The Assamese film industry is one of the oldest in India, with the first Assamese film Joymoti released way back in 1935, directed by Assamese cultural icon Jyoti Prasad Agarwala. This pioneering film was not just a cinematic endeavour but a socio-political statement that laid the groundwork for future Assamese storytelling. Over the decades, filmmakers like Dr Bhabendra Nath Saikia, Jahnu Barua, and Sanjeev Hazarika enriched Assamese cinema with critically acclaimed films. In this blog, we will discuss the Top 10 Assamese Films That Shaped the Industry (Jollywood) along with their brief storyline, accolades received by the film, earning and much more.
Joymoti
Joymoti (1935) marks a historic milestone as the first Assamese film, released on 10 March 1935. Produced and directed by Jyoti Prasad Agarwala, the pioneer of Assamese cinema, the film is based on a play by Lakshminath Bezbaroa. It tells the story of Joymoti Konwari, a 17th-century Ahom princess who displayed immense courage and sacrifice by enduring torture without betraying her exiled husband, Prince Gadapani.
Joymoti was the first Indian talkie to introduce dubbing and re-recording technology, a major technical innovation at the time. The cast comprised amateur local talents, including the lead actress Aideu Handique, the first Assamese film actress.
With the passing away of Jyoti Prasad Agarwala in 1951, the film industry in Assam experienced a temporary lull, particularly during the turbulent years of World War II.
Piyoli Phukan
Assamese cinema regained momentum in the 1950s. A landmark moment came with the release of Piyoli Phukan in 1955 directed by Phani Sarma. Piyoli Phukan is the first Assamese film, which got national recognition. The film was honoured by the Certificate of Merit in 3rd National Film Awards (1955).
The film portrays the life and patriotic struggle of Piyoli Phukan, the son of Badan Borphukan, who revolted against British rule in Assam. For his resistance, Piyoli Phukan was captured and hanged in 1830 at Jorhat, making him one of Assam’s earliest martyrs in the freedom movement.
The music of Piyoli Phukan, composed by the legendary Bhupen Hazarika, remain popular and cherished, even today.
Later in the 6th National Film Awards the 1958 film Ronga Police, directed by Nip Barua, became the first film to receive the president’s silver medal for Best Feature Film in Assamese.
Shakuntala
Shakuntala, directed by the legendary Bhupen Hazarika, was released on 24th November 1961 and remains a milestone in the history of Assamese cinema. Adapted from Kalidasa’s classical Sanskrit play Abhijnanashakuntalam, the film beautifully brings to life the timeless tale of love and separation between Shakuntala and King Dushyanta.
What made Shakuntala groundbreaking was its introduction of partial color sequences—an innovation at the time—and its distinction as the first Assamese musical film. With its lyrical storytelling and visually rich presentation, Shakuntala marked a significant leap forward in Assamese filmmaking both artistically and technically.
Bhaity
Bhaity was the first colour film in Assamese. Bhaiti was released in the year 1972. It marked the beginning of a new era of Assamese movie.
Halodhia Choraye Baodhan Khai
Many would say the 1980s was the one of the best decade for assamese movie industry. It saw the rise of three great filmmakers namely Jahnu Barua, Sanjeev Hazarika and Bhabendra Nath Saikia. Out of those films made in this decade (1980s), Halodhia Choraye Baodhan Khai was the most rewarded and critically acclaimed film. It was the first Assamese film that won the National Film Award for Best Feature Film in 1988. It also multiple awards at the Locarno International Film Festival (1988).
It is a classic in Assamese cinema. Based on an Assamese Novel written by Homen Borgohain, the film portrays the struggles of a poor farmer and his family in rural Assam during the 1980s. The film explores themes of poverty, land rights, and the impact of modernization on rural communities.
The 1990s marked a difficult phase for Assamese cinema, as it struggled to engage the growing audience with quality films. However, Joubone Aamoni Kore, a regional super hit in 1998, took on the might of Bollywood; the craze of the film such that the universal hit Hum Aapke Hain Koun had to be removed from some halls to accommodate Joubone Aamoni Kore.
The early 2000s, the age of DVDs and VCDs, gave the audience some classics such as Hiya Diya Niya, Nayak, Kanyadaan, Dinabandhoo etc. The duo of ‘Munin Barua and Zubeen Garg’ gave the audience some classic romantic drama movies.
Hiya Diya Niya
Hiya Diya Niya, released in 2000 and directed by Munin Barua, ushered in a new era for the Assamese film industry. Marking a clear departure from the struggling cinematic trends of the ’90s, the film became a household favorite and achieved massive commercial success. It was also Zubeen Garg’s first venture as a music director, with his youthful soundtrack resonating deeply with the audience. The film’s Bollywood-like cinematography, fresh storytelling, and urban appeal gave Assamese cinema a much-needed revival and set the tone for 21st century filmmaking in Assam. The trend set by Hiya Diya Niya continued till late 2010s.
Despite the successes of early 2000s, the Assamese film industry struggled to compete in the broader market. It failed to meet the rising demand for fast-paced thrillers and action-packed content. Other contributing factors included limited financial investment, outdated technology, lack of mass-level publicity, and minimal audience awareness.
Mission China
The Assamese film industry, which was once on the brink of extinction due to a series of box office failures and intense competition from Bollywood, saw a turning point with the release of Mission China in 2017. After six years without a single commercial hit, the film broke the jinx and re-ignited hopes for Jollywood. Though critics felt the film lacked cinematic finesse, Mission China proved that Assamese films could be commercially successful if marketed well.
It also marked a significant shift in both cinematography and storytelling. While earlier Assamese films were known for their slow-paced, emotionally sensitive narratives, Mission China introduced a fast-paced, action-packed blockbuster style that appealed to a wider audience.
Driven by Zubeen Garg’s immense stardom, picturesque locations, and catchy music, the film became the first Assamese movie to register record sales of ₹39.97 lakh on opening day and collected a staggering ₹2.4 crore within its first week—setting a new benchmark for regional cinema in Assam.
Village Rockstars and Bulbul Can Sing
Village Rockstars (2017) is a groundbreaking coming-of-age drama that revitalized the Assamese film industry. Written, edited, co-produced, and directed by Rima Das, the film tells a deeply personal and realistic story set in rural Assam. Remarkably, it was made on a shoestring budget using just a Canon 5D camera and a single lens. Despite its humble production, Village Rockstars achieved monumental success—it was selected as India’s official entry to the 91st Academy Awards and went on to win the prestigious Best Feature Film ‘Swarna Kamal’ at the 65th National Film Awards. Its success not only put Assamese cinema back on the national map but also showcased the power of indie filmmaking driven by passion and authenticity.
Rima Das followed up her success with Bulbul Can Sing (2018), which also won the National Film Award for Best Feature Film in Assamese. Like Village Rockstars, this film was made with minimal resources but rich emotional depth, reinforcing the idea that a small budget is no barrier to powerful storytelling. Together, these two films paved a new path for the next generation of Assamese filmmakers, inspiring a wave of indie creators who began exploring fresh themes and experimental styles. Notable among them are films like Bidurbhai and Local Kung Fu.
