Northeast India is currently experiencing a surge in cinematic activity, marked by increasing recognition at national and international film festivals. This rise is attributed to various factors, including the Ministry of Information & Broadcasting's active promotion of film culture in the region through funding, exposure to film festivals, and skill development programs. Films from various regional languages like Assamese, Manipuri, Bodo, Khasi and Garo are gaining traction. However, the question remains: Is the rest of India truly seeing and understanding this cinematic emergence, or is it still missing the story?
The Northeast's film industry isn't new; Assam's first film, Joymoti, was made in 1935. However, the industry remained small and underrepresented for a long time. Films primarily in Assamese and Manipuri received limited recognition. This is changing, with films from other regional languages gaining attention. Movies like Aai Bora's Bodo film Semkhor, Dominic Sangma's Garo-language film Ma.Ama, and Pradip Kurbah's Khasi film Lewduh are showcasing the region's linguistic and cultural diversity.
Several films from the Northeast have garnered national and international accolades in recent years. In 2023, films like Nagaland's Ade (On A Sunday) and Arunachal Pradesh's The Redemption won awards. The Redemption, a Galo film, secured 12 top honors across national and international circuits. Assamese filmmaker Jahnu Barua noted that the Northeast is a reservoir of talent with a rich socio-cultural fabric and abundance of untold stories.
Despite these achievements, challenges persist. Filmmakers in the Northeast face hurdles such as inadequate production infrastructure, language barriers, limited market access, and a lack of institutional support. Jatin Bora, a celebrated actor from Assam, emphasized the limited reach of Northeastern films beyond regional boundaries and the need for digital distribution and OTT platforms to better market these films.
One of the key issues is the misrepresentation and stereotyping of Northeastern people in mainstream Indian cinema. Historically marginalized, the region has often been portrayed through an "exotic" or "mystical" lens, or reduced to its conflicts. This has led to a disconnect between how the Northeast sees itself and how it is perceived by the rest of India.
There have been attempts to bridge this gap. Anubhav Sinha's film Anek (2022), starring Ayushmann Khurrana, addressed insurgency in the Northeast. While the film received mixed reviews, some critics noted its attempt to draw parallels between the Northeast and other regions and its refusal to condemn guerrilla fighters as terrorists. However, some argue that such films still miss the mark, either by misrepresenting the ground reality or by not fully understanding the region's complexities.
The rise of OTT platforms has provided some visibility to Northeastern cinema, with films like Axone, Bulbul Can Sing, and Village Rockstars reaching wider audiences. However, even within the Northeast, there's a pecking order, with Assamese language content dominating these platforms while films from Mizoram, Manipur, Sikkim, Nagaland, and Arunachal Pradesh remain largely absent.
To ensure the Northeast's cinematic moment translates into lasting change, several steps are crucial. Increased investment in production and infrastructure is needed to create high-quality films that can attract wider audiences. More platforms are needed to amplify North-East storytellers. Film education needs to be strengthened, and the region's cinematic history needs to be integrated into mainstream curricula. Furthermore, there needs to be conscious effort to include local languages, indigenous narratives, and regional voices in mainstream Indian cinema. Ultimately, bridging the gap requires a shift in perspective, where the Northeast is not seen as an "alien region" but as an integral part of India with its own unique stories and perspectives to offer.
