Taarikh (date) is the unfolding of memorable emotions and how the aftermath of tragedy never really heals with time. We speak to director Himjyoti Talukdar, whose directorial will finally get its much-awaited release on August 22 after doing the rounds of prestigious Festivals like the 22nd Chennai International Film Festival, 23rd Pune International Film Festival, 17th Habitat Film Festival, and Janakpur International Film Festival.
Excerpts:
Tell us about Taarikh?
Set against the backdrop of the 2008 Assam serial blasts, Taarikh tells the story of an elderly person whose world was shattered by tragedy. The events of that fateful day fractured his life and mental stability, leaving him emotionally frozen in time. Taarikh is a story of loneliness, loss, and the quiet endurance of a man trying to find his way back to life. The film delves into themes of memory, resilience, and emotional paralysis, aiming to evoke empathy for those silently struggling.
This isn't your first collaboration with veteran actor Arun Nath. How has your relationship as director-actor matured over the years?
Our collaboration has always been rooted in creative understanding. While working with him in my 2018 film Calendar, I could clearly see the depth and nuance he brings to a character. That experience helped me gauge the emotional range he can achieve, and since then, we’ve developed a sort of creative shorthand. We don’t need to say much - he intuitively grasps the emotional tone I’m looking for. That level of trust and comfort allows us to take bigger creative risks and delve deeper into the storytelling process together
How did you pivot the much-loved monsoon delicacy Ilish for the viewers to watch on-screen through your eponymous short film?
One of my favourite genres in filmmaking is capturing the subtle nuances of everyday life, in middle class society. This short film is based on a story by Assamese short story writer Riju Hazarika. Through the eyes of a woman who silently gives up her share to ensure her family’s joy, the narrative delves into the resilience, love, and strength that often go unnoticed.
You are a scriptwriter as well. Is the script sacrosanct, or is there scope for spot improvisations?
When I write a script, I invest a lot of time and attention to detail. Once shooting locations and artistes are finalised, I revisit the script and refine it further. This preparation leaves little room, or need, for spontaneous improvisation on set. But at the same time, if an improvisation feels absolutely necessary and genuinely adds value, I’m open to it.
Do you think accessibility and visibility become major hindrances in taking good work to the mass?
Without proper exhibition infrastructure, recovering even the basic cost of production becomes nearly impossible. The problem continues with the lack of accessible OTT platforms for Assamese content. Most major streaming services and media houses show little interest in regional films like ours, often due to demographic constraints and technical considerations. That’s why, alongside creating quality content, we need to seriously work on building systems that improve accessibility and visibility.
How do you find an outlet to take your films to the people after the festival run?
Film festivals often attract a limited audience in terms of footfall, but they play a crucial role in promoting the authentic cinematic essence of the films they showcase. Recognition at prominent festivals is meaningful. For independent filmmakers, festivals serve as an important platform to present their work, especially when access to traditional screening venues is limited. However, I firmly believe that films are ultimately made for the general audience too. So, whenever possible, a theatrical release is ideal, it allows the film to reach a wider and more diverse viewership. But again, it’s a costly affair, and many independent filmmakers simply don’t have the necessary financial backing to make it happen.
Taarikh means date. Is there one particular date in your life that has special meaning?
I still vividly remember the date, 16th February 2018, the day my debut film as a director, Calendar, was released. That day holds a special place in my heart, as it marked my official entry into the Assamese film industry.
After Taarikh, are you working on any new film or idea?
Yes, my third Assamese feature film is currently in the final stage of post-production. This project is based on the acclaimed novel Moromor Deuta by the legendary Assamese author and filmmaker Dr. Bhabendra Nath Saikia. What makes this project even more special for me is that it marks my first venture into adapting a literary work for the screen. It’s both an honour and a challenge to translate Late Dr. Saikia’s powerful narrative into cinema, and I have approached this responsibility with great care and passion.
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