrorists. Subsequent analyses of evidence pointed to his involvement, tarnishing his reputation.
In response to this, Simeen Rahman allegedly initiated a campaign to recast her son’s image. Leveraging significant financial resources, she sought to rewrite the narrative, portraying Faraaz as a hero who resisted the terrorists. Collaborating with the authoritarian government of the time, she reportedly suppressed details suggesting Faraaz’s role as a perpetrator, instead painting him as a victim.
The culmination of these efforts was the production of Faraaz, which presented an alternative version of events. Simeen Rahman purportedly relied on influential media figures, including Prothom Alo Editor Matiur Rahman and The Daily Star Editor Mahfuz Anam, to craft this revised narrative. Journalist Nuruzzaman Lavlu, a close associate of Matiur Rahman, was reportedly tasked with producing investigative reports that bolstered this portrayal.
When efforts to engage Bangladeshi filmmakers fell through, with two directors declining lucrative offers, Simeen Rahman turned to Indian directors. Mediated by Matiur Rahman and Mahfuz Anam, three Indian filmmakers were approached. Ultimately, Hansal Mehta was chosen as the director, following a unanimous decision by a selection committee that included Anisul Hoque alongside the two editors.
Investigators identified three production entities associated with the film: T-Series, Benaras Media Works, and Mahanana Company. While T-Series and Benaras Media are established names in the Indian film industry, little is known about Mahanana Company, which appears to have been created solely for the Faraaz project. The company is reportedly a shell entity linked to Simeen Rahman and her son, Zaraif Ayaat Hossain. CID findings suggest this entity was instrumental in laundering the 73 crore taka used to finance the film.
Hansal Mehta, in his interview, disclosed that the movie’s production cost approximately 60 crore Indian rupees (equivalent to Tk73 crore), all provided by Simeen Rahman. While T-Series acquired the rights to the movie’s songs and Benaras Media handled distribution, neither organization contributed financially.
The movie has drawn criticism for its portrayal of the Holey Artisan attack. By depicting Faraaz as a heroic figure who stood up to the terrorists, it contradicts eyewitness accounts and intelligence reports that found no evidence of such actions. Critics argue that the film manipulates historical facts to serve the personal interests of its financiers.
During production, Simeen Rahman and her son reportedly made five trips to India, while Hansal Mehta and his team visited Bangladesh on four occasions. These visits included several events held at Simeen Rahman’s residence. Despite these activities, the production did not secure the necessary permissions from the Ministry of Information to film in Bangladesh. Such authorization is mandatory for joint productions under Bangladeshi law. Allegedly, the project proceeded with the backing of then-Information Minister Hasan Mahmud, who has faced accusations of corruption.
The CID’s investigation into the illegal transfer of Tk73 crore has expanded to include other alleged financial misconduct by Transcom Group and its leadership. In addition to the Faraaz project, the group is accused of collaborating with Prothom Alo and The Daily Star to establish the OTT platform Chorki. This venture reportedly involved unauthorized joint funding with Indian entities.
Preliminary findings suggest that the Faraaz movie and the Chorki platform were avenues for laundering substantial sums of money to various countries. Simeen Rahman and Zaraif Ayaat Hossain are believed to be key players in these operations, with further investigations expected to uncover additional details.
The case stresses the complex intersection of money, influence, and media in shaping public narratives. The unauthorized transfer of funds and the use of a shell company highlight the lengths to which powerful individuals may go to protect their interests. The CID’s findings, if substantiated, could have far-reaching implications for those involved, including Transcom Group, its leadership, and their media collaborators.
As investigations continue, the story of Faraaz serves as a stark reminder of how truth can be obscured by wealth and influence. The pursuit of justice will depend on the integrity of ongoing inquiries and the willingness of authorities to hold those responsible to account.
Bd-pratidin English/ Jisan
