Parthajit Baruah’s Jyoti Kokaideu pays tribute to the pioneer filmmaker of the Assam film industry and the father of North East cinema, ‘Ropkunwar’ Jyotiprasad Agarwala. As Assam celebrates nine decades of film-making, Jyoti Kokaideu celebrates the initiation of films in the North East. We speak to Baruah on the sidelines of the Brahmaputra Valley Film Festival about the documentary, his influences, and the industry today.
Excerpts:
How did the thought of giving a tribute to Jyotiprasad Agarwala come to you?
While doing a research project at NFAI, Pune, I discovered a significant lack of information about Jyotiprasad Agarwala. I met several film historians who, unfortunately, were unaware that Jyotiprasad was the one who attempted to make the first talkie on foreign soil, specifically at UFA Berlin. This vital aspect of his legacy has been overlooked in the national narrative, prompting me to pursue a documentary about this pioneering figure in Indian cinema.
How enlightening was it to meet his family?
It offered a distinctive opportunity to acquire a deeper understanding of his life and personality that historical records alone are unable to convey. Their recollections, memories, and personal stories provided a more profound comprehension of his contributions to Assamese cinema. Interacting with his younger brother, the late Hridayananda Agarwala, as well as his daughters—Jayshree Chaliha, Gyanashree Pathak, and Satyshree Das—and his grandsons—Rupmanta Das, Paran Chaliha, and Manisha Behel and Aparup Agarwala—was truly remarkable.
How have his works influenced you as a film-maker?
His pioneering spirit and innovative approach to cinema, above all, inspire me to explore new storytelling techniques and push creative boundaries. His ability to blend cultural themes with artistic expression demonstrates the power of cinema to convey significant messages, encouraging me to infuse social and cultural relevance into my work. Agarwala’s bold initiative to establish a film studio at Bholaguri Tea Estate, Assam, in 1933—during a time when his contemporaries established studios in Pune, Bombay, and Calcutta—highlights his visionary outlook on the Assamese film industry. I aspire to honour this legacy by focusing on marginalised narratives and fostering a deeper understanding of diverse cultures in my films. Agarwala’s contributions serve as a guiding light on my filmmaking journey, reminding me of the impact a storyteller can have on society. In fact, his work inspires all filmmakers in this region.
He has been credited as the pioneer of the Assam film industry. From his time in the 1930s to today in 2025, how has the industry evolved?
Since his era, the industry has evolved significantly, transitioning from its early days of limited resources and a focus on regional narratives to a vibrant landscape that embraces modern filmmaking techniques, digital technology, and diverse genres. Film schools and studios, including one in Kahilipara, Guwahati, named in his honour, have been established to nurture new talent. Contemporary Assamese cinema showcases a variety of storytelling styles and addresses pressing social issues, appealing to both national and international audiences. The rise of new talents, such as Rima Das, Bhaskar Hazarika, Monjul Baruah, Reema Borah, and Jaycheng Dahutiya, along with the proliferation of film festivals dedicated to Assamese cinema, has further fuelled growth and fostered collaborations with filmmakers from other regions.
What challenges do you think the film industry in Assam faces today?
Limited funding and resources, intense competition from larger production companies, a declining viewer base, and difficulties in marketing and distribution are some of the challenges. Although a few Assamese films have gained recognition at various international film festivals, very few are available on major OTT streaming platforms. As a result, many filmmakers are left with no choice but to release their films on YouTube or Reel drama, which offer minimal returns to producers. Filmmakers and producers often struggle to recoup their investments when releasing films in theatres, complicating the ability of independent filmmakers to get funding for future projects. Addressing these challenges is essential for the growth and sustainability of the film industry in Assam.
Do you think Assamese movies are restricted to the region in terms of viewership? If yes, then how can it be made more accessible?
Yes, Assamese films often face limitations in viewership, primarily due to restricted distribution channels and a focus on local audiences. While some Assamese films have had theatrical releases in a few cities across the country in the past, those efforts were not successful. To enhance accessibility for these films, increasing partnerships with OTT platforms to broaden their reach, promoting subtitled versions to attract non-Assamese speakers, organising film festivals, and leveraging social media campaigns or collaborations with filmmakers from other regions may help bridge cultural gaps and enhance visibility may be strategised.
Are you currently working on a film or a new idea? Can you tell us a bit about it?
Building on the momentum generated by my debut feature, The Nellie Story (2023), based on the tragic events of the Nellie Massacre that occurred in Assam in 1983, I am now in the pre-production phase of my upcoming feature film. This film, too, is on the socio-political landscape of Assam.