Manju Borah is one of the most creatively successful filmmakers from Assam, making films for over 25 years. Her films have bagged awards not only at the National Awards but also at several international film festivals.

Her seventh film, Ko-Yad (Whirlpool), was screened at the 19th Kolkata Film Festival, the MAMI Film Festival, the Leh International Film Festival, and IFFI, Goa. Ko-Yad won two National Awards that year — for Best Cinematography and for Best Film in the Mising language.

She was bestowed the Women of Excellence Award by FICCI for her outstanding contribution to Film & Entrepreneurship in 2009 and the Satyajit Ray Memorial Award by the Asian Film Foundation in 2012.

She is also credited with making Sarbagunakar Srimanta Sankardeva, the first animated feature film in the history of cinema in the North East, which became a major commercial success in Assam.

Excerpts from the interview:

This is not your first visit to KIFF. How do you think this festival has evolved over the years?

“Yes, I have been associated with KIFF since 1999/2000 with my first film Baibhab (A Scam in Verse). This film was declared the Asian Best at the 6th Dhaka International Film Festival. Later, it was screened at KIFF and was quite well received by critics and the Kolkata audience. After Baibhab, six of my later films were selected by KIFF and screened within a span of 12–13 years at the festival.

Each time I go to KIFF, I create close and warm relationships with the festival circle, including some of the finest filmmakers, film critics, film activists, media, and of course, the audience. I always appreciate the design of KIFF and the selection of films from across the world, which gives a very different colour to the atmosphere, making it an international film festival in the true sense.

It is, in my view, not just a film festival but a very strong platform where film culture, in the true sense, has developed and created a serious, sensitive audience, including inspiration for the new generation of filmmakers to make films with a difference. The festival generates so much creative energy that every time I visit KIFF, I come back with such positive energy that I don’t have enough words to express it!”

 

You were a part of the jury at this year’s festival. How did you like the films?

“It was indeed an honour to be a part of KIFF as the chairperson of the jury of the Bengali Panorama. Our team was very experienced, and it was a delightful experience to discuss the films with senior film critic Manu Chakravarty and globally established filmmaker Dr Biju Damodaran.

We saw only seven films, though we expected more. After declaring the awards, it is difficult to discuss the films that did not win any awards. But the effort came through. I can say that the efforts of the makers of those films were very sincere. The themes were well chosen and relevant to the present times.

We could feel budget constraints in some films, due to which independent filmmakers had to compromise in certain areas of production, weakening the films. Still, I feel that, forgetting technical finesse, the cinematic language must be carefully maintained so viewers feel they are watching a film, not a stage drama through the lens of a camera.”

How do you see the evolution of Bengali cinema?

“Since Pather Panchali till today, it’s been quite a journey for Bengali films. I regularly watch Bengali cinema. Digital technology and OTT platforms are a blessing, allowing us to watch films of our choice. In fact, I am revisiting my memories of Bengali cinema — known for mastering storytelling and capturing human emotions and social issues — through these platforms.

However, it is tough for Bengali filmmakers to come out of the influence of films from the 1950s to the 1970s. Creating a new style and storytelling pattern while maintaining strong craft is challenging. Yet, we notice that some Bengali films are no longer overshadowed by maestro filmmakers like Satyajit Ray or influenced by Rabindranath Tagore. They are independent. They are world films. Bengali cinema has evolved.”

 

Can AI threaten the existence of cinema, or can it support it?

“Cinema is a technical art form. It has evolved from the silent era to digital with fascinating technical and creative changes. AI is now at the doorstep, lifting cinema to a new plane. AI-generated VFX-rich cinema can compete with global standards and opens immense opportunities for film production.

However, creative authenticity still faces fears — lack of human emotion in AI-generated scripts, imbalance between technology and human artistry, job displacement of technicians like editors and production designers, and ethical risks such as misuse and identity fraud. But since every invention is part of evolution, we must accept AI in filmmaking as well.”

 

How do you describe the evolution of cinema in the North East?

“The first Assamese film Joymati was made in 1935 by Jyotiprasad Agarwala without any infrastructure. Alam Ara, India’s first talkie, was made in 1931. Jyotiprasad was the first in Indian film history to base a film on a historical character.

Since 1935, more than 400 films have been made in Assam, but a true film industry never developed. Recently, films from the North East have gained attention at festivals. Meghalaya, Manipur, and Arunachal Pradesh are producing meaningful films, though commercial growth is limited.

There are hardly any theatres in Arunachal Pradesh. Language diversity is another challenge. Meghalaya’s government-supported OTT platform may help future growth. Assam and Manipur are the only two states producing films in larger numbers, and some Assamese films have recently broken box-office records, even surpassing Hindi films.

North East India is a colourful region with diverse cultures, heritage, and identities. Filmmakers can create powerful, humane stories reflecting this land and its people. Government support is crucial to establishing filmmaking as a true industry in the region.”