Beyond the Northeast label: Why globally acclaimed filmmakers reject regional tags

Cinema from the Northeast has been quietly making waves on the global stage since the 1980s. Yet, its journey, which began in 1935, has often unfolded in the shadows — overlooked, marginalised and debated. With its eight states — Assam, Manipur, Arunachal Pradesh, Meghalaya, Mizoram, Nagaland, Tripura and Sikkim — Northeast continues to be one of India’s most stereotyped regions: labelled as a conflict zone, prone to insurgency, it is often viewed as an exotic, monolithic entity.

The works of many filmmakers from the region have drawn global attention and been screened at international film festivals. This is not a recent phenomenon; cinema from the Northeast has attracted attention even in the past. For instance, in 1981, Aribam Syam Sharma’s feature film Imagi Ningthem (My Son, My Precious) won Montgolfiere d’Or at the Festival of Three Continents in Nantes. His 1990 film Ishanou (The Chosen One) was screened at the Un Certain Regard section at the 1991 Cannes Film Festival. Veteran filmmaker Aribam says, “I did not like it when Ishanou was called a ‘Manipuri or a Northeastern film’ by a journalist from Chennai. They should have known that the film was the only Indian entry at the Cannes Festival in 1991.”

Twelve-time National award-winning filmmaker, Jahnu Barua’s Halodhia Chorai Baodhan Khai (The Catastrophe, 1987), portrays the exploitation of destitute farmers by the rich. It won the Silver Leopard and the Prize of the Ecumenical Jury – Special Mention at the Locarno International Film Festival in 1988. Barua too faced a similar situation. “I was in Udaipur to attend a film festival as a guest and was mistaken for a foreigner at a five-star hotel I had to stay in. I informed the front desk that I was from Assam, but they insisted on seeing my passport. Eventually, the manager arrived and resolved the issue,” he shares. Despite such challenges, these filmmakers made a global mark with their powerful stories and paved the way for the next generation.

The second generation filmmakers focus more on local stories with a universal appeal. Filmmaker Rima Das made history when her film Village Rockstars (2017) was selected as India’s official entry for the 90th Academy Awards in the Best Foreign Language Film category. The story follows Dhunu, a poor 10-year-old girl who dreams of having a rock-band. Pradip Kurbah’s Lewduh (Market, 2019) had its premiere at the 24th Busan International Film Festival. Set in Shillong’s Bara Bazar, the film depicts the lives of the common man with stories that remain unnoticed. Kurbah won the Kim Jiseok Award and became the first Indian to win it. His film, The Elysian Field (2025), is set in the Khasi Hills in 2047, where only six villagers live after most have migrated to the city. The film explores friendship and resilience of this community as their village slowly disappears. It won Golden St. George for Best Film and Best Director Award, along with the NETPAC Award for Best Asian Film at the 47th Moscow International Film Festival.

Says Kurbah, “I cannot deny the existence of the ‘Northeast label’ in India. I am delighted to represent my region. My films have a universal element that anybody in the world can relate to.” Dominic Sangma, who like Kurbah is from Meghalaya, explores a complex narrative in his Garo feature film, Rimdogittanga (Rapture, 2023), which follows a 10-year-old boy with night blindness as he faces adversaries within a village plagued by child abductors. The film was selected for the Locarno Film Festival. Manipur’s Haobam Paban Kumar’s debut feature film Loktak Lairembee (Lady of the Lake, 2017) had its world premiere at the New Currents competition section at the Busan International Film Festival and won the German Star of India at the 14th Indian Film Festival in Stuttgart, Germany for the film in 2017.

The emergence of young filmmakers has expanded the possibilities of Northeast cinema. Among them, Tribeny Rai from Sikkim, an SRFTI graduate, stands out. Her debut feature film, Shape of Momo (2025), offers an intimate portrait of Bishnu, a young woman who returns to her village from Delhi and confronts persistent patriarchal norms. The film addresses gender, migration, family obligation and resistance. It premiered at the Busan International Film Festival and won two awards. “I believe issues of identity and discrimination are important and everyone faces some form of discrimination, irrespective of who or where we are from. When I attend film festivals or participate in workshops outside India, people never ask me whether I am from Sikkim or Manipur; they simply recognise me as an Indian filmmaker. So, the issue exists within India, not abroad,” she says.

Similarly, Maharshi Tuhin Kashyap from Assam, also an SRFTI graduate, came into the spotlight with his debut film — Kok Kok Kokoook (2025). Set in contemporary Guwahati, the story revolves around a migrant chicken vendor whose attachment to his red RX100 motorcycle becomes central to his identity and belonging. The film reflects Maharshi’s engagement with the changing cultural and political landscape of Assam. The film premiered in the Vision section at the Busan International Film Festival.

Khanjan Kishore Nath’s Karbi-language film, Kangbo Aloti (The Lost Path, 2025) takes up a contemporary issue of Karbi Anglong in Assam. The story follows Longsing, a member of a local militant group, assigned to recruit new members, His perspective changes after meeting a local school teacher and villagers. The film premiered at the 31st Kolkata International Film Festival, where it won the Special Jury Award. It was also screened this year at the Indian Film Festival Stuttgart, Bengaluru International Film Festival and the South Asian Film Festival of Montreal. The film also made its appearance at the Indian Pavilion of the Cannes film market in 2025. Khanjan also insists on being referred to as just an Indian filmmaker.

Many others from the region such as Sange Dorjee Thongdok, Romi Meitei, Kivini Shohe,Tiakumzuk Aier, Prashant Rasaily, Dawa Lepcha, Mapuia Chongthu, Monjul Baruah, Reema Borah, Himjyoti Talukdar, Suraj Duara, Himangshu Prasad Das, Deep Choudhury, Kangkan Deka have made an impact with their powerful and culturally-rooted narratives.

Young filmmakers have moved beyond the stereotypical notion that insurgency is the chief thematic concern and instead focus on regional stories and realities. Their films transcend the linguistic, cultural and geographic confines to strike a chord with audiences across borders.