Assamese cinema, also known as Jollywood, is the Indian film industry of Assamese language. It is based in Assam, Northeast India. The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti. Since then the Assamese cinema has developed a slow-paced, sensitive style. In the beginning the industry was called Jollywood, for Agarwala's Jyoti Chitraban Film Studio.
Despite its long history and its artistic successes, for a state that has always taken its cinema seriously, Assamese cinema has never really managed to break through on the national scene despite its film industry making a mark in the National Awards over the years. Although the beginning of the 21st century has seen Hollywood-style and Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Hollywood and Bollywood."A rare peep into world of Assamese cinema" In 2017, Village Rockstars was selected as India's official entry to the 91st Academy Awards. In 2019, Bulbul Can Sing won the Special Mention at Berlin International Film Festival. In 2025, the film Roi Roi Binale became the highest-grossing Assamese film of all time, breaking previous box-office records.
History 1930s
The origins of Assamese cinema can be traced back to Rupkonwar Jyotiprasad Agarwala, who was also a noted poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Chitralekha Movietone. Aideu Handique was the heroine of this movie. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, shouldered the added responsibilities as the scriptwriter, producer, director, choreographer, editor, set and costume designer, lyricist, and music director. The film, completed with a budget of 60,000 rupees was released on 10 March 1935. The picture failed. Like so many early Indian films, the negatives and complete prints of Joymati are missing. Hridaynath Agarwala restored a few reels of the film, and he donated them to the government of Assam. Altaf Mazid subtitled whatever was left of the prints, added narration to it, and killed the film's background music. Critic Bitopan Borbora protested that devastating act.Mazid, Altaf (2006) Joymoti : The first radical film of India, Himal Magazine, March 2006. Despite the significant financial loss from Joymati, the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. Pramathesh Barua released his Assamese version of Devdas in 1937. It was the last of the 3 language version following Bengali and Hindi.
1940s
Agarwala made another film after a gap of two years, titled Indramalati. It was his second and last film. The eminent composer and singer of Assam, Bhupen Hazarika, played a prominent role in the film. With the death of Jyotiprasad, the Assamese film industry witnessed a temporary lull for a couple of years.
However, things changed with the onset of World War II. Taking advantage of the situation, Rohini Kr. Baruah made a film on a relevant historical theme titled Manomati (1941). This was followed by films such as Parvati Prasad Baruwa’s Rupahi (1946), Kamal Narayan Choudhury’s Badan Barphukan (1947), Phani Sarma’s Siraj, Asit Sen’s Biplabi, Prabin Phukan’s Parghat, and Suresh Goswami’s Runumi.
1950s
In the 1950s, Piyoli Phukan won a National Award. The film was produced by Gama Prasad Agarwalla under the banner of Rup Jyoti Productions. It was directed by Phani Sharma, with music composed by Bhupen Hazarika. The story depicted the life of freedom fighter Piyoli Phukan, who revolted against British rule and was executed for treason. The film was considered technically advanced for its time.
In 1955, a new talent, Nip Barua, made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police won several state awards and silver medals at the national level. Bhupen Hazarika also produced and directed his first film, Era Bator Sur.
Prabhat Mukherjee made Puberun (1959), a film on the universality of motherhood, which was screened at the Berlin Film Festival.
1960s
Another notable film of the decade was Lachit Borphukan, directed by Sarbeswar Chakraborty. Bhupen Hazarika later made his musical Shakuntala (1961), which received critical acclaim and won the President’s Silver Medal.
Soon after, films began to be produced regularly. Notable works included Nip Barua’s Narakasur, Anil Choudhury’s Matri Swarga, Brojen Barua’s Itu Situ Bahuto, and Mukta and Anwar Hussain’s Tejimala.
By the mid-1960s, film production in Assam became more consistent. Between 1935 and 1970, a total of 62 Assamese films were produced. Filmmakers active during this period included Pravin Sharma, Saila Barua, Amar Pathak, Indukalpa Hazarika, Brajen Barua, Dibon Barua, Debkumar Basu, Amulya Manna, Gauri Barman, Atul Bardoloi, Sujit Singha, Nalin Duara, and Prafulla Barua.
1970s
During the period from 1970 to 1982, a total of 57 Assamese films were made. New directors began to emerge. Notable films include Samarendra Narayan Dev’s Aranya (1970), Kamal Choudhury’s Bhaity (1972, the first colour film of Assam), Manoranjan Sur’s Uttaran (1973), Prabin Bora’s Parinam (1974), Deuti Barua’s Bristi (1974), Pulok Gogoi’s Khoj (1974), Padum Barua’s Gonga Silonir Pakhi (1976), Bhabendranath Saikia’s Sandhya Raag (1977), and Atul Bordoloi’s Kollol (1978).
1980s During the 1980s, the Assamese film industry experienced a slight period of decline, marked by reduced audience attendance, weak box-office performance, and an acute shortage of investment. As confidence among producers, distributors, and financiers diminished, film production slowed, and the industry’s economic presence within the state weakened. By the middle of the decade, Assamese cinema faced structural challenges that raised concerns about its long-term sustainability. In response to these conditions, a few pioneering film financiers and producers undertook efforts to stabilise and revitalise the industry by bearing significant financial risk through investment in feature films during this volatile period.
This movement was started in the mid 1980s by film producer Paran Barbarooah, a thriving industrialist who invested large sums of capital in the Assamese film industry. He financed feature film productions, assuming the full financial risk of these investments during unstable circumstances. The first feature film Barbarooah produced was Surooj, which is commonly regarded as the first big-budget Assamese film. Barbarooah allocated substantially greater funds to areas such as cinematography, sound, and overall technical execution, distinguishing it from most earlier releases. The film starring Brajen Bora, Abdul Majid, Pranjal Saikia, Dinesh Das, and Baharul Islam (who was launched in this film) achieved record-setting economic success and attracted significant public attention. It shattered all previous records and became the highest-grossing Assamese film by a large margin.
Contemporary media reports documented a massive crowd on the film’s opening day outside Anuradha Cinema Hall, where the anticipatory audience reportedly shattered the glass entrance to enter the hall.A report published in the 'Dainik Janambhumi' (1985) described an unprecedented turnout on the film’s opening day at Anuradha Cinema Hall, where the overwhelming rush of eager viewers reportedly led to the shattering of the hall’s glass entrance as the crowd attempted to gain entry.
Paran Barbarooah’s leap of faith with Surooj has often been interpreted as the defining moment which started the gradual shift in production strategy, with increased emphasis on higher budgets, improved technical standards, and broader audience reach. Alongside Barbarooah, other producers—Amulya Kakati, R.B. Mehta, and Dharmakanta Saikia—were also active during this phase, collectively participating in efforts to address the economic and institutional challenges facing Assamese filmmaking in the late 1980s.
1990s
The year 1990 marked a transition period in Assamese cinema. Filmmakers experimented with new themes, stronger realism and socially conscious storytelling. Several notable films were released, representing both established directors and emerging voices of the 1990s era.
Film Director Cast Notes Ref. Firingoti Jahnu Barua Moloya Goswami, Biju Phukan Critically acclaimed social drama; Moloya Goswami won the National Film Award for Best Actress. Xanta Xista Hrista Pusta Mahadusta Pulak Gogoi Jayanta Bhagawati, Chetana Das Popular comedy film of the early 1990s. Bhai Bhai Dara Ahmed Biju Phukan, Nipon Goswami A family drama that achieved moderate commercial success. Bonani (re-release) Jahnu Barua Biju Phukan, Moloya Goswami Re-released in 1990 in several theatres due to its popularity and critical acclaim. —
2000s The 2000s saw the rise of multiple notable directors - Bhaskar Hazarika (who directed Kothanodi and Aamis), Prerana Barbarooah (who directed Spirit of The Graceful Lineage, Tumi Aahibaane, Echoes of Sunshine, etc), Deep Choudhury (who directed Alifa and Fishing Samurai), Monjul Baruah (who directed Anur: Eyes on the Sunshine, Kaaneen, etc), etc.
2010s The 2010s saw the release of four Assamese blockbusters- Mission China directed by Zubeen Garg which earned nearly ₹60,000,000/- (Six Crores) in the box office, Tumi Aahibane directed by National Award Winner Prerana Barbarooah which earned nearly ₹20,000,000/- (Two Crores) in the box office, Raamdhenu directed by National Award Winner Munin Barua which earned nearly ₹20,000,000/- (Two Crores) in the box office and Priyaar Priyo directed by National Award Winner Munin Barua which earned nearly ₹20,000,000/- (Two Crores) in the box office.
+ Assamese feature films certified and released in 2010s Year Certified Released 2010 4 3 2011 7 6 2012 11 10 2013 15 14 2014 21 18 2015 19 9 2016 20 17 2017 16 24 2018 18 22 2019 26 14 2020 19 — 2021 24 — 2022 34 — 2023 33 — 2024 18 _ 2025 12 11The 2010s also saw the rise of young independent voices in Assamese cinema, with unique films such as Local Kung Fu (Kenny Basumatary),Village Rockstars and Bulbul Can Sing (Rima Das) garnering accolades both nationally and internationally. Also was released the underground cult short film Muktir Mohakabyo.
The 2010s also saw the loss of many prominent personalities like director Munin Baruah, actor Biju Phukan, musician Bhupen Hazarika, who have played an important role in shaping Assamese cinema.
2018 In 2018, Village Rockstars won the Best Feature Film 'Swarna Kamal' award at the 65th National Film Awards in Delhi, hence becoming the second Assamese film after Halodhia Choraye Baodhan Khai to win this award. The film also won awards in the categories of Best Child Artist, Best Audiography and Best Editing. The film is also selected for India's official entry to 91st Academy Awards making it the first film from Assam to do this.
On 28 July 2018, another Assamese film Xhoixobote Dhemalite received three awards for Best Film, Best Actress and Best Music in 3rd Love International Film Festival in Los Angeles, US. The film also got 8 nominations. It also became the first Assamese film to release in the US.
2019 In 2019, two commercial hit movies were released. one is Kanchanjangha and another is Ratnakar.
Kanchanjangha, released on 5 September become the fastest Assamese film to cross the ₹1 crore mark by doing so in 4 days. The film also crossed the ₹2 crore mark within 1 week after its release. It collected total 7 crore rupees.