Like Ko: Yad, Arunachal Pradesh’s first filmmaker Sange Dorjee Thondok’s debut feature, Crossing Bridges, also zooms in on a local dialect and a remote tribe, the Sherdukpen. The first person from his state to pass out of film school, Thondok decided to make his first film in his own dialect in his own village of Shergaon. However, unlike the trajectory depicted in Borah’s film, Thondok focuses on a man’s journey back to the fold. The film’s protagonist, Tashi, is a Mumbai-based web designer who returns to his village after losing his job in the recession. While waiting to hear from a new job, he slowly begins to reconnect with his lost identity and culture, something he had once derided. Last heard, its theme mix of the local and the global has helped the film find a French sales agent.
Kenny Basumatary in his film Local Kung Fu
Meanwhile, just a few months ago, Kenny Basumatary opened up an entirely different window to the Northeast with his first film, Local Kung Fu, a comic, hyper-energetic action flick on the street fights and gang wars of Guwahati (released by PVR Rare). Ironically, there’s little in the film that reminds you of an Aribam Shyam Sarma or a Jahnu Barua. It’s more in the zone of a Jackie Chan or an Isaac Florentine. But it takes all kinds.... For his next film, Basumatary is willing to take up any subject but it all depends on “who pays and how much”, he says.
Then there is the understated terror of Bidyut Kotaky’s As The River Flows, set in Majuli. “We know the points of view of both the terrorist and the state. I am interested in the person stuck in the middle of the crossfire about whom no one bothers,” says Kotaky. He feels these narratives are missing now in the new Northeast films. (Incidentally, his next film is about an insurgent brought back into the mainstream via football.)
Stills from As The River Flows
The stories and themes of these new-age Northeast films, though diverse and contemporary, are all rooted in the region’s concerns. “These are our stories, told with a human touch and an international feel,” says Rasaily. But the irony is that there are no great spaces in the Northeast to run them. Many halls in the region were shut after militant groups, especially in Manipur, put a ban on Hindi films and, in turn, halls became unviable business. Assam itself had 160 theatres once, of which only 40-odd are active now; Meghalaya and Mizoram have just a couple.
No wonder, quite often, Sikkimese films made in Nepali find a bigger audience out in Nepal and in Darjeeling than at home. Rasaily’s Kathaa got a couple of screenings in Australia and New Zealand and ran for three weeks in Nepal. “The only way out for filmmakers is to look for screenings at film festivals and scout for foreign sales agents, or the national awards and screenings on DD,” says Kotaky. According to Hussain, the government must partner with private distribution houses. “There’s an amazing enthusiasm among the public for mobile theatre. The 10 major ones are booked every evening for seven months a year,” says Hussain. “Why wouldn’t the audience queue up for films as well?”
The advent of digital filmmaking has opened a few windows. Now even veteran filmmakers are shifting to it. More public endorsement of a vital cinema is the need of the hour. “We need to professionalise ourselves too,” says Kotaky. “If Bengali films can be seen with subtitles in Assam, why not the other way around?” Touche.
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