Veteran actor Nasima Khan, a familiar face in Bengali and Urdu cinema during the 1960s, died at a private hospital in Uttara, Dhaka, on Sunday, October 11, aged 82, while still awaiting news of her younger son, who went missing in February this year.

Nasima died at around 7.30pm while undergoing treatment, Nurjahan Begum, who had been looking after the actor, confirmed to Prothom Alo. Sony Rahman, organising secretary of the Bangladesh Film Artistes’ Association, also confirmed her death.

According to Nurjahan Begum, Nasima had been experiencing physical and mental health problems for some time. Her condition deteriorated seven days before her death, leading to her admission to the hospital.

The actor had reportedly been deeply distressed since her younger son, Nabil Nasir Rahman Kushal, went missing in February. She had repeatedly appealed through the media for information about his whereabouts. In an interview published by Channel i Online on February 17, she spoke about her desperate wish to find him.

Her elder son, Shabab Nasim Rahman, lives in the United States. Nasima had been living in the Niribili Swapnabilash area of Pathalia Union in Ashulia, on the outskirts of Dhaka.

Born on August 6, 1944, in Lalbagh, Old Dhaka, Nasima was the daughter of businessman Mohammad Masud Khan. Her ancestral home was in Rarikhal village in Srinagar upazila, Munshiganj.

Raised in a family familiar with cultural activities, she developed an interest in the arts at an early age. She attended Kamrunnessa School and received dance training.

Her entry into cinema was connected to actor and filmmaker Khan Ataur Rahman, who lived near her family’s home in Lalbagh and maintained close ties with them. Although her family initially hesitated when she received an opportunity to act in films, they eventually agreed on the condition that she would continue her studies.

Nasima made her screen debut in a small role in AJ Kardar’s Urdu film Jago Hua Savera, released in 1959. Based on Manik Bandopadhyay’s novel Padma Nadir Majhi, the film had poet Faiz Ahmed Faiz associated with its screenplay and featured actors including Tripti Mitra and Khan Ataur Rahman. It won a gold medal at the 1959 Moscow International Film Festival.

She subsequently appeared in Baby Islam’s Urdu film Tanha, alongside Shamim Ara, Sumita Devi and Shabnam.

Her popularity grew following her performance in Salahuddin’s 1961 film Je Nodi Moru Pothe. Her role in Surjasnan further established her as a leading actress.

Throughout the 1960s, Nasima worked regularly in Bengali and Urdu films. Her notable credits included Dharapat, Kar Bou, Ujala, Begana, Apon Dulal, Uljhan, Main Bhi Insan Hoon, Dui Bhai, Gouri, Amar Bou and Dheuer Pore Dheu.

She shared the screen with prominent actors including Anwar Hossain, Hasan Imam, Rahman, Golam Mustafa and Azim.

Nasima also worked in Lahore’s film industry in what was then West Pakistan. According to the Pakistan Film Magazine database, her films there included Nayi Laila Naya Majnu (1969), Geet Kahin Sangeet Kahin (1969), Aansoo Ban Gaye Moti (1970) and Road to Swat (1971). She was also involved in producing Geet Kahin Sangeet Kahin.

Following Bangladesh’s independence, Nasima gradually stepped away from cinema. She later returned through television presenting and went on to appear in films and television dramas, although her acting work became increasingly infrequent in her later years.

Her later film credits included Matritwa, Kusum Kusum Prem and Matir Pinjira. According to the Bangla Movie Database, she appeared in Matir Pinjira in 2013.

In an autobiographical account published in the Eid edition of the weekly Bichitra in 1990, Nasima reflected on her experiences in the film industry. The account, transcribed by film critic Mahmuda Chowdhury, was republished by the Bangla Movie Database in 2025.

She recalled working with Anwar Hossain during the shooting of Surjasnan, sustaining an injury after falling down a staircase while filming Kar Bou, and the demanding shooting schedule of Zahir Raihan’s Dui Bhai.

Her recollections also captured the collaborative atmosphere of the film industry during the 1960s and the dedication of the artistes working at the time, when formal acting training was limited and performers often learnt their craft directly from experienced actors and directors.