‘NE films’ is a wrong tag: Jahnu Barua

Internationally acclaimed filmmaker Jahnu Barua has always been vocal against those who tried to belittle 
the collective identity of the North East and the individuality of each state and its tribes. The veteran filmmaker observes that it is cinematically wrong to put all films from the states of India’s northeastern region in one basket. The North East is a diverse region where there are more than 200 tribes and sub-tribes speaking equal numbers of languages and dialects. However, the decades-old practice of misidentifying tribes and misrepresenting the region has adversely affected the people here. While there should have 
been a zero-tolerance policy for misnomers and denigration of identities and individual history, there has not been much criticism about this.

Nabamita Mitra speaks to Barua to understand, among other things, the divide and why films from the region should be considered in their individuality. Excerpts:

When we talk about films from states like Kerala, Maharashtra, Bengal or Odisha, we refer to them by respective states. But we say ‘Northeast films’, and then go on talking about how films from the region are getting recognised. Don’t you think there is a dichotomy/hypocrisy in this “recognition”?

Very much. I don’t think the term was coined by anyone from the North East, not at all, and definitely done by a non-Northeasterner for convenience. They (people outside the northeastern region) are not at all aware of the North East. It is convenient to club all local movies here, whether Manipuri, Assamese or from any state. I am against it.

In fact, many years ago, I vehemently protested against this. It was during the IFFI (International Film Festival of India). There were five films from the North East in the Indian Panorama (late 1980s). PIB held a press conference for each state, but when it came to us, it clubbed the press conference for all five films from the North East. I objected to this. Cinema is identified as a base for language and culture. Each film was in a different language. So, it was not right to club us together. The term ‘North East’ is being imposed on us.

Some people, of course, get excited about being identified as part of the northeastern cinema. But as far as I am concerned, I feel they are doing a lot of injustice to the cinema of the North East.

Also, in saying Northeast films and generalising the region, isn’t the credibility of Assam and Manipur, states with a history and culture of films, lessened?

It is true that we enjoy being northeasterners. Emotionally, we have a lot of similarities. But in terms of language and culture, we are different. Emotional unification does not mean you impose an identity on us that is cinematically wrong.

There are some films from the North East which have been highly overrated. Yet, these films won the highest honour. Do you think there is a political play behind this rather than an acknowledgement of great art?

If you observe and analyse all the film festivals around the world today, you will see that these are not like what they used to be. Their agenda has become different. Wrong films get promoted. This would happen, and now it is more. As a filmmaker, I could feel this more, and I stopped taking part in film festivals. I am not saying that I am always doing the right thing, but at the same time, it does not feel nice when the right film does not get recognised. Film festivals are driven by an agenda that has nothing to do with cinema.

Meghalaya has decided to invest Rs 1 crore in films to promote tourism. Doesn’t this policy undermine the encouragement and support that films must get as a form of art?

As a filmmaker, I can never support the government’s or anyone’s objective to mix cinema with tourism. They are totally different. When you mix both, then it is more of a political agenda. I don’t know how they do this. In India, politicians and bureaucrats get excited about this… Film should be treated as art, and the returns you expect from it are something different.

Tourism comes into filmmaking differently. When we shoot a film, we try to get help from the Tourism Department. But that does not mean that you will wrongly treat this medium… It is wrong.

We have seen several socio-politically sensitive movies being made in Assam and Manipur. However, that is not the case in Meghalaya. Don’t you think the growth of filmmakers and viewers has been hindered by this culture of staying within the safe zone?

Talents, regardless of which state, must be promoted. The government must find a way to nurture these talents. The independence to create something good is important for a filmmaker. So, governments should support and promote these talents in every way. A film can make a huge impact. For instance, a film made by a filmmaker from a village can change the village… So, the benefits (of a film) are abstract and cannot be perceived just like that.

The so-called mainstream considers the northeast to be a region for insurgency and drugs, when there are many contemporary socio-political subjects. How well have those subjects been explored or not explored? Shouldn’t the stereotyping be stopped?

How many filmmakers are there in India who are truly interested in the North East? Whatever they hear through the media about insurgency or drugs is how they connect with the region. They don’t have a genuine interest in the North East. Once, I was approached to make a documentary about Lachit Borphukan, the Ahom warrior. The man who contacted me said Lachit Baruah (laughs). So, that is the kind of information they have based on which they want to make films or series.

However, we, the Northeasterners, are also to blame. We need to be tough in safeguarding our history, and must not allow any insult to it.

Not many mainstream filmmakers do their homework properly, like in the case of Anek and Pahuna. What will be your message to those mainstream filmmakers who want to showcase the region?

I would tell them that come here and study the region… It won’t be ethically right and a wise way (to make a film) unless you are aware of the particular subject. Suppose I am approached to do a film on an African ethnic group. Should I jump onto the project because there is money? Should I make the film without researching the subject?

Some filmmakers directly come to the North East without even visiting the places earlier or doing any research. I get calls from such filmmakers, and when I ask whether they had visited the region earlier, they say ‘no’. This is the wrong thing to do. I don’t see the seriousness in filmmakers in the rest of India when they want to do something on the North East. But we also allow them to take the advantage.

There are some good short films/documentaries from several states in the North East (films by Dominic Sangma, Pradip Kurbah, Maharshi Tuhin are only a few examples). Shouldn’t there be a platform for independent short filmmakers and more focus on this?

Yes, I agree. Short films and documentaries are required. Documentation of a particular time and subject is necessary. Governments should support these projects without any political agenda. These will become history tomorrow… Short films and documentaries keep the connection alive. In fact, each northeastern state should have a separate department for short films and documentaries. There are so many talents here, for instance, Pradip Kurbah from Meghalaya. He is very rooted, and I want him to keep making films. There are other talents too. And there are so many stories to be told, our history is so rich. And, this will vanish if it is not documented.