“The reality is always richer than fiction” — says filmmaker Pankaj Bora to Utpal Datta. An intimate conversation on cinema, rural life, storytelling, and the emotional truths shaping independent filmmaking from Assam to global audiences.

Dr. Pankaj Bora is currently serving as an Associate Professor in the Department of Political Science at Madhabdev University, Assam. His debut feature film Noi Kotha / River Tales marks his first work as a scriptwriter, director, and producer. For the past fifteen years, he has been actively involved in cultural activism, working to promote socio-economic and political awareness among rural communities. Alongside his academic and cultural engagements, he also contributes regularly as a columnist to a leading Assamese vernacular daily.

Noi Kotha / River Tales has drawn considerable attention among film enthusiasts after travelling to several national and international film festivals and receiving recognition. The film was officially selected at the 31st Kolkata International Film Festival, 20th International Film Festival of Thrissur (Kerala), 23rd Chennai International Film Festival, Guwahati Asian Film Festival 2026, and the 4th Dimension Independent Film Festival, Indonesia. It has also received notable honours including the Best Actor Award at the 8th Sailadhar Baruah Film Award (North-East), the North East Spotlight Award at the Guwahati Asian Film Festival, and the Best Editing Award at the North East India Film Festival, Manipur.

In the following conversation, Dr. Pankaj Bora reflects on his early life in Dhakuakhana, his gradual journey into filmmaking, the challenges of pursuing cinema from a place with little film infrastructure, and the deeper human experiences that shaped Noi Kotha / River Tales. The discussion also touches on questions of storytelling, social change, and the ways in which cinema can document fragile and disappearing ways of life.

Early Life And Observation

When you look back at your early years in Dhakuakhana, do you feel that the environment there quietly shaped the way you observe people and their lives?

Absolutely. Growing up in a village and later spending more than a decade working at Dhakuakhana, I experienced life at a slower, more contemplative pace. That rhythm allowed me to observe people closely—their silences, struggles, and unspoken emotions. The rivers like the Brahmaputra and Charikoriya, the changing seasons, and the texture of everyday conversations became my earliest lessons in storytelling. More than anything else, it was this environment that quietly shaped my sensitivity and way of seeing the world.

Was there a particular film, filmmaker, or moment in cinema that made you feel that storytelling through film was something you wanted to pursue seriously?

It was more of a gradual realisation than a single moment or a particular film, but watching films by directors like Satyajit Ray made me realise that cinema could be deeply rooted in ordinary lives yet profoundly universal. That understanding slowly grew into a conviction that stories from places like ours also deserve to be told.

Changing Perspectives

Your first short fiction film dealt with LGBTQ themes. Did working on that subject change the way you look at society or human relationships?

Yes, it did. Working on that film pushed me to confront my own assumptions and biases. It helped me understand how society often marginalises identities it doesn’t fully understand. More importantly, it deepened my belief that human relationships are rooted in acceptance, empathy, and the need for dignity.

Many filmmakers talk about the loneliness of the creative journey. Did you ever experience moments when you doubted whether continuing with filmmaking was the right path?

Many times. Coming from a place with almost no filmmaking ecosystem, self-doubt is inevitable. There were moments when I questioned whether it was practical to continue. But somehow, the urge to tell stories always felt stronger than the uncertainty.

While working as a teacher, did you ever discuss cinema with your students? If so, how did they respond to the idea of filmmaking as a creative pursuit?

Yes, I often discuss cinema with my students. Initially, they see it mostly as entertainment, but when we start analysing films as texts, their curiosity grows. Some of them begin to see filmmaking as a serious creative and intellectual pursuit, which is very encouraging.

Motivation Without Infrastructure

In a place like Dhakuakhana, where film infrastructure is almost absent, what kept your motivation alive to keep thinking about cinema?

The stories around me kept me going. I realise that even without infrastructure, we are surrounded by narratives that are raw and real. Also, the accessibility of digital tools and the exposure to world cinema helped me stay connected to the medium.

During the making of Noi Kotha/River Tales, was there any unexpected incident—on set or during research—that changed your perspective about the story you were telling?

Yes, during research, I encountered individuals whose lives were even more layered and complex than what I had imagined. Their resilience and quiet dignity made me rethink certain aspects of the narrative. It reminded me that reality is always richer than fiction.

Your film speaks about the decline of a profession. Do you think cinema has a responsibility to preserve such stories before they disappear from social memory?

I firmly believe that cinema carries this responsibility. Films can serve as vital archives of lived experiences, capturing ways of life. When certain professions or traditions begin to disappear, documenting them through cinema becomes an important act. At the same time, it is equally essential for art to critically engage with the realities behind such changes, examining why these ways of life are disappearing.

Audience And Universality

After the film travelled to festivals, did you feel that audiences outside Assam understood the emotional core of the story in the same way local audiences did?

Interestingly, yes. Audiences outside Assam connected with the emotional core—the sense of loss, change, and human resilience. It reaffirmed my belief that local stories can have universal resonance.

Now that you have completed this journey from teaching in a small town to directing a feature film, how has filmmaking changed your own understanding of life and society?

Filmmaking has made me more patient and more attentive to details. It has taught me that every life has a story worth telling. More importantly, it has deepened my empathy—I now try to understand people and situations without rushing to judgment.

This conversation with Dr. Pankaj Bora offers a glimpse into a filmmaker whose journey from the quiet landscapes of Dhakuakhana to the wider world of cinema reflects both persistence and sensitivity towards ordinary lives. His reflections remind us that cinema often begins with attentive observation of the world around us, where even the smallest stories carry profound meaning.

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