Their works have collectively demonstrated immense creativity, energy, and a clear desire to push the industry forward. However, a recurring flaw has started to surface. It becomes particularly evident when these filmmakers transition from small, focused projects to larger, more ambitious narratives.

Bigger Budgets Lead to Bigger Problems

There is a noticeable pattern. When working with limited budgets and tightly focused narratives, these filmmakers often deliver compelling and well-crafted films. The storytelling feels controlled, the characters are grounded, and the emotional payoff is satisfying. Take Kolongpar (2021) (web series) or Xobdo Nixobdo Kolahol (2022), for example.

But when the scale expands-with multiple characters, broader plot points, and higher production values-the storytelling often crashes. This happens especially towards the climax of their films. Movies like Casetu Nagen (2025), Malamal Boyyyz (2025), Agnibaan (2026), and Bhakutkut (2026) all start with promise. They build interesting setups, introduce diverse characters, and create expectations of a satisfying payoff.

However, as these films approach their conclusions, narrative control weakens. As a result, the endings often feel rushed, disconnected, or simply underwhelming. This leaves audiences with the impression that the story was concluded out of necessity rather than intention.

The Script Is Where Everything Begins-and Ends

The root of this issue lies in the script. Many times, multiple writers are involved in scripting, or the screenwriter rushes to prepare a film for release within a year. Sometimes, writers and filmmakers do not watch enough films on the same subject they are working on.

Writers like Abhijit Bhattacharya are often criticized for lifting stories, sequences, or plot points from Hindi and South Indian films. However, it should be acknowledged that at least they watch these films, which helps them understand how to execute a story effectively. As a result, the emotional beats in his scripts-despite being inspired or adapted-often land with considerable impact.

A strong beginning, therefore, is not enough. A film must resolve its arcs in a way that feels earned. Loose ends should not be abandoned; they should be tied together in a meaningful and impactful way. Most importantly, the ending should resonate with audiences, as that is the feeling they take back with them.

The Problem of Unnecessary Characters

Another common issue is the inclusion of characters who serve little to no purpose in the story-for instance, characters like Pranjal Saikia in Bhakutkut (2026) and Preety Kongana in Agnibaan (2026). They exist simply because they have to. Sometimes such characters are given more screen time and even backstories, but these feel meaningless because they contribute minimally to the progression of the plot.

Every character in a film should have a function-whether it's driving the story forward, deepening the theme, or influencing the protagonist. If a character can be removed without affecting the narrative, they likely shouldn't be there in the first place. Filmmakers must also be cautious about how they position their female characters. Do they exist only as love interests? Do they have enough agency in relation to male characters?

In Agnibaan, the writers attempted to avoid this by giving a female character a feminist voice and agency. However, this resulted in her merely slapping people around and delivering moral sermons about empowerment. Avoiding such cringe execution is equally important.

Then come the twists. Twists and turns in a script must be used carefully. Saving them for the right moment can elevate a story, but unnecessary complications-especially in the name of parallel or non-linear storytelling-can dilute the narrative. These techniques require a strong command of screenwriting, something many recent Assamese filmmakers seem to lack.

The key to unlocking such scripts lies in studying well-written screenplays that effectively employ these techniques. It is disheartening to see that many writers have never read such works. Gut instinct can only take a film so far.

The Case for Tighter Editing

Pacing is another area where many recent films struggle. There is a tendency to stretch scenes beyond necessity, leading to bloated runtimes. This was evident in Agnibaan (2026). A story that could be told effectively in 90 minutes is often extended to nearly three hours. Similarly, Malamal Boyyyz (2025) is a clear example, where multiple scenes could have been combined or trimmed without losing narrative value.

Filmmakers in Assam must learn to choose efficiency over indulgence. If there are two ways to convey an idea, the shorter and sharper one is almost always better.

Comedy Needs Control, Not Chaos

Another issue is chaotic storytelling. Assamese films like Casetu Nagen (2025) and Malamal Boyyyz (2025) end in complete chaos-and not in a good way. The disorder feels forced rather than funny. This is especially frustrating because this style of comedy was executed effectively decades ago in early 2000s Hindi films like Hera Pheri and Hungama. Assamese filmmakers seem to be arriving late to this formula, without capturing the timing, structure, or charm that made those films work.

In the pursuit of entertainment, especially comedy, some films tend to go overboard. Attempting to replicate the style of masters like Priyadarshan can be tempting, but it often leads to exaggerated and unfocused storytelling. What made filmmakers like Priyadarshan or Anees Bazmee successful is not just humor, but their command over structure, timing, and character dynamics-skills that take years to master. Without that control, comedy quickly turns into chaos.

The Importance of Originality

Another concern is the lack of originality in certain narratives. Some films end up recycling ideas or resolutions that audiences have already seen. For example, Malamal Boyyyz (2025) presents a resolution that closely resembles one used in Priyaar Priyo (2017). Today's audiences are more exposed than ever-they watch regional, national, and international cinema. Repetition is easily noticed and weakens a film's impact.

Read Reviews and Criticisms

Filmmakers should actively read published reviews and criticisms of their films. These are readily available on platforms like Facebook, Instagram, Google, IMDb, and Reddit. Ignoring them can come across as dismissive. Instead, these voices should be respected and engaged with meaningfully.

However, premiere show reviews should not be taken too seriously. Many such audiences lack exposure to contemporary cinema and often do not even purchase tickets themselves. They attend premieres, take photos, and flood social media with exaggerated praise. This kind of feedback can be misleading.

What truly matters is the honest response of real audiences and critics. Pay attention to both praise and criticism-not just of your own films, but of others as well. Understanding why a film succeeds or fails is essential for growth.

Past Glory, Present Decline

While discussions often focus on new filmmakers, a similar issue applies to some established directors. Many of them won national awards decades ago-when competition was more limited. Today, however, some appear to rely on past recognition rather than current merit.

Instead of evolving with changing audiences and cinematic standards, they continue to make films that feel outdated and lack quality. This not only disappoints viewers but also leads to a waste of resources, especially when producers continue to invest based on past reputations.

Filmmakers such as Hiren Bora, Chandra Mudoi, and Hem Chandra Borah are often cited in this context. Many critics and audiences feel that their recent work does not match the standards they once set.

At some point, it becomes important to acknowledge when creative momentum has faded. Rather than producing subpar films, it may be more constructive for such filmmakers to step aside, making space for newer voices and fresh perspectives in the industry.

In 2026, Assamese cinema is at an exciting crossroads. The talent is evident and the ambition is commendable. But ambition must be supported by strong storytelling fundamentals. Without control over narrative, structure and pacing, even the most promising films risk falling apart by the end.

Today, the study of the challenges of Assamese cinema should go beyond the structural issues like the limited number of cinema halls, lack of producers, tight budgets and weak marketing or
publicity. Those are real concerns, but they're only part of the problem.

Now, it's equally important to examine the narratives and stylistic choices of the films themselves. Without stronger storytelling, fresh ideas and more thoughtful execution, improvements in infrastructure alone won't be enough to push the industry forward. Therefore, for new and upcoming filmmakers, the lesson is clear.

Perfect the script before moving to production, avoid unnecessary characters and keep the runtime crisp and engaging. Do not bore audiences and the most important of all, watch a wide range of films-good and bad-to understand what works and why it works.

Focus on originality rather than imitation and ensure the ending is impactful. Success, especially early success, should not lead to overconfidence. It should encourage exploration, humility and growth. The future of Assamese cinema will not be defined by bigger budgets-but by better stories and execution.

Now, reading this article isn't enough-share it in your WhatsApp groups and with your friends and fellow filmmakers. Start conversations around it, because real change begins when more people engage with these ideas.