Guwahati: A discussion on ‘Youth and Cinema: The Changing Face of Storytelling’ took place on February 9, 2025, at Jyoti Chitraban in Guwahati, on the occasion of the 1st Guwahati Asian Film Festival (GAFF). The discussion was moderated by poet and film critic, Aparajita Pujari, with a panel of young filmmakers. The panelists included writer-director Maharshi Tuhin Kashyap, writer-director Krishna Kanta Borah, cinematographer and director Kulanandini Mahanta, and cinematographer and director Aniruddha Barua.
During the discussion, filmmaker Kulanandini Mahanta shared the idea behind arriving at the name of the National Award-winning film, Emuthi Puthi (2022). She explained that the concept of Emuthi Puthi was developed by writer and filmmaker Bhaskar Hazarika, and they were brainstorming for a catchy and memorable title that would also reflect the essence of the film’s plot. The process involved considering names like Dhon Pukhuri and Xunor Pukhuri, but eventually, they agreed on Emuthi Puthi, which turned out to be the perfect fit for the film.
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When asked about production house Metanormal’s focus on films related to food, she explained that it’s actually about exploring human conditions, with food being a central aspect. “Food is also about culture, and as human beings, our lives revolve around food—we work for our stomachs, and everything we do ultimately ties back to food,” she said.
The conversation then moved to the impact of folk tales on the panelists. Kulanandini Mahanta shared her connection to folk tales, emphasizing that stories were an integral part of her childhood. “Through these tales, I learned about the historical significance of the places I come from,” she said.
Filmmaker Maharshi Tuhin Kashyap mentioned that his connection to folk tales or storytelling comes more from people and the dramas he participated in as a child rather than from reading books. He admitted that he isn’t an avid reader, a habit he criticizes in himself, and is working on rekindling his interest in books. However, he explained that he finds people to be his primary source of inspiration for stories. “I enjoy playing with fantasy ideas and telling absurd tales through my films,” he said.
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Filmmaker and cinematographer Aniruddha Barua discussed his inspiration drawn from Dr. Bhabendranath Saikia’s stories, particularly those highlighting themes of poverty, scarcity, and life’s insufficiency. He also shared details about his new feature-length film, Not Out, which he publicly announced for the first time. Barua reflected on the challenges he faced while making his short film, Ratnadaah, during the COVID-19 pandemic. Based on a story by Dr. Saikia, he felt that the film didn’t receive enough opportunities to be showcased to the audience. “I want to remake the film in a different way now, to give it the exposure it deserves,” he said.
Steering the discussion towards the challenges young filmmakers face in Assam, moderator Aparajita Pujari then directed the question to filmmaker Krishna Kanta Borah. Borah explained that one of the major challenges for filmmakers in Assam is the issue of marketing and publicity, which prevents them from reaching audiences. He acknowledged the immense effort and passion required to create films but pointed out the struggle filmmakers face when it comes to releasing their work.
“Today, there are sales agents, distribution channels, film markets at festivals, and various public funds available, but young filmmakers need to understand these opportunities,” he said. Borah also stressed the importance of establishing expert teams in Assam to handle the marketing and distribution of films. “There is a niche audience at festivals, but in general, we lack the expertise needed for proper distribution here,” he added.
Filmmaker Maharshi Tuhin Kashyap then mentioned that Krishna Kanta Borah had earlier been selected for the 2024 International Film Business Academy – Producing Track Program at the Busan Asian Film School, which highlights his deep knowledge in the field. “His experience can definitely guide new and emerging filmmakers,” he added.
When asked how the new and young filmmakers see the world, the responses were very diverse.
Kashyap said that his perspective of the world is already expressed through his films. “In my work, I aim to shed light on our existence, the challenges we face, and the changes we go through. I also explore abstract concepts, like questioning the existence of the self. And, my films also aim to reflect the socio-political realities that shape our lives,” he added.
Krishna Kanta Borah said, “When making films or telling a story, we should focus on two things: why this story should be told, and why I am the best person to tell it. The answer that connects both questions is the key to successful storytelling in filmmaking.”
The discussions also touched upon how cinematographers can bring a different perspective to storytelling, with valuable insights from cinematographers Kulanandini Mahanta and Aniruddha Barua.
Kulanandini Mahanta also discussed how new technological advancements and changing audience expectations are shaping cinema. She highlighted the role of AI in filmmaking, questioning whether it could make the process faster. However, she emphasized that it is crucial to tap into the emotions within individuals. While technology has undeniably advanced, she feels that fundamental human communication between people is lacking today.
Kashyap then discussed the current state of filmmaking, stating that the film industry in Assam is not fully developed yet, but rather, only a setup exists within which people are working. He remains hopeful that changes will come in the future. According to him, the opportunities available within the system and the work being done by young filmmakers are very promising. However, he pointed out that issues arise when senior filmmakers fail to inspire the younger generation. “We are not their threat or competition,” he said. “They have already reached their position, so they should offer to help new filmmakers rather than feeling insecure.”
Moderator Aparajita Pujari countered by arguing that the Assamese film industry can indeed be considered an industry, regardless of its size. She believes that technological advancements have taken place and are designed to help overcome many challenges. “The industry is constantly evolving,” she stated, highlighting how audience tastes have developed and commercial success is also now a reality. Pujari is confident that the Assamese film industry will continue to grow and thrive.
Krishna Kanta Borah expressed, “The passion is there, and challenges exist in every kind of work. Ours is that we have fewer audiences and limited screening spaces.” He mentioned how his own feature film, Boroxun: Songs for Rain, was publicly screened in 2022 using experimental on-demand screening strategies.
Kulanandini Mahanta emphasized the need for cinema education today, pointing out that this applies not only to filmmakers but also to audiences and investors. She remarked that many Assamese films being released are of very poor quality, often appearing as if they were made to convert black money into white. According to her, the quality of a film may not be easily apparent at the scripting stage but becomes evident later. She also stressed the importance of investors and producers being vigilant about the background of filmmakers before investing in any project.
Maharshi Tuhin Kashyap highlighted another significant challenge—discrimination. He pointed out the lack of professionalism in Assam’s film industry, emphasizing that professionalism cannot simply be measured by money. He shared an experience where he had booked specific camera equipment well in advance for his new film, only to be denied access later because it was given to the production of Zubeen Garg’s new film instead.
He questioned, “Why is Zubeen Garg considered a bigger filmmaker and my film smaller?” He also narrated other instances where the lack of professionalism has led to the loss of several working hours on the sets of his film.
Moderator Aparajita Pujari then concluded the discussion by urging solidarity among all members of the industry, emphasizing the importance of coming together to overcome challenges and promote the collective growth of cinema in the region.