Assamese film promotion & business: Expert panel discusses challenges & opportunities
Guwahati: The Assam Book Fair 2024-25, a joint venture of the Publication Board Assam and the All Assam Publishers & Book Sellers Association, hosted a panel discussion on the promotion and business of Assamese cinema on December 30, 2024, at the Veterinary College Field in Khanapara, Guwahati.
Manoj Srivastava, a renowned figure in Indian cinema as a producer, writer, director, and former Deputy Director of the Directorate of Film Festivals, graced the occasion as the Chief Guest. The panel comprised a distinguished group of industry experts, including Nayan Prasad, Shyam Bora, Kenny Basumatary, Priyanka Baruah, Kamal Lochan Deka, and Achinta Shankar.
Moderated by the poet and film critic Aparajita Pujari, the discussion delved into the evolving landscape of Assamese film promotion, the increasing significance of the regional cinema market, and the delicate balance between artistic expression and commercial viability.
Srivastava emphasized the paramount importance of strategic film promotion and public relations in the contemporary era. He stressed the need for meticulous audience targeting and the selection of appropriate media channels.
"A dedicated promotion budget and a well-defined strategy, encompassing an understanding of audience demographics, geographical distribution, language preferences, and media consumption habits, are crucial," he stated.
The discussion acknowledged the fragmented nature of the Assamese film audience, with language barriers posing a significant challenge. Panelists highlighted the difficulties in marketing Assamese films in regions dominated by indigenous populations like the Bodo community. Conversely, when Bodo films are released, these regions often lack sufficient cinema halls, hindering their reach and box office performance.
Filmmaker and actor Kenny Basumatary, whose recent film "Bibo Binanao" (2024) premiered at the 55th International Film Festival of India, emphasized the importance of original storytelling and presentation.
He pointed out, "The story of 'Pushpa' follows a familiar revenge-romance plot, typical of 80s and 90s films. However, the filmmakers successfully modernized the narrative with new elements to appeal to contemporary audiences."
Actor Kamal Lochan Deka expressed concerns over the current publicity strategies for Assamese films, emphasizing the need for well-crafted marketing campaigns.
He criticized the prevailing trend of releasing films without proper planning, highlighting the crucial role of producers in going beyond mere financing.
Deka, who recently starred in "Abhimannyu" (2024), advocated for the entire production team to actively participate in publicity efforts. He pointed out the concerning trend of Assamese audiences expecting free access to films, citing the successful run of "Bidurbhai" due to its free availability on YouTube.
He also lamented the lack of cinema halls in regions like Nalbari, urging for increased publicity budgets, suggesting an allocation of at least 60-70 lakh rupees for marketing a 1.5 crore production.
Deka further criticized the festival-centric mindset of Assamese audiences, which negatively impacts box office performance. "With Assam celebrating 13 festivals in 12 months, and audiences often prioritizing these celebrations over watching films, how can our films achieve commercial success?" he questioned. He also highlighted the detrimental impact of negative word-of-mouth, where Assamese audiences often tend to undervalue their own cinema.
Moderator Aparajita Pujari rightly pointed out that directors should not be solely blamed for a film's failure, especially when marketing strategies are ineffective from the outset. She emphasized the importance of understanding human psychology in film promotion, noting that traditional methods like pasting posters on walls are no longer sufficient to attract audiences.
Pujari also criticized the industry's flawed competitive approach, where new films often obscure the posters of those already running in theaters. "Who ultimately suffers in this situation?" she questioned.
Kenny Basumatary introduced Shyam Bora as a true producer in the Assamese film industry, acknowledging his deep understanding of the film business. Bora, known for his acclaimed films "Kothanodi" (2015) and "Aamis" (2019), explained that a producer's role encompasses overseeing the entire filmmaking process, managing finances, securing funding, and ensuring the film's smooth progress from pre-production to distribution.
He emphasized the critical importance of effective marketing, stressing the need for strategic positioning of films based on their core narrative and key selling points. He also highlighted the necessity of constantly adapting marketing strategies to keep pace with evolving market trends. Bora criticized the industry's current over-reliance on theatrical releases, neglecting other revenue streams such as OTT platforms and international sales. He also lamented the lack of visual appeal in Assamese film posters and trailers, urging for improvements to stand out in a competitive market.
Filmmaker Achinta Shankar highlighted the inherent tension between artistic expression and commercial success in Assamese cinema, emphasizing that box office performance does not always reflect quality, and vice versa.
Shankar also criticized distributors for prioritizing Hindi and English films, arguing that promotional efforts should shift from focusing on directors to empowering producers. He shared how his debut film "Pratighat" was impacted by the 2019 CAA movement, and his second film "Abhimannyu" faced challenges during the Raas Mahotsav in 2024, corroborating Kamal Lochan Deka's point.
The panel unanimously agreed that both the content of Assamese films and their marketing strategies are trapped in a cycle of repetition, leading to stagnation within the industry. To break free from this cycle, they acknowledged the need for innovative approaches, but the primary challenge lies in securing adequate funding to reach audiences in unique and impactful ways.
Priyanka Baruah, a key figure in marketing several recent Assamese films, emphasized that for films to succeed, they must be of high quality and appeal to new audiences, particularly in rural areas. She highlighted the significant challenge posed by limited cinema halls, stating, "Assamese films would thrive in rural areas if more theaters were available, as there is a growing demand for entertainment, currently being fulfilled by mobile theaters."
She also pointed to the absence of a vibrant film culture in Assam, unlike in South India or West Bengal, stressing the importance of reintroducing film screenings in schools and colleges during events like Children's Day and Independence Day. She further emphasized the need for academic courses on film studies and filmmaking.
She strongly advocated for the active involvement of producers and the publicity team from the very inception of a film, stating, "Promotion must commence during the pre-production stage, not after the film is completed."
Producer and theater activist Nayan Prasad commended filmmakers like Kenny Basumatary for their dedication, highlighting that success stems from years of hard work and unwavering commitment. He compared the growth of Malayalam, Marathi, and Manipuri cinema to the Assamese film industry, emphasizing the importance of quality work and audience support. Prasad concluded that "hard work, producing high-quality films, and collective effort are the keys to the upliftment of Assam's film industry."
Achinta Shankar pointed out that many Assamese film producers lack a comprehensive understanding of the financial aspects of production, particularly revenue sharing among producers, distributors, and exhibitors. He emphasized the importance of this knowledge for making sound investments in the industry.
He also lamented the lack of a robust film festival culture in Assam to showcase regional films, unlike in other states. He criticized the government's near-nonexistent support in this regard. '
According to Shankar, these factors contribute to a weak film-viewing culture in the state, an issue that the government has failed to address. He stressed that cinema, art, and culture are deeply intertwined with language—a thriving culture fosters a thriving language.