Nasir Khandaker (NID name: Khandaker Nasir Uddin) is a Bangladeshi film director, scriptwriter, producer, and theatre instructor whose creative practice bridges cinema, performance, and artistic research. His work is rooted in socio-political realism and experimental form, exploring psychological crisis, addiction, class, environmental anxiety, and human absence through image-led storytelling, rhythm, and silence.

Nasir’s cinematic language draws strongly from poetic realism and slow cinema traditions, privileging duration, bodily presence, and emotional suffocation over dialogue-driven exposition. His films seek to create experiential spaces where viewers inhabit states of waiting, moral tension, and vulnerability—an approach shaped by his long engagement with theatre, ritual performance, and embodied storytelling.

His most recognized directorial work, The Haze (16 min), which he directed, wrote, and edited, is an experimental black-and-white short film examining addiction and societal neglect. Shot entirely on a mobile device, the film relies on visual narrative and sound rather than dialogue, and has received official selections at Amader International Short Film Festival, Kolkata and the 6th India International Star Film Awards, among others.

Alongside directing, Nasir has worked across independent, institutional, and commercial productions. He served as Producer, Screenwriter, Creative Director, and Editor on Half To Infinity (2025), an experimental short film directed by Sajjadul Shuvo and produced under Kavyik School of Arts. Created with limited resources as Kavyik’s first official production, the film has already gained international festival recognition, marking the beginning of the institution’s production journey. His professional credits also include Post-Production Supervisor on Room Number 2011 (screened in California, USA), Art Director and Actor on festival-circulated films such as Checkmate and Antoray, and Assistant Director on the commercial feature Antorborti, produced by Chitrol Production. He has further contributed to government and broadcast projects for the Department of Environment (Government of Bangladesh), the Bangladesh Water Development Board, and television productions aired on Maasranga Television.

Parallel to his film practice, Nasir maintains a strong foundation in theatre, which continues to inform his cinematic vision. He has directed and adapted significant stage productions including The Epic of Gilgamesh (2025), the first stage adaptation of the ancient epic presented in Bangladesh; Charyapada (2025), which he directed and composed, reimagining early Bengali mystical verse through chorus and performative rhythm; Meghnadbodh Kabya (2023), staged through symbolic choreography as a master’s production at Jahangirnagar University; The Count of Monte Cristo (2023), adapted and co-directed as an exploration of confinement and liberation; and Jummobi (2022), foregrounding indigenous Chakma narratives and land-based identity. As a playwright and performer, his works include Shiri Farhad, Durgatinashini (staged in Denmark), Where Myth Sleeps, Kalikach, and Monosha Mongol Vashan Pala. These theatrical engagements have shaped his sensitivity to rhythm, collective memory, ritual, and embodied performance—elements that now define his filmmaking language.

Beyond individual projects, Nasir is committed to long-term cultural institution-building. He is the founder of Kavyik School of Arts, an independent initiative that has already begun its journey with limited resources, positioning culture as both education and economy. In the medium term, he aims to strengthen Kavyik as a sustainable arts institution, and in the long term, to expand it into a national network of cultural education centers connecting rural creative talent with national and international platforms. Through this exchange of knowledge and practice, he seeks to contribute to a sustainable cultural renaissance that strengthens Bangladesh’s emerging film and performing arts ecosystem while generating inclusive economic opportunities.

Through film, theatre, and cultural education, Nasir Khandaker positions art as a form of ethical inquiry—bridging rural and global narratives, personal vulnerability and collective history, and creative practice with long-term social transformation.