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CiNEmatters Ep 3 | In Reema Borah’s movie Bokul, a better take a look at the plight of lives compelled to reside on Assam’s fringes – Art-and-culture News , Firstpost

Firstpost presents CiNEmatters, a podcast inspecting cinema from the North East of India. In episode 3, we focus on ‘Bokul’ (2015), an Assamese movie by Reema Borah.

Illustration ©Sourish Mustafi for Firstpost

CiNEmatters is a podcast by Firstpost that makes an attempt to show the highlight on a lacuna within the discourse surrounding Indian leisure — cinema from the North East, which continues to stay largely inaccessible within the age of OTT, when content material in languages from throughout India and the world is only a click on away on our screens.

In every episode, we focus on a brand new movie obtainable for viewing on-line, going past its cinematic scope to discover socio-political and historic nuances.

Tune into CiNEmatters on Firstpost’s YouTube channel, Spotify, Apple podcasts, Google podcasts, and wherever else you get your podcasts.

Listen to extra episodes of CiNEmatters right here.


Episode 3: Bokul (2015)

Language/Region: Assamese/Assam

Streaming on: Mubi

Director: Reema Borah

Cast: Urmila Mahanta, Kaushik Sharma, Nirab Das, Udayan Duarah, Bhaswati Patowary, Dwijen Mahanta, Ankita Borah, Anupam Borah

In the third episode of CiNEmatters, we take a better take a look at the 2015 Assamese movie Bokul, a narrative of three people with the identical identify, dwelling on the fringes of the identical city whose feudal buildings have marginalised them systemically.

Themes of id and homecoming overlap with the 2 movies — Jwlwi: The Seed and Maj Rati Keteki — beforehand mentioned on the podcast, as one finds the story largely being framed by the perspective of the character of Raktim (Udayan Duarah), who returns from Mumbai to his hometown in Assam after a number of years to attend his sister’s wedding ceremony. Through Raktim, the viewers meets the three protagonists — Bokul Ali (Kaushik Sharma), a rickshaw-puller roughly of Raktim’s age, who went to high school with him and was a shiny scholar. Bokul Ali misplaced his father Joy, a music trainer, to an incident of native communal violence. Then there’s feminine Bokul (Urmila Mahanta) — a weaver, tea-shop proprietor, and single mom to a school-going daughter. Finally, we meet the third Bokul (Nirab Das), a poor fisherman who lives with a cat and waits endlessly for some information of his lacking son.

The time period ‘bokul’, borrowed from the native tree and its piquantly scented flower that’s discovered abundantly throughout Assam and different components of east and south India, exemplifies the lives that survive — and sometimes thrive — on the margins of society, compelled to show invisible, very similar to the movie’s protagonists. Reema Borah’s nuanced, autobiographical screenplay captures this dichotomy related to the plant — of being a silent non-entity that doesn’t search a lot consideration regardless of its omnipresence — and its identify by means of her Bokuls to explicate the cracks in Assamese society.

In this episode, we’re joined by Sebanti Chatterjee — sound anthropologist and trainer of Sociology — to speak about why Bokul comes at an important juncture in Assamese cinema, and past its topic, how its making reveals to us the cultural situatedness of Assam’s movie trade whose evolution displays the state’s relentless tussle with id.

Listen to the episode right here —

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