Why Assamese Films Are Failing: The Biggest Flaw in Contemporary Filmmaking

 The problems of the Assamese film industry are neither new nor being discussed for the first time. For decades, the industry has been reeling under insufficient screening spaces, lack of audience interest, shortage of funds, government apathy, and inadequate marketing and publicity. However, today is the time to revisit this discussion, as circumstances have changed drastically in the last few years.

In recent years, Assamese cinema has seen a new wave of fresh voices and promising young filmmakers such as Mrinmoy Saikia, Mrinal Deka, Dhanjit Das and Chinmoy Sharma, just to name a few. Their works have collectively demonstrated massive creativity, energy and a clear desire to push the industry forward. However, a recurring flaw has started to surface increasingly in their works. It is a flaw that has become particularly evident when these filmmakers transition from small, focused projects to larger, more ambitious narratives.

Bigger Budgets Lead to Bigger Problems

There is a noticeable pattern. When working with limited budgets and tightly focused narratives, these filmmakers often deliver interesting and well-crafted films. The storytelling feels controlled, and the characters feel grounded and the emotional payoff is satisfying. Take the web-series Kolongpar (2021) or Xobdo Nixobdo Kolahol (2022) for example.

But when the scale expands and multiple characters, broader plot points and higher production values float in, the storytelling often crashes down from the air. This happens especially towards the climax of their movies. Films like Casetu Nagen (2025), Malamal Boyyyz (2025), Agnibaan (2026), and Bhakutkut (2026) all start with promise. They build interesting setups, introduce diverse characters and create expectations of a satisfying journey.

But as the films approach their conclusions, the narrative control of the maker weakens. As a result, the endings often feel rushed, disconnected or simply underwhelming. It leaves the audiences with a terrible feeling of a forceful conclusion as the pace suddenly comes to a halt due to the striking of the clock.

The Script Is Where Everything Begins—and Ends

The root of this issue lies in the script. Many a times there are multiple writers involved in the scripting or the screenwriter is simply readying a film for release within a year. Sometimes the writers and filmmakers do not watch sufficient films on the same subject that they are making a film on. If they do, they don’t carefully analyse what works and what doesn’t.

In Assam, writers like Abhijit Bhattacharya are often criticized for lifting stories, sequences or plot points from Hindi and South Indian films. However, it should be acknowledged that at least he watch these films, which helps him understand how to execute a story effectively. As a result, the emotional beats in his scripts—despite being inspired or adapted from other films—often land with considerable impact.

Therefore, a strong beginning is not enough. A film must resolve its arcs in a way that feels complete and satisfying (sometimes loss, grief and incompleteness can also feel satisfying but it depends on the story and its execution). The point I want to make is, loose ends should not be abandoned in between and they should be brought together in a way that makes maximum sense for the viewers.

This is important because it is a final feeling that the audiences will be taking back with them. So when they look back, they should feel those emotions, not boredom. After watching films like Agnibaan (2026), all I wanted was to forget it because it was so boring and bad.

The Problem of Unnecessary Characters

Another common issue is the inclusion of characters who serve little to no purpose in the story. For instance, the characters played by actors like Pranjal Saikia in Bhakutkut (2026) and Preety Kongana in Agnibaan (2026) - they exist simply because they have to. Sometimes such characters are also given more screen time and even back stories but all of these come out as meaningless because they contribute only minimally to the progression of the plot.

Every character in a film should have a function—whether it’s driving the story forward, deepening the theme or influencing the protagonist. If a character can be removed without affecting the narrative, they likely shouldn’t be there in the first place. Also, the filmmakers must be cautious about how they are positioning their female characters. They should ask the question if they exist only to fulfil the role of a love interest and do they have enough agency in relation to other male characters of the film?

The writers of Agnibaan (2026), to avoid this predicament, adjusted their female character (played by Preety Kongana) with a feminist voice and agency but she was there just slapping people around and delivering moral sermons about female empowerment. That is not how a character is made feminist friendly. It is called cringe.

Then comes the twists. The twists and turns in the script too, must be used very with carefully. Saving them for the right moment can elevate a story, but unnecessary complications in the name of parallel storytelling or non-linear storytelling can only dilute the narrative. That’s because tackling parallel and non-linear storytelling requires a strong command of screenplay writing—something many recent Assamese filmmakers seem to lack. A recent film that I watched, Rongatapu 1982 (2023) went haywire with its timelines. It is a brilliant example of a failure because it couldn’t clearly connect the actions to their outcomes and hence it had to do away with the actions and the outcomes as standalone events in the narrative.

The key to unlocking such structures and scripts lies in studying well-written screenplays from films that effectively employ these techniques. It is disheartening to see that many of our film writers have never read such screenplays. They simple get down writing after watching a couple of films. But hear me out, that gut feeling can only take a film so far.

The Case for Tighter Editing

Pacing is another area where many recent films struggle. There is a tendency to stretch scenes beyond necessity, leading to bloated runtimes. This was the case with Agnibaan (2026). A story that could have been effectively told in 90 minutes or 120 minutes is often extended to nearly three hours. Again, Malamal Boyyyz (2025) is a clear example, where multiple scenes could have been combined or trimmed without losing any important information or narrative value.

Filmmakers in Assam must learn to choose efficiency over indulgence. If there are two ways to convey an idea, the shorter and sharper one is almost always better. They should also know that the shorter their film, the more screenings it can have in cinema halls. For example, instead of a three-hour film, a one-and-a-half-hour film could be shown twice.

Comedy Needs Control, Not Chaos

The next issue is chaos. Assamese films like Casetu Nagen (2025) and Malamal Boyyyz (2025) end in complete chaos—and not in a good way. It’s a tomfoolery because comedy has evolved so much over the years and yet here we are laughing at actors making funny faces and getting slapped and kicked in the butt. Such comedy feels forced rather than funny. It’s especially frustrating because this style of comedy was already done effectively decades ago in early 2000s Hindi films like Hera Pheri and Hungama. Assamese filmmakers seem to be arriving very late to this formula, but without capturing the timing, structure or charm that made those earlier films work.

Also, in the pursuit of entertainment, especially comedy, some films tend to go overboard. Therefore, attempting to replicate the style of masters like Priyadarshan can be tempting, but it often leads to exaggerated, unfocused storytelling. What made the storytelling of filmmakers like Priyadarshan or Anees Bazmee successful is not just humor but their command over structure, timing and character dynamics—something that takes years of experience to master. Without that control, comedy can quickly turn into chaos.

The Importance of Originality

Another concern is the lack of originality in certain narratives. Some films end up recycling ideas or solutions that audiences have already seen before. For example, Malamal Boyyyz (2025) presents a resolution that closely resembles one used in Priyaar Priyo (2017) years ago. Even Agnibaan (2026) was accused of being similar to south Indian films of Lokesh Kanagaraj. Audiences today are more exposed than ever—they watch regional, national and international cinema. Repetition is easily noticed and it weakens the impact of a film.

Try to make interesting films – good or bad is a different issue. Try to explore different genres and don’t stick to the social comedy, social dramedy and romantic action-thriller plots. Make a horror film, make a detective film, experiment with low budget sci-fi. The options are without limits only the creativity shouldn’t bow down to the restrictions of budget.

The Importance of Reviews and Criticisms

Filmmakers should also actively read published reviews and criticisms of their films. These are easily available on platforms like Facebook, Instagram, Youtube, IMDb and even Reddit. Or sometimes, just typing the name of the film in Google is enough. When you ignore reviews, you are also rejecting to learn and teach yourself. Respect the critical voices and try to engage with it meaningfully. No one has free time to write about a bad film – if someone is doing, their intentions are genuine.

Moreover, do not rely on the review of premier shows. Those shouldn’t be taken too seriously. Many of these audiences are superficial, lack exposure to latest trends in films and most importantly, they never buy a ticket to watch an Assamese film from their own pocket. Such crowd gets invited to premiers, watch the film and click photos and flood social media with exaggerated comments and praise for the film. Such kind of feedback can be heavily misleading.

What truly matters is the honest responses by real audiences and critics. Pay attention to both the praises and criticism—not just of your own film, but of others as well. So, make it a point to read the review of any new Assamese film that comes out. Understanding why a film succeeds or fails is essential for growth and better storytelling.

Past Glory, Present Decline

While the discussion till now has only focused on new filmmakers, a similar issue has come to light in the case of some aged and established directors. Many of them have won national awards some decades ago—and I won’t bat an eyelid to say - at a time when competition was very limited. Today, some of these filmmakers are continuing to make films – and I repeat terrible ones. They seem to be relying on their past recognitions and fame rather than current merit to get their producers.

Since money comes easily to them, they continue to make films that feel outdated and lack in quality. It is very irritating to see these films and the filmmakers not able to change according to tastes of audiences and the storytelling and cinematic standards of today. This not only disappoints viewers but also leads to a waste of valuable resources.

Filmmakers such as Hiren Bora, Chandra Mudoi and Hem Chandra Borah are often cited in this context. Many critics and audiences feel that their recent work does not match the standards they once set. At some point, it becomes important to acknowledge when creative momentum has faded and mediocrity has stepped in. Therefore, rather than continuing to produce subpar films, it may be more constructive for such filmmakers to step aside, allowing space for newer voices and fresh perspectives in the industry.

Conclusion

So, to conclude, in 2026, Assamese cinema is found at an exciting crossroads. The talent is evident and the ambition is commendable but the ambition is not supported by strong storytelling fundamentals. This is where intervention is required. Without the absolute control over narrative, structure and pacing, even the most promising films risk falling apart by the end.

Therefore, today, the study of the challenges of Assamese cinema should go beyond the structural issues like the limited number of cinema halls, lack of producers, tight budgets and weak marketing or publicity. Those are real concerns, but they’re only part of the problem. Hence, now it’s equally important to examine the narratives and stylistic choices of the films themselves. We must look outside but also inwards because without strong storytelling, fresh ideas and more thoughtful execution, improvements in infrastructure alone won’t be enough to push the industry forward.

Therefore, for new and upcoming filmmakers, the lesson is clear. Perfect the script before moving to production, avoid unnecessary characters and keep the runtime crisp and engaging. Do not bore audiences and the most important of all, watch a wide range of films—good and bad—to understand what works and why it works. Focus on originality rather than imitation and ensure the ending is impactful. Success, especially early success, should not lead to overconfidence. It should encourage exploration, humility and growth.

The future of Assamese cinema will not be defined by bigger budgets—but by better stories and execution. Now, reading this article isn’t enough. It will fulfil its purpose only when it is shared in the WhatsApp groups and Facebook and Instagram. Start conversations around it, because real change begins when more people engage with these ideas.

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