Assamese cinema


Assamese cinema, also known as Jollywood, is the Indian film industry of Assamese language. It is based in Assam, Northeast India. The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti. Since then the Assamese cinema has developed a slow-paced, sensitive style. In the beginning the industry was called Jollywood, for Agarwala's Jyoti Chitraban Film Studio.
Despite its long history and its artistic successes, for a state that has always taken its cinema seriously, Assamese cinema has never really managed to break through on the national scene despite its film industry making a mark in the National Awards over the years. Although the beginning of the 21st century has seen Hollywood-style and Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Hollywood and Bollywood. In 2017, Village Rockstars was selected as India's official entry to the 91st Academy Awards. In 2019, Bulbul Can Sing won the Special Mention at Berlin International Film Festival. In 2025, the film Roi Roi Binale became the highest-grossing Assamese film of all time, breaking previous box-office records.

History

1930s

The origins of Assamese cinema can be traced back to Rupkonwar Jyotiprasad Agarwala, who was also a noted poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Chitralekha Movietone. Aideu Handique was the heroine of this movie. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, shouldered the added responsibilities as the scriptwriter, producer, director, choreographer, editor, set and costume designer, lyricist, and music director. The film, completed with a budget of 60,000 rupees was released on 10 March 1935. The picture failed. Like so many early Indian films, the negatives and complete prints of Joymati are missing. Hridaynath Agarwala restored a few reels of the film, and he donated them to the government of Assam. Altaf Mazid subtitled whatever was left of the prints, added narration to it, and killed the film's background music. Critic Bitopan Borbora protested that devastating act.
Despite the significant financial loss from Joymati, the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. Pramathesh Barua released his Assamese version of Devdas in 1937. It was the last of the 3 language version following Bengali and Hindi.

1940s

Agarwala made another film after a gap of two years, titled Indramalati. It was his second and last film. The eminent composer and singer of Assam, Bhupen Hazarika, played a prominent role in the film. With the passing away of Jyotiprasad, the Assamese film industry witnessed a temporary lull for a couple of years.
However, things changed with the onset of World War II. Taking advantage of the situation, Rohini Kr. Baruah made a film on a relevant historical theme titled Manomati. This was followed by films such as Parvati Prasad Baruwa’s Rupahi, Kamal Narayan Choudhury’s Badan Barphukan, Phani Sarma’s Siraj, Asit Sen’s Biplabi, Prabin Phukan’s Parghat, and Suresh Goswami’s Runumi.

1950s

In the 1950s, Piyoli Phukan won a National Award. The film was produced by Gama Prasad Agarwalla under the banner of Rup Jyoti Productions. It was directed by Phani Sharma, with music composed by Bhupen Hazarika. The story depicted the life of freedom fighter Piyoli Phukan, who revolted against British rule and was executed for treason. The film was considered technically advanced for its time.
In 1955, a new talent, Nip Barua, made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police won several state awards and silver medals at the national level. Bhupen Hazarika also produced and directed his first film, Era Bator Sur.
Prabhat Mukherjee made Puberun, a film on the universality of motherhood, which was screened at the Berlin Film Festival.

1960s

Another notable film of the decade was Lachit Borphukan, directed by Sarbeswar Chakraborty. Bhupen Hazarika later made his musical Shakuntala, which received critical acclaim and won the President’s Silver Medal.
Soon after, films began to be produced regularly. Notable works included Nip Barua’s Narakasur, Anil Choudhury’s Matri Swarga, Brojen Barua’s Itu Situ Bahuto, and Mukta and Anwar Hussain’s Tejimala.
By the mid-1960s, film production in Assam became more consistent. Between 1935 and 1970, a total of 62 Assamese films were produced. Filmmakers active during this period included Pravin Sharma, Saila Barua, Amar Pathak, Indukalpa Hazarika, Brajen Barua, Dibon Barua, Debkumar Basu, Amulya Manna, Gauri Barman, Atul Bardoloi, Sujit Singha, Nalin Duara, and Prafulla Barua.

1970s

During the period from 1970 to 1982, a total of 57 Assamese films were made. New directors began to emerge. Notable films include Samarendra Narayan Dev’s Aranya, Kamal Choudhury’s Bhaity, Manoranjan Sur’s Uttaran, Prabin Bora’s Parinam, Deuti Barua’s Bristi, Pulok Gogoi’s Khoj, Padum Barua’s Gonga Silonir Pakhi, Bhabendranath Saikia’s Sandhya Raag, and Atul Bordoloi’s Kollol.

1980s

During the 1980s, the Assamese film industry experienced a slight period of decline, marked by reduced audience attendance, weak box-office performance, and an acute shortage of investment. As confidence among producers, distributors, and financiers diminished, film production slowed, and the industry’s economic presence within the state weakened. By the middle of the decade, Assamese cinema faced structural challenges that raised concerns about its long-term sustainability. In response to these conditions, a few pioneering film financiers and producers undertook efforts to stabilise and revitalise the industry by bearing significant financial risk through investment in feature films during this volatile period.
File:Paran Barbarooah in his office.jpg|thumb|, industrialist and film producer.
This movement was started in the mid 1980s by film producer , a thriving industrialist who invested large sums of capital in the Assamese film industry. He financed feature film productions, assuming the full financial risk of these investments during unstable circumstances. The first feature film Barbarooah produced was Surooj, which is commonly regarded as the first big-budget Assamese film. Barbarooah allocated substantially greater funds to areas such as cinematography, sound, and overall technical execution, distinguishing it from most earlier releases. The film starring Brajen Bora, Abdul Majid, Pranjal Saikia, Dinesh Das, and Baharul Islam achieved record-setting economic success and attracted significant public attention. It shattered all previous records and became the highest-grossing Assamese film by a large margin.
Contemporary media reports documented a massive crowd on the film’s opening day outside Anuradha Cinema Hall, where the anticipatory audience reportedly shattered the glass entrance to enter the hall.
Paran Barbarooah’s leap of faith with Surooj has often been interpreted as the defining moment which started the gradual shift in production strategy, with increased emphasis on higher budgets, improved technical standards, and broader audience reach. Alongside Barbarooah, other producers—Amulya Kakati, R.B. Mehta, and Dharmakanta Saikia—were also active during this phase, collectively participating in efforts to address the economic and institutional challenges facing Assamese filmmaking in the late 1980s.

1990s

The year 1990 marked a transition period in Assamese cinema. Filmmakers experimented
with new themes, stronger realism and socially conscious storytelling. Several notable
films were released, representing both established directors and emerging voices of the
1990s era.
FilmDirectorCastNotesRef.
FiringotiJahnu BaruaMoloya Goswami, Biju PhukanCritically acclaimed social drama; Moloya Goswami won the National Film Award for Best Actress.
Xanta Xista Hrista Pusta MahadustaPulak GogoiJayanta Bhagawati, Chetana DasPopular comedy film of the early 1990s.
Bhai BhaiDara AhmedBiju Phukan, Nipon GoswamiA family drama that achieved moderate commercial success.
Bonani Jahnu BaruaBiju Phukan, Moloya GoswamiRe-released in 1990 in several theatres due to its popularity and critical acclaim.—

2000s

The 2000s saw the rise of multiple notable directors - Bhaskar Hazarika, Prerana Barbarooah, Deep Choudhury, Monjul Baruah, etc.

2010s

The 2010s saw the release of four Assamese blockbusters- Mission China directed by Zubeen Garg which earned nearly ₹60,000,000/- in the box office, ''Tumi Aahibane directed by National Award Winner Prerana Barbarooah which earned nearly ₹20,000,000/- in the box office, Raamdhenu directed by National Award Winner Munin Barua which earned nearly ₹20,000,000/- in the box office and Priyaar Priyo directed by National Award Winner Munin Barua which earned nearly ₹20,000,000/- in the box office.
YearCertifiedReleased
201043
201176
20121110
20131514
20142118
2015199
20162017
20171624
20181822
20192614
202019—
202124—
202234—
202333—
202418_
20251211
The 2010s also saw the rise of young independent voices in Assamese cinema, with unique films such as Local Kung Fu,Village Rockstars and Bulbul Can Sing garnering accolades both nationally and internationally. Also was released the underground cult short film Muktir Mohakabyo.''
The 2010s also saw the loss of many prominent personalities like director Munin Baruah, actor Biju Phukan, musician Bhupen Hazarika, who have played an important role in shaping Assamese cinema.