In a significant move to revitalise Assamese cinema, Chief Minister Himanta Biswa Sarma inaugurated a government-run cinema hall named ‘Aideu’ during Magh Bihu in 2023. This initiative, aimed at strengthening the Assamese film industry, was widely seen as a step towards providing much-needed institutional support and visibility to regional filmmakers, thereby offering a renewed boost to Assamese cinema’s growth and cultural prominence.

The hall, located within the Jonaki Complex in the Panjabari area of Guwahati, has been developed by the Assam State Film (Finance and Development) Corporation.

At the time of the inauguration, artists, technicians, and cinema enthusiasts believed this new facility would alleviate several long-standing issues confronting the Assamese film industry.

For years, privately owned theatres in Assam—mostly operated by non-local and non-Assamese businesses—have exhibited a clear reluctance to screen Assamese films.

In fact, several of these theatres have reportedly pulled successful Assamese films to replace them with Hindi releases, prioritising commercial gain over cultural representation. This has led to protests from various quarters, calling out such discriminatory practices.

Given this context, the inauguration of Aideu Cinema Hall brought renewed hope to all stakeholders of Assamese cinema. The state-run facility was expected to support local films and serve as a platform for artistic and cultural expression.

A Resurgence In Assamese Cinema

In recent years, the Assamese film industry has witnessed a remarkable revival. Several critically acclaimed and commercially successful films—such as Aamis, Bornodi Bhotiai, Bidurbhai, Bhaimon Da, and Malamaal Boyz—have garnered widespread appreciation. These films introduced original storylines, experimental narratives, innovative technical elements, and fresh acting styles, winning the hearts of audiences across the region.

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On the other hand, mass entertainers like Mission China, Kanchanjangha, Ratnakar, and Raghupati have also achieved significant box office success, further proving the commercial viability of Assamese cinema.

Encouraged by this resurgence and the audience’s renewed interest in regional films, many producers and directors have begun investing in Assamese cinema with renewed vigour.

The Case Of Collage: A Missed Opportunity?

One such recent release is Collage, a film based on the Naxalite movement in Assam and its impact on state politics, directed by Amar Deep Gogoi and produced by Sumitra Hazarika.

The story of the film tells us about a chapter from history that has often been skipped in our school textbooks. Despite being a fictional take on a real incident, the film had a strong potential to connect with Assamese audiences; however, it was unfairly sidelined by several theatres—including the government-funded Aideu Cinema Hall.

Surprisingly, Collage was allotted a 1:30 PM time slot at Aideu Cinema Hall—a time that is inconvenient for students and working professionals on non-holidays.

Meanwhile, the nonsensical Bollywood film Son of Sardaar 2 was given a more favourable primetime slot.

It is common knowledge that students, youth, and office-goers are generally free to visit cinemas only in the evening. Yet, this basic audience behaviour seems to have been disregarded by the authorities managing Aideu Cinema Hall and the Assam State Film (Finance and Development) Corporation.

To make matters worse, citing poor attendance, it has been decided to withdraw the movie from theatres, and Thursday, August 7, was the last day of its screening.

Contradictions And Concerns

While inaugurating the cinema hall last year, Chief Minister Himanta Biswa Sarma had remarked, "Constructed at a cost of over Rs 5.55 crore, this 240-seater cinema hall will not only boost the golden journey of Assamese cinema but also attract audiences through the screening of high-quality films.”

This raises a pertinent question — can the Assam State Film (Finance and Development) Corporation and the management of Aideu Cinema Hall genuinely claim to support Assamese cinema when they fail to promote and prioritise serious, locally made films—while favouring commercial Bollywood releases instead?

Policy vs. Reality

It is important to note that Assam has an Assamese Film Policy in place, which mandates that local films be given priority in the state's cinema halls.

However, citing the popularity of Son of Sardaar 2, many theatres have removed Collage from their listings—openly flouting this policy.

What is more concerning is the Corporation’s passive stance on the matter. Rather than ensuring that the policy is properly enforced, the Assam State Film (Finance and Development) Corporation appears to be indifferent, raising serious doubts about its commitment to the growth of Assamese cinema.

This paradox between policy and practice reflects a deeper malaise within the state's approach to preserving and promoting its cinematic heritage—one that must be addressed if Assamese cinema is to truly thrive.

(This article was originally written in Assamese by Kukil Saikia for Northeast Now – Assamese. To read the original article, click here.)

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