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| Poster of SIKAISAL (Of only Trees could talk) Best Tiwa Film in the category of Best Feature Film in language other than 8th Schedule |
The world of regional cinema in India is a vibrant tapestry of cultures, languages, and narratives, each adding a unique color to the country's cinematic landscape. Within this tapestry, Kokborok and Tiwa films represent two distinct linguistic communities from the northeastern region, each with its own history and trajectory in filmmaking. However, a closer look reveals a stark contrast in their development and recognition on the national stage. Despite Kokborok films having an earlier start and a larger population base, Tiwa films have recently garnered more significant acclaim, as evidenced by their repeated success at the National Film Awards. (This proves that an early start and a larger population base do not necessarily determine the recognition of any form of art)
The 70th National Film Awards for 2022 highlighted the rising prominence of Tiwa cinema. Tiwa films bagged multiple awards, including the Best Tiwa Film in the Category of Best Feature Film in the languages other than those specified in Schedule VIII of the Constitution for "SIKAISAL (If Only Trees Could Talk)," directed by Dr. Bobby Sarma Baruah, and two special mentions for non-feature films. This success is not a solo incident, the previous year, Tiwa cinema was also recognized with the Best Anthropological Film award for "Fire on Edge" where was directed by Sujit Debbarma and Pranab Jyoti Deka.
In contrast, Kokborok cinema's last significant recognition at the National Film Awards was for "YARWNG (Roots)" directed by Fr. Joseph Pulinthanath Under the banner of Don Bosco Sampari Pictures, which won the Best Kokborok Film in the same category as of "SIKAISAL". Before that, *Mathia (The Bangle)* (2003), another film by Fr. Joseph Pulinthanath, also received immense recognition both nationally and internationally. However, Kokborok films have struggled to maintain this momentum in the years that followed.
Kokborok Films after 'MATHIA' and 'YARWNG' shifted their focus more toward commercial aspects rather than artistic ones. This led to the inclusion of over-the-top comedy and action scenes, eventually contributing to the decline of Kokborok cinema. Another factor is the lack of interest among Kokborok speakers in watching Kokborok films. While some films are watched and loved, this is often due to their slapstick comedy rather than their overall quality and aesthetic. Many Kokborok speakers are not even aware of the films being made and released, which has demotivated filmmakers from continuing to produce or make feature films. Those who wish to create quality films often lack financial support. Despite these challenges, there are many talented upcoming filmmakers among the Kokborok speakers, including Jacob Tripura, Plato Debbarma, Sujit Debbarma, and Dr. Sunil Kalai, who have proven themselves in recent years by winning awards at various film festivals.
Currently, the only genre of Kokborok films that has managed to thrive is short comedy sketches, often labeled as 'short films.' These sketches garner millions of views on platforms like YouTube, Facebook, and Instagram. But In the realm of well-made feature films, Kokborok cinema has only seen a decline in quality. This raises the question: What Can Kokborok Films Learn from Tiwa Cinema?
1. Strong Narratives Rooted in Culture and Identity:
Tiwa films like "Sikaisal" have excelled by telling stories deeply rooted in their culture, history, and social issues. The narratives are not only engaging but also resonate with universal themes that transcend regional boundaries. Kokborok films can benefit from a similar approach by exploring stories that are authentic to the Tipra way of life, yet relatable to a broader audience.
2. Collaboration and Cross-Cultural Exchange:
Tiwa filmmakers have often collaborated with talents from other communities, which has enriched their films with diverse perspectives. For example, the success of "Fire on Edge" was partly due to the collaboration between Sujit Debbarma and Pranab Jyoti Deka. Kokborok cinema could explore more such collaborations, bringing in fresh ideas and technical expertise that can enhance the quality of filmmaking.
3. Investment in Technical Excellence:
The technical quality of Tiwa films, including cinematography, editing, and sound design, has seen considerable improvement, which has played a role in their national recognition. Kokborok filmmakers need to focus on upgrading their technical skills and production quality, ensuring that their films meet the high standards required for broader recognition.
4. Embracing Short Films and Documentaries:
Tiwa filmmakers have not confined themselves to feature films but have also made significant strides in short films and documentaries. These formats allow for creative experimentation and the exploration of diverse topics. Kokborok filmmakers should consider expanding their focus beyond feature films, using short films and documentaries as platforms to tell impactful stories.
5. Consistent Participation in Film Festivals:
Regular participation in regional, national, and international film festivals has helped Tiwa films gain visibility and recognition. It also provides valuable feedback and exposure to new trends and standards in filmmaking. Kokborok films could benefit from more active participation in such festivals, which would not only increase their visibility but also provide opportunities for networking and learning.
In conclusion, Kokborok cinema has yet to fully realize its potential on the national stage. The success of Tiwa films offers valuable lessons in cultural authenticity, technical excellence, and strategic collaboration. By embracing these lessons, Kokborok filmmakers can rejuvenate their cinema, creating films that not only resonate with their own community but also earn appreciation and accolades on a broader scale.