Assam Downtown University Shines in Successful Film Acting Workshop Featuring Renowned Actor-Director Kankana Chakraborty

In a bustling and insightful affair today, Assam Downtown University took centre stage as it hosted a highly successful workshop on Film Acting, tailored for the inquisitive minds of its gifted student body. Headlined by the accomplished actor and director, Kankana Chakraborty, holder of a master's degree from the esteemed New York Film Academy's Acting Department, the workshop garnered enthusiastic participation from students within the Performing Arts department.

Emphasizing the institution's dedication to a well-rounded artistic education, the workshop saw active engagement from students enrolled in certificate courses focusing on Film Appreciation and Contemporary Acting. This diverse involvement showcased the university's unwavering commitment to providing a comprehensive and immersive learning experience.

Of particular note is Mr. Chakraborty's prior interaction with students in an online session on 'Film Appreciation,' underscoring his commitment to nurturing the cinematic understanding of the upcoming generation.

The event commenced with a gracious welcome from Dr. Lopamudra G. Chakraborty, setting a warm tone for the enlightening sessions that unfolded. Guiding participants through the intricacies of Film Acting was Ms. Pankhi Kashyap, Assistant Professor in the Department of Performing Arts.

Adding a cinematic flair to the workshop, two short films titled ‘Written By’ and ‘Ek Bachchan E Bohu Bachchan’ were screened. Kankana Chakravarty played the lead role in both films, also serving as the writer and director for the former.

Beyond serving as a skill enhancement platform, the workshop underscored the university's commitment to cultivating a vibrant and comprehensive arts education environment for its students, further solidifying its status as a hub of artistic excellence.

Photo Rituraj Gogoi

Assam down town University Congratulates Ramen Choudhury on Artist Award from Assam Sahitya Sabha

Ramen Chaudhury with Misimi Bharali and Ritismita Sandilya

Guwahati, 12 January: In a notable celebration of artistic accomplishment, Assam down town University (AdtU) extends heartfelt congratulations to distinguished musician Ramen Choudhury for receiving the Jyoti Prasad Agrawal Artist Award from the Assam Sahitya Sabha. The university marked this momentous occasion by organizing a special meeting where Misimi Bardoloi, a key figure in the Administrative Branch, congratulated him on behalf of the university in the afternoon.

The felicitation ceremony, attended by the Honorary Dean of the Performing Arts program, Utpal Datta, and representatives from the Student Welfare Department, including Ritismita Chandilya and Babita Das, served as a joyous acknowledgment of Mr. Choudhury's remarkable contributions to the field of music.

During the gathering, Mr. Choudhury expressed his heartfelt gratitude for the opportunity to actively engage in the cultural activities of the university. His genuine elation at receiving the Jyoti Prasad Agrawal Artist Award underscored the profound significance of this prestigious recognition from the Assam Sahitya Sabha in his illustrious career. The event not only celebrated Mr. Choudhury's achievements but also highlighted AdtU's commitment to recognizing and fostering artistic talent within its academic community.

chat-chit at the roof-top open-air cafe, after the meeting

Chandubi Festival

A Unique Blend of Fashion and Empowerment: An Evening in Hurum

Utpal Datta

On the evening of December 30, 2023, the courtyard of the renowned restaurant Hurum, nestled in the heart of Sonapur, transformed into a spectacle unlike any other. Defying the winter chill, the venue radiated warmth from the crackling traditional wood fires that adorned the surroundings. The ramp itself was an artistic fusion of vegetables, fruits, bamboo, and other ethnic-rural elements, setting the stage for an unconventional fashion show.

The event unfolded with poet Nilim Kumar, author Namrata Datta, and this representative coming together to light a 'jor,' a traditional lighting device. Following this symbolic initiation, Nilim Kumar recited a poem, signalling the commencement of a truly distinctive fashion experience.

Conceptualized, planned, and flawlessly executed by Chef Atul Lahkar and Jewellery designer Wahida, the models for this remarkable show were local women who earned their livelihood by selling vegetables and home-grown food items to Atul Lahkar. The culinary maestro's restaurant, 'Hurum,' specializes in organic cuisines sourced from nearby villages, where these hardworking women play a pivotal role. In a thoughtful gesture, Atul had set up a small vegetable market adjacent to his restaurant, providing these rural women with additional space to grow their businesses.

The sellers-turned-models, under the creative guidance of renowned designer Wahida, adorned themselves with meticulously crafted ornaments and costumes. The runway came alive with their graceful strides, accompanied by the soulful tunes of folk music. The winter evening shimmered with the glow reflected in the smiles of these empowered women. Folk artists, Biren Bodo and Raghu Bodo along with the anchor Manoj Deka, added to the enchantment with both vocal and instrumental performances, further elevating the spirit of the show.

While the event appeared to be a fashion show on the surface, its underlying philosophy was profound—a showcase of providing empowerment for working women. These resilient ladies, who dedicate a significant portion of their lives to the insistent pursuit of livelihood, found an ally in this event by Atul-Waheeda. While the show may not revolutionize their daily lives, it undoubtedly strengthened their confidence to face the ongoing challenges.

A resounding round of applause is well-deserved for Atul and Waheeda, whose vision and efforts crafted an evening that seamlessly blended fashion and empowerment, leaving a permanent mark on the hearts of all who attended.

Photo: Anmol Singh

Asha Bhosle Unveils 'VOICE OF THE NATION,' a Book About Lata Mangeshkar's Life

In a grand event at her Mumbai residence, the renowned singer Asha Bhosle launched the book "Voice of the Nation," which narrates the life of Lata Mangeshkar. The book is an English translation of the Assamese book "Asomi Ailoi Pranam," authored by Devajit Bhuyan. Having been an instant hit with several editions, senior journalist Achyut Kumar Patowary translated the book into English, and its publication was made possible with the assistance of Dhiraj Goswami from Assam Book Hive, a leading publishing house in Guwahati. Assam Book Hive had also published the original Assamese version.

Asha Bhosle, accompanied by Lata Mangeshkar's sister Usha Mangeshkar, spoke highly of the book, commending its special effort in portraying the story of the "tune empress." Asha Bhosle fondly recalled the strong connection between Dr. Bhupen Hazarika and Lata Mangeshkar, expressing her desire to visit Assam and applauding the book for maintaining the connection between Mangeshkar's family and Assam.

Discussing Lata Mangeshkar's impact on Indian music, Asha Bhosle called her "incomparable." She expressed concern about current music trends and appreciated the book for preserving Lata Didi's timeless songs.

Despite being 90 years old, Asha Bhosle remains active in her work, crediting the lessons she learned from Lata Didi. She aims to stay relevant and move with the times, valuing the wisdom from her older sister. Usha Mangeshkar, present at Lata Mangeshkar's home in Prabhukunj, described the book as a witness to history, filled with many untold stories and pictures from Lata Didi's life. She found it fascinating and wished her sister could see the book. Usha Mangeshkar recognized Lata Mangeshkar's unique contribution to the Indian music industry, highlighting the lasting impact her sister has had.

Bollywood celebrities Suresh Wadekar and Rupkumar Rathore also praised "VOICE OF THE NATION," emphasizing the importance of such books in introducing Lata Mangeshkar's life and talents to younger generations. They expressed gratitude to the author, Devajit Bhuyan, for his exceptional work.

The English version of "VOICE OF THE NATION" is published by Assam Book Hive and will be available at the upcoming Guwahati Book Fair. This marks a significant moment in sharing Lata Mangeshkar's legacy with a wider audience.

Kankana Chakrabarty won the Best Actress Award at the NEFVTA Film Festival

Guwahati - In the NEFVTA Film Festival held in Guwahati, Kankana Chakrabarty emerged as the distinguished recipient of the Best Actress award. The Los Angeles-based Indian actor earned this coveted accolade for her spellbinding performances in the films 'The Rose Garden' and 'Malti.' Simultaneously, Sabyasachi Chakrabarty claimed the Best Actor title for his notable role in the film 'Cabbage.' The duo, having previously shared the screen in 'Written By' and 'Anurup,' both directed by Kankana Chakravarty, marked a standout presence at the awards ceremony.

Expressing profound gratitude, Kankana Chakrabarty stated, "I am genuinely overwhelmed and honoured by this award. My heartfelt thanks go out to my audiences and directors Nidheya Suresh and Mrunal Mestri for entrusting me with their characters."

Mrunal Mestri, Best Director, Malti

Among the array of additional winners were Akankhya Bhagawati (Best Film), Bhaskar Hazarika (Best Film), Mrunal Mestri (Best Director), Anirudh Baruah (Best Cinematography), Gourav Roy (Best Editing), Sapatrshi Das, Abhijit Gogoi, and Buildingstone Sangriang (Best Sound Engineer). Abhinav Meher clinched the Best Music award, while Rathindran was honoured with the coveted Jury Award.

Cake Mixing Ceremony at Assam down town University

Guwahati, 22nd December 2023

In a festive atmosphere marked by camaraderie and holiday spirit, Assam down town University (AdtU) today hosted a grand Cake Mixing Ceremony on its campus. The event, inaugurated by the Hon’ble Vice Chancellor, Prof. N.C. Talukdar, and Pro-Vice Chancellor, Prof. Pranveer Singh, witnessed the participation of esteemed faculty members, administrative staff, and special guests.

The event aimed to foster a sense of community and inclusivity, with active participation from AdtU students, faculty, and even students from Guwahati Commerce College, Guwahati College, and nearby schools. Together, they rolled up their sleeves and immersed themselves in the delightful task of mixing ingredients to create a scrumptious Christmas cake.

The ceremony was graced by the presence of Prof. Bandana Dutta, the Dean of Studies, Prof. S. Goswami, and Trustee Members, adding to the vibrancy of the occasion. Deans of Faculties, Heads, Faculty Members, Registrars, and administrative staff members also joined the festivities.

Dr. Bhola Chourasia, Head of Discipline of Hospitality & Tourism, extended a warm welcome to the distinguished guests, including Dr. Santosh Kumar Upadhyay. The meticulous preparation and decoration of the celebratory cake were entrusted to a team comprising Mr. Mridu Pawan Rabha, Mr. Ritwick Goswami, Santanu Sarma, Meenakshi Das, Arjina Begum, and Hrishikesh Roy.

The array of ingredients included a rich assortment of fruits such as raisins, glazed red cherries, orange peel, tutti-frutti, dried apricots, prunes, walnuts, cashews, almond flakes, and pistachios. The addition of ground cardamom, cinnamon, and cloves added a hint of spice to the concoction. The mixing process reached a spirited level with the pouring of various liquors and syrups like golden syrup, molasses, honey, and vanilla essence. The resulting mixture was carefully sealed in airtight bags and set aside to mature.

The event also acknowledged the commendable efforts of the Discipline of Hospitality and Tourism Management & BTM students who successfully organized the ceremony while maintaining discipline and spreading joy. The venue was transformed into a festive haven with colorful balloons adorning the surroundings. A fully decorated Christmas tree, complete with gifts underneath, added to the holiday ambiance. Guests were provided with hand gloves and festive hat gears, enhancing their participation in the cake mixing ceremony. The Cake Mixing Ceremony at Assam down town University not only marked the beginning of the Christmas festivities but also exemplified the spirit of togetherness and collaboration within the academic community.

What is Narcissistic Personality Disorder? Swapna Dutta Deka explains.

Ahalya – an abstract cinematic experience

Film Criticism | Utpal Datta

Chinmoy Barma's "Ahalya" emerges as a visual spectacle, surpassing conventional storytelling boundaries to offer audiences a thought-provoking journey through a landscape of vibrant and imaginative imagery. The film's title Ahalya, is drawn from the mythological narrative of a character transformed into stone due to a curse by her husband. This reference introduces an enigmatic element that leaves viewers pondering its correlation with the abstract narrative that unfolds.

Barma masterfully defies traditional storytelling norms. He blended elements such as colour, sound, diverse properties, characters, and actions to produce a kaleidoscope of emotions. "Ahalya" stands as a daring experiment, urging viewers to delve into the director's artistic dominion and decode the latent messages. The absence of a linear plot does not diminish the film's impact; instead, it metamorphoses the viewing experience into an abstract poem. Such experiments create new avenues and establish the possibilities for the expansion of the creative process. 

Despite the absence of conventional dialogue, the film incorporates subtitles, unfortunately proving to be a disruptive element. The illegibility of these subtitles detracts from the immersive experience.  

The collaborative efforts of the entire team shine through in "Ahalya." Each member contributes to the success of this vibrant and experimental project, showcasing a synergy that breathes life into Barhma's visionary work. From the evocative cinematography to the atmospheric soundtrack, every element harmoniously contributes to the film's abstract narrative.

In conclusion, "Ahalya" stands as a courageous piece of experimental cinema. Its abstract beauty and thought-provoking imagery render it a bold and commendable cinematic experience. Chinmoy Barma and his team have crafted a visual poem that transcends the confines of traditional storytelling, leaving an indelible mark on the landscape of experimental filmmaking.

"Malti": Like a Flower, it spreads Fragrance

Film Criticism | Utpal Datta

In Hindi, 'Malti' is the name of a little flower, distinguished by its delicate fragrance.

The film "Malti" opens with a woman in her thirties entering a house. Two framed photographs adorn the walls: one capturing a girl receiving a ring (a marriage proposal), the other depicting her embracing a man (indicative of marriage). Limited information about the woman is provided. She returns home, takes a bath, and searches for clothes in the closet. As she touches a man's robe, her expression reveals a desire not for the fabric but for the man within. The emotion is palpable, deepened by a melodic accompaniment. It becomes apparent that the robe belongs to her beloved, and through it, she senses his presence. Selecting another robe, she detects a scent, halting her humming; the joyous closeness on her face dissipates, replaced by a pained question mark.

This sets the tone for the film. Mrunal Mestri, the writer-director of the sixteen-minute film 'Malti,' explores the emotions of a newly married woman discovering her husband's proximity to another woman. While such narratives are not novel in cinema, the film's real strength lies in the innovative approach taken by the writers and directors in visual storytelling.

Director Mrunal Mestri

The heroine sings at the film's outset, offering no linguistic cues. Once the humming ceases, the film remains entirely devoid of audible sounds and dialogue—a dialogue-free cinematic experience. The director adeptly compensates for the absence of dialogue by strengthening the visuals to convey the narrative effectively. The primary crisis of the story is introduced within the first two minutes, a testament to the director's skill. By isolating the woman inside the house, the director successfully immerses the audience in the protagonist's emotional turmoil. The actress's gestures convey her anticipation of her husband, evidenced by a smoky candle lit at night. While intimacy is shared in bed, her face betrays no interest, with only the presence of the other woman reflected in her eyes.

The film, presented in black and white, employs shadows and lights aesthetically to complicate scenes. Zhen 'Donny' Li's camera work contributes to the film's allure, with certain long shots effectively expressing the emptiness within the woman's mind. Luis Morales's background music enhances the film's appeal, while Alexa Ruvalcaba's editing skillfully balances the mood and pace of the story.

The director's choice of a talented actress, Kankana Chakraborty, proves pivotal to the film's success. Without any dialogue, Chakraborty eloquently communicates the subtle emotions of disbelief, surprise, distrust, and pain through facial and body expressions. Two standout moments include her poignant reaction while smelling the shirt and her solitary contemplation at the dining table. The actress seamlessly embodies the character, and a lion’s share of this credit is due to the director for this achievement.

The film tackles a complex theme, utilizing all elements of filmmaking proficiently to achieve its intended impact. Maintaining the delicate balance among numerous aspects is challenging, yet director Mrunal Mestri succeeds admirably. Although the name 'Malti' is presumed to refer to the film's heroine, the film itself, devoid of dialogue, refrains from explicitly naming her. After viewing the film, one might ponder the choice of the name Malti. Perhaps, like the flower, the film 'Malti' is diminutive yet leaves an enduring appeal, akin to the fragrance of the flower.

The story of an ice-cold relationship

Film review | Utpal Datta ([email protected])

It's approaching evening, and a woman in her forties is seated in her house, engrossed in a video conference on her laptop. The phone rings, prompting her to step out of the conference to take the call. Her facial expressions and tone shift to a mundane and unwanted conversation. After the call concludes, she re-enters the conference, restoring a smile to her face. This marks the beginning of the film, subtly expressing that the woman inhabits two distinct worlds. An evocative entrance unfolds, inviting viewers into the film.

Titled 'Deep-Fridge,' this Bengali film hints at a section of the refrigerator where ice quickly forms. The name unmistakably suggests an urban theme. The narrative revolves around the relationship between two individuals - Mili, the woman introduced first in the film, and her husband Swarnava, both divorced. They share a child named Tatai, who resides with his mother. Tatai's father has remarried and is anticipating another child. When the father visits, and Tatai reciprocates, his father's second wife, Ronja, establishes a warm bond with him.

The initial scene's conversation unveils Mili's assumption of full responsibility for Tatai, with Swarnava equally invested. On that stormy evening, Swarnava visits to inquire about the child's health. Reluctantly, both individuals engage in conversation, focusing on the child's well-being. The child persuades his father to stay the night, and with no alternative, they hesitantly begin talking, gradually revealing the thoughts concealed in their hearts. The accumulated ice between them, preserved in the deep freeze for so long, begins to thaw.

Their marital happiness is disrupted when a third party enters, altering the course of their lives. While such narratives are commonplace in films, Arjun Dutta's approach is distinctive. Swarnava marries a close acquaintance and is expecting children, while Mili falls in love with a younger man. Despite their intimate relationship being acknowledged by the boy's family, Mili is hesitant to formalize it. She confides in her male friend, describing this intimacy as a form of escape. The film explores why Mili, who voluntarily embraces a free life, perceives this connection as an escape. As the daughter of a broken relationship, Mili harbours disdain for her mother, preventing her entry into her home. Despite Swarnava's repeated apologies, Mili remains dissatisfied.

The film unravels the complexities on that rainy night, delving into various aspects such as questions, pride, conflict, sense of rights, responsibilities, and more, providing Mili with answers. It's a portrayal of the ice in the mind, needing to melt and flow like water for life to progress.

While the film primarily addresses personal issues, the director's adept storytelling elevates it to a profound exploration of the human psyche. Presented against the backdrop of a rainy night, the film captures the gloomy mood of the protagonist living in a confined space. Events unfold indoors, often in low light or even complete darkness, while flashback scenes bask in bright light, indoors and outdoors. Cinematographer Supratim Bhol skilfully utilises light and shadow to intensify the prevailing sense of claustrophobia. Capturing facial expressions in low-light situations is challenging, yet Supratim adeptly manages, maintaining the scene's mood. The blue colour effect harmonises indoor scenes with the prevailing mood. The flashback scenes, featuring Mili in a bright red saree, visually symbolize her strength. In a morning scene following a troubled night, the sunlight delicately highlights the actor's body and the room's interior, showcasing the filmmaker's sensitivity.

In this 100-minute film, Tanushree Chakraborty, portraying Mili, seizes the opportunity to express diverse emotions, perceptions, and reactions. Her nuanced performance, marked by restraint and avoidance of exaggeration, positions her as a potential contender for film awards. Abir Chatterjee, in the role of Swarnava, delivers a natural performance. The complexity of the principal character's emotional journey is navigated with skill, given Abir's experience. However, the kissing scene between Abir and Tanushree feels mechanical and hesitant, contrary to its narrative demand. Anuradha, playing Ronja, impresses with evident improvement as an actress.

The film alternates between the present and the past, with the present progressing chronologically and past scenes interjecting sporadically. Editor Sujay Dutta Roy adeptly manages this intricate pace transition.

The Western music used as background music complements the film's urban setting. Music director Soumya Rit seamlessly incorporates Indian Classical and Folk music as per scene and mood requirements. The sweet songs, especially the one composed with a blend of Mallar and Bhairavi ragas (Gagne Garaj Barse), stand out for their unique fusion and ability to enhance visuals. The singer Mekhla Dasgupta deserves special mention. However, the inclusion of Kaviguru Rabindra Nath Tagore's name as a lyricist in the film's credit title seems unjustified. Tagore did not write songs for Arjun Dutta's films; Dutta used uncopyrighted songs for his work. Tagore's name should be mentioned with proper dignity and respect, a practice observed in many Bengali films.

The screenplay (Arjunn Dutta and Ashirbad Maitra) could have benefited from greater attention to character development with visual details. While Swarnava's profession is labelled as an economist, this alone falls short in establishing his credibility. Characters visiting Mili's home needed more contextual references to firmly establish their identities. A brief verbal introduction proves insufficient for character identity establishment.

In his gentle and nuanced narrative, Arjunn Dutta gracefully unfolds the story of a divorced couple. As a suggestion for future endeavours, expanding creative horizons beyond the confines of upper-middle-class society could add a layer of richness to cinematic encounters.

"Run to the River": A Cinematic Exploration of Freedom and Society

Film Review | Utpal Datta

"Run to the River" by Anuparna Roy digs into the profound aspects of freedom within a woman's mind against the backdrop of post-independence rural Bengal. The film addresses several crucial societal issues, including class division, social movements, power dynamics, exploitation, and the status of women. The director's intentions, at times, require a closer examination for a more comprehensive understanding.

Set in rural Bengal, the film vividly portrays the challenges of rural life. Roy skillfully weaves a narrative that not only captures the struggles of women but also paints a broader picture of the social context in which they live.

A notable strength of the film lies in its unapologetic portrayal of women in this setting. Roy employs the protagonist's journey to navigate the complexities of gender dynamics. While tackling various issues, the director occasionally sacrifices the clarity needed for a precise expression

It is evident that Anuparna Roy is passionate about filmmaking and aims to advocate for social issues. Her commitment to shedding light on relevant topics is commendable. She could benefit from a heightened focus on the language of film as a director. A more nuanced approach to storytelling and a dedicated emphasis on the director's vision would undoubtedly enhance the film.

"Run to the River," despite occasional narrative ambiguity, stands as a testament to the hard work invested by every department involved. The film is a collaborative effort where each aspect, from cinematography to sound design, contributes significantly to its success. It offers a cinematic experience that is both immersive and thought-provoking, thanks to the team's dedication.

Anuparna Roy's "Run to the River" draws attention to pressing societal issues in a commendable manner. While the film could benefit from a more focused directorial vision, its exploration of freedom and societal dynamics renders it a noteworthy addition to the cinematic landscape. Roy possesses the potential to further enrich our cinematic experiences with continued dedication and refined cinematic language.

IAS Officer Swapna Dutta Deka Breaks New Ground with Assamese Book on Narcissism: Governor Commends Her Efforts

Guwahati: In the midst of a busy schedule and numerous responsibilities, many administrative officers are actively contributing to the cultural wealth of the country. Swapna Dutta Deka, an IAS officer, has joined this list by publishing her book 'Narcissism'. Recently, she had the honor of meeting the respected Governor of Assam, Sri Gulab Chand Kataria, and presented him with the first copy of the book. The Governor congratulated her on the book and praised her efforts.

This is the first Assamese book on Narcissism. Ms. Dutta Deka wrote the book in simple language, explaining the theoretical aspects with relatable examples from everyday life and situations. She also analyzed a few popular films in the context of Narcissism, aiming to capture the reader's interest in the subject. The book includes some poems on the subject, providing a creative perspective on the theme.

The book's design is unique, featuring more breathing space, drawings, an unusual layout, and format that make it visually captivating. Dr. Sanjib Bora handled the design, and basic illustrations were done by Barna Deka. Purbayan Prakashan, on behalf of U D Foundation, published the book.

This marks the ninth book by the author, who is not only an IAS officer but also an actor, theatre activist, and artist associated with Akaswani.

‘Gulzar is a part of my creative journey’-Namrata Datta

‘Growing up, Gulzar's lyrics were not just melodies to me; they were an intimate connection etched into my heart. As a singer, his compositions echoed through my childhood, and I found myself frequently humming his tunes. However, it wasn't just the music that captivated me; it was the enchantment woven into his words. This profound admiration for Gulzar's artistry sparked my interest in exploring his literary world, leading me to his book, 'Actually I met them.' To my astonishment, the journey took an unexpected turn when Sanjay Kumar Sanyal, a respected producer at Assam Publishing Company, presented me with a unique opportunity – to translate Gulzar's book into Assamese. The outcome was the Assamese rendition named 'Smritir Manuhbor.' The unveiling ceremony was graced by Mumbai's screenplay writer and director, Akashaditya Lama, alongside Kolkata's Ranjan Ghosh.’

Subham Panseshwar delved into a conversation with Namrata Datta about the book and her fascinating journey of creativity.

Q: How did your foray into writing begin?

Namrata: My journey into writing commenced during my school days, although initially, I never envisioned sharing my creations with the world. Singing occupied the forefront of my pursuits at that time. After marriage, a serendipitous encounter with La Rochefoucauld's 'Maxim' ignited an unplanned translation journey, fueled by a growing attachment to the book.

Fate intervened when I met Mr Jiten Deka, a senior publisher from Nalbari, who, after a brief discussion about books, requested a manuscript. His unwavering confidence became a pivotal catalyst. Completing the translation and handing it over to him, I soon discovered a report in the weekly newspaper Sadin, acknowledging the Assamese translation of 'Maxim' by me. It was a report by Bedabrat Bora. This unexpected recognition was a gratifying milestone.

Q: Tell us about your original writing.

Namrata: Inspired by Keshab Mahanta's Assamese lyrics, I harboured a fervent desire to unravel the untold stories behind those melodious tunes. Approaching him, he generously agreed to share his insights, culminating in the creation of 'Priyatama ei Jivan.' The book garnered positive feedback. Additionally, I authored a novel titled 'Kathopakatha,' derived from a distinctive Sunday program I conceptualized for a local FM channel. It was a fictional narrative in the form of conversation. Curated songs were inserted in between the conversation to enhance the situation and the mood of the narrative. Rituparna Das, a distinguished broadcaster and playwright-director, lauded the program's form and content. Later, I expanding this concept into a novel. Mr Das hosted the book release event. Pervez Ahmed, a filmmaker, and my school friend, even translated parts of the novel into an English film under the title ‘Cherrypicker’, now available on mxplayer.

Q: You wrote a book on Assamese Lyrics and the Freedom movement. Could you share more about this book?

Namrata: This book emerged from a research project that earned me a Senior Fellowship from the Indian Government's Department of Culture. Titled 'Reflection of India's Freedom Movement in Assamese Lyrics,' it proved to be a laborious yet profoundly fulfilling undertaking.

Q: What about your book on Modoji's Maan Ki Baat?

Namrata: The concept for this book originated from Sanjay Kumar Sanyal. We meticulously selected excerpts from Modiji's 'Mann Ki Baat,' focusing on social responsibility, community development, success stories, and innovative ideas evident in his speeches. I firmly believe these speeches unveil the leader's inner spirit, philosophy, and administrative approaches. The resulting book, titled 'Mor Priya Deshbashi,' is an essential read for those seeking to understand the man behind the Prime Minister.

Let me add one line more, I translated some poems by GulzarJi and those were published in book form by a prestigious publication house of Assam- Journal Emporium. The title of the book is ‘Gulzaror Kabita’ (Poems by Gulzar). That was probably first translation of Gulzar in Assamese book form.

Beyond her writing journey, her career has taken diverse paths, from being a casual announcer and news reader at Akaswani and Doordarshan to transitioning into private TV channels and FM radio. She has also worked in newspapers and magazines. Presently, her active involvement in social work. Her projects includes co-authoring a book with my husband - , titled 'Pati, Patni and Bandhabi (Man, woman and Girl Friend).' And household hacks for working women titled Gharuwa Diha (Household Tips).

'Someday' Chronicles Rhino Hero's Inspiring Legacy, selected for KIFF

Vishal P Chaliha’s latest short film ‘Someday’ has found an honourable place in the forthcoming Kolkata International Film Festival. This is a short environmental documentary film on the retired Forest Conservator of Forest Shri Dharanidhar Boro who served in the Assam Forest Department. This film presents how Dharanidhar Boro tried to curb rhino poaching primarily in Manas and Kaziranga National Park with his non-violent way of handling rhino poachers. Dharanidhar Boro served for many years in the Agoratoli Range of Kaziranga National Park where he established a school for the villagers. The villagers living near the national park have always been influenced by rhino horn smugglers to help them locate and kill rhinos. Dharanidhar Boro endeavoured to build a positive connection with the villagers, shielding them from the influence of wrongdoers.

Director Vishal P Chaliha

Director Vishal P Chaliha is a writer and actor from Guwahati. His first feature film Sijou (2021) premiered at the 52nd International Film Festival of India in the Indian Panorama section.  ‘Someday’ (2023) is the second film he has directed. Now, Vishal is working on his next feature film. He is playing a character in an upcoming film of Rima Das.

Producer Priyam Chaliha

Priyam Chaliha, is an active producer of film and TV programmes.  Her film ‘Tai Phake’ was awarded the National Film Award and she was also one of the producers of the film Sijou. Someday is her latest work.

The path I have chosen demands a holistic approach to life

Tannistha Biswas came to limelight with the character Kusum Kumari in the film HIRALAL by Arun Roy. For this film she bagged two Filmfare nominations. Her second film as lead, Kalkokkho has brought her the Best Actor Award from Boston International Film Festival. Also, this year, it has won the National Film Award in Best Bengali Film category. There are so many interesting works are coming in future.

Excerpts of a conversation with UTPAL DATTA

Good health is one of the major requisites in your profession. How do you take care of that?

Leading a healthy life is a fundamental aspect of any profession. Regardless of one's career path, prioritizing the well-being of the body is crucial. Personally, I believe that caring for one's body involves maintaining a balanced diet that primarily consists of homemade, properly proportioned, and nutritious food. It is important to note that carbohydrates are a valuable component of this diet and should not be omitted. To complement my dietary choices, I engage in a variety of activities aimed at keeping me in good physical condition. These include regular walks, yoga practice, and staying adequately hydrated to facilitate the shedding of any excess calories. Additionally, I make it a point to avoid late nights, as ample rest is an essential aspect of overall health and well-being.

You have to feel lots of mental pressure in your profession. How do you make yourself prepare to cope with that pressure?

In any profession, there are inherent hazards and challenges. It is crucial to maintain unwavering faith that even if failure is a possibility, the lessons gleaned from these setbacks will ultimately enable personal growth and improvement. Embracing the concept of trial and error is vital. Dark days are an inevitable part of life, and maintaining patience during such times is paramount. This principle holds true in my profession, just as it does in any other. Regardless of the occupation, a firm belief in one's ability to achieve their goals can prove impervious to external pressures. Success may require time and perseverance, and there will undoubtedly be failures along the way, but sustaining a positive outlook is a lifeline during these challenging moments. Meditation plays a significant role in bolstering my mental resilience, helping me think more clearly and preventing the weight of mental pressures from taking a toll. I find that self-confidence, coupled with a disciplined approach, effectively keeps stress at bay.