It is not the first time that a number of movies coming from the heart of the North East have been honoured with several popular national awards, The Best Regional Film, President’s Silver Award and many international awards to name a few. The works of this talented brigade of north eastern filmmakers: Jahnu Baruah; Aribam SyamSarma; Manju Borah; Sanjeeb Sabhapandit; Haobam Paban Kumar are acclaimed both at the national as well as the international domain. However, cinema in the North East has remained mostly at the borders of mainstream Indian cinema— despite completing 78 glorious years. ‘Joymoti’ was the first Assamese film which was a story of a dynamic Ahom princess produced by Rupkonwar Jyotiprasad Agarwala in 1935. The film transcended excellence to give the world a glimpse of movie-making from North East India. Agarwala, a distinguished playwright, writer, poet, composer and freedom fighter had a big hand in making north - eastern cinema what it is now.

A land rich in its diversity of ethnicity and culture, the North East produces many films in different regional languages and dialects- Karbi, Mishing, Bodo, Garo, Rabha, Monpa, Kokborok, Sadri etc annually. Many commercial, art and documentary films have also been produced. However, it is imperative here to mention that the movies from these north - eastern states are yet to gain a foothold at the national front. Due to want of revenue, these films are mostly low budget affairs, which in turn results in lack of standard picture quality and sound technology, inefficient marketing followed by lesser number of screenings. The movies are released through ‘mobile’ cinema format and shown in community halls through LCD projectors to small groups. Since the turnouts of these films are discouraging— some of the movies are released in DVD/CD versions. Adding to this, there are a few outfits upholding stringent extremist views with insurgency, underdevelopment, social unrest and security issues arising as a regular threat to its progress.

Rohit Vats, film commentator, CNN-IBN said, “The culture of cinema watching has been disturbed due to several socio-political reasons, insurgency is one of them. So, there is no reference to look up to, which in turn obstructs the path of localised filmmaking.”

Coming to its diversities, the region takes pride in its breathtaking landscapes. The seven states (Assam, Meghalaya, Nagaland, Manipur, Arunachal Pradesh, Mizoram and Tripura) have distinctive cultures, languages, dress codes and lifestyles. The North East is also distinguished for its geopolitical intricacies. The slackness of the governments of the states is somewhat responsible for the mediocre performances of regional cinemas. Sometimes the filmmakers have to take the onus of producing the film at their own expense.

Saibal Chatterjee, an independent film critic said, “The late Bhabendra Nath Saikia, a well-known writer and filmmaker, was a respectable name in the circuit of Assamese cinema between the 1980s and the 1990s. Jahnu Barua has continued the good work. But even he has been compelled to operate out of Mumbai. His last film ‘Baandhon’ was produced by the Assam State Film Development Corporation. It is important for the state machineries to provide support to quality filmmakers. Unfortunately, such support has been sporadic, as a result of which a filmmaker as good as Barua has to look for work elsewhere.”

Most states in India have their own film schools. With the state falling short in providing proper infrastructure, the talented seekers from the North East who desire to make it big in the film industry are forced to travel to bigger cities in search of better opportunities. Emphasizing on this issue, Professor Diwaker Balakrishnan, Department of Film, AJK Mass Communication Research Centre, Jamia Milia Islamia said, “Although there are several qualified people who have learnt cinema as a subject by coming to places like Delhi, Pune, Kolkata etc, they do not go back to work in Assam as there is no developed film industry over there.”

The medium of cinema would enable the North East to draw itself closer to the world. Also, the progress of cinema in these regions will present employment opportunities and also build a platform for the rise of local talent.  It would also help in changing the perception of the people towards the North East. The people will come to know about the rich cultures, traditions and various ethnic groups of the North East, their life-style, and most importantly the issues of concern which are yet to be addressed to the outside world.

Again, as compared to regional cinemas, the youth prefer Western and conventional Indian film. “When compared to films from the other regions of India there is hardly any competition from Assam which in itself is not a very positive indication,” said Professor Diwaker. “It is high time that the State Government comes up with a policy to give some incentives to the producers who shoot at least 75 percent of their films in Assam which will give employment to the local people and also sustain the film culture.”

Talking about the achievements of the region— yesteryears’ personalities like Bhupen Hazarika, Salil Chowdhury, S.D. Burman, Seema Biswas and Danny Denzongpa have made a huge contribution at various national levels. Unknown to most people, Manipur is the first state in India to have a fully digital film industry. Also, in January this year, Shillong organized its first ever Film Festival. Many cinema complexes have been mushrooming in the region but are predominantly confined to Guwahati city.

Chatterjee further stated, “Assam and Manipur have small local markets, which makes it rather difficult for big films to be viable. Hence, many filmmakers in Assam have turned to television, which keeps them busy. Filmmakers in both states need the government’s support to keep making films otherwise they are forced to work in the domain of digital and video films, which are quite popular in Manipur in particular. But these films are generally of very poor quality. They need to break the cocoon in order to be competitive nationally.”

Besides the state government’s reluctant attitude — these promising filmmakers are yet to explore the region. With only Kalpana Lajmi’s film ‘Daman’ shot in Assam, no other filmmakers have initiated anything to feature the real North East.
Films from the North East also lack proper branding. Development of the local industry will not only promote the cinema here, but will also boost the tourism industry. Suggesting a holistic idea for the progress of cinema, Diwaker said, “If Shillong is developed as a centre for films from the North East and has its own Film Development Corporation, even filmmakers from the adjoining places will try to cover this and make use of the facilities available. Highlighting the beauty of the North East through cinema, Diwakar added, “Even wild life filmmakers ought to be invited to make films on the flora and fauna of the North East.”

There is a lot of potential in the North East. Along with the state, it is incumbent for the filmmakers to revive the quality and standards of local cinemas — if they desire to take regional cinema to the next level. Giving a new vision for the development of these cinemas, Chatterjee suggested, “Filmmakers in the North East have to acquire a global vision and try and make films that can travel beyond the boundaries of the region. They have to think of themes and styles that will appeal across the country and the world. A new explosion of creativity is what north - eastern cinema needs today.”

The state possesses vibrant young documentary filmmakers who have won accolades at various film festivals. Although there are various topics on which a documentary film can be made — the North East has to travel a long way in terms of Documentary Film projects, especially in terms of funds. Many documentaries have been made that brought to the limelight the effects of climatic change in the North East, the impacts of AFSPA and social life.

Violet Barman, an independent documentary filmmaker who is well - known for her documentary ‘Travelling with Words’ on Jnanpith winning author Indira Goswami said “No doubt every cinema that is produced has to undergo tons of hard work by a team of experts. And that hard work is counted to be successful only when those cinemas get appreciated by their audience. But it’s a hard core reality that unfortunately regional cinema doesn’t have an audience.”

Chatterjee is very positive and hopeful about the future of North East cinema. He said, “The future of cinema in Assam and Manipur is bright provided the younger lot of filmmakers in these two states make a wholesome effort to join the national/global mainstream while focusing on stories that spring from the soil of the region. All great cinemas are culture - specific in terms of subject - matter and are universal in their appeal. That is the balance that filmmakers in the North East should strive for. Filmmakers like Haobam Paban Kumar and Bidyut Chakraborty have the potential to achieve global breakthroughs.”

Cinema is an art which gives a platform to see beyond the lenses. The vibrancy and innocence of these mesmerizing lands of India must be freed from the debacles that stand between its triumph and must be showcased throughout the world through the medium of cinema. All it asks for is an honest hand that will lead it to its goal, tickling many unheard tunes and exploring many unexplored corners — thus confronting the world with impudence in the realm of cinema.

Ankita Das