Amar Deep Gogoi’s Collage, released on August 1, 2025, is a powerful Assamese feature that revisits the turbulence of the late 1970s–80s—marked by the Assam Agitation and the contentious 1983 elections. Through the journeys of Baikuntha and Abinash, two idealists caught in upheaval, the film captures youth, rebellion, and heartbreak against a backdrop of political unrest.
Premiered at GAFF 2025, where it won Best Screenplay and a Jury Special Mention for Cinematography, Collage has been praised as one of the most authentic portrayals of Assam’s agitation years. Beyond recognition, it carries a regional story to the national stage, prompting reflection on identity, resistance, and reconciliation. Gogoi now hints at his next ambition—a film on the “secret killings” in Assam.
In this conversation, he speaks about the inspirations, politics, and urgency behind Collage.
Q. What inspired you to make Collage? Was it a personal memory or a historical moment that moved you?
A. I believe art must be rooted in life, not created solely for entertainment. Collage drew inspiration from both ideology and the lived experiences of writer-producer Sumitra Hazarika—her struggles and the turbulent Assam of the 1980s–90s. Having witnessed parts of that era ourselves, and studying it later, both personal and ideological forces shaped the film.
Q. Assam’s agitation years are a sensitive and politically charged subject. What made you decide to set your story in that era?
A. The Assam Agitation is rarely discussed in depth today, especially among the younger generation, and political cinema in Assam—or India—is seldom supported. Yet the turbulent 1980s and ’90s shaped modern Assam, leaving lasting scars: ethnic divides, eroded trust, stalled nation-building, and fractures in personal relationships. From the Naxalite movement to the rise of ULFA, this era reshaped the state’s cultural and social fabric. Collage was made to reopen these conversations. Though its narrative may seem simple, its soul is deeply political, with layers that require an understanding of that era. Without that context, the film may feel disjointed—but for those who look deeper, it offers a sensitive portrayal of a period that still defines Assam today.
Q. How much of the film is based on real events or people, and how much is fictionalized for narrative purposes?
A. Collage originates from producer Sumitra Hazarika’s first-hand experiences of the Assam Agitation, supported by eyewitness accounts and research. While rooted in real events, the film blends fact with imagination and cinematic interpretation. We aimed to balance truth and fiction—whether we succeeded, only the audience and time will tell.
Q. Was it challenging to balance historical accuracy with cinematic storytelling?
A. Balancing historical accuracy with cinematic storytelling is always a challenge—especially for a director. If you lean too much toward realism, the risk is that the film may feel like a documentary. So I was very careful with the storytelling. The audience should not only be transported to that era, but also immerse themselves in the emotional depth of the story we’re telling. As a director, I tried my best to maintain that balance. Whether I succeeded or not—that’s for the audience to decide.
Q. The title Collage suggests fragments coming together. Can you explain its metaphorical significance?
A. The word Collage comes from the world of visual art. We were inspired by Cubism, pioneered by Picasso and others. Since we were trying to weave together multiple stories through a single thread, no other title felt as fitting. The name not only gives the film its rhythm but also transforms into a symbolic language. Of course, viewers are free to interpret it in their own ways as well.
Q. From set design to costumes, how did you recreate the Assam of the 1970s–80s authentically?
A. Recreating Assam of the 1980s and ’90s was one of our biggest challenges. Houses and doorways were easier to find, but everyday objects from that era were difficult. For instance, sourcing a bullock cart seemed impossible until we pieced one together—wheels from one village, a canopy from another, and bullocks from yet another—thanks to the tireless efforts of art director Ranjit Thakuria. Costumes and styling were equally demanding, since clothing and women’s hairstyles change fastest over time. We researched extensively, studying old photographs. Costume designer Navanita Gogoi and makeup artist Polly Gogoi worked with immense dedication, which shows on screen.
Every detail was considered: electricity setups, roads, shops, dhapaat (palm-leaf fans), bichoni (hand fans), kerosene lamps, safety pins, pira stools, torches, wall hangings, bedding, thin pillows, gharur covers, utensils, sandals, and more. Even body language was adapted—actors were trained to walk, sit, and speak in ways true to the time. These efforts ensured that Collage brought its era vividly to life.
Q. What were some of the biggest production challenges while shooting in politically or emotionally loaded locations?
A. Thorough pre-production meant we faced few hurdles during the shoot, even though Collage is my first feature. For us, making a film is like giving birth—painful yet deeply fulfilling. Political challenges were expected and accepted, but the emotional weight of creation was always present, and still remains.
Q. The film features many nuanced characters—Baikuntha, Abinash, Aimoni, Robson, Rohila Auntie, and more. Which character was the hardest to write or direct?
A. In Collage, every character was given equal importance—whether they appeared in one scene or many—because each represents a slice of time and society. As writer and director, I worked to ensure consistency and depth, and the actors brought that vision to life. Yet I felt a special sorrow while shaping the female characters—a weight that will reveal itself when one watches the film.
Q. How has the response been so far from Assamese audiences?
A. Collage was not made with profit in mind, but with courage—thanks to producer Sumitra Hazarika. Like Padum Barua’s Gonga Silonir Pakhi or Spielberg’s Schindler’s List, it belongs to the category of films that outlast commercial trends. We knew from the start that its audience would be limited, and we don’t measure its worth by immediate reception but by time. Decades from now, when new generations seek to understand Assam’s past—the sacrifices, pain, hopes, and contradictions of that era—they will turn to Collage. Its true significance lies in becoming a lasting record of a history few others have attempted to depict.
Q. What kind of conversations or emotions do you hope Collage will spark in young viewers today?
A. Collage was made primarily for the younger generation, but it isn’t for those uninterested in history—it speaks to viewers with at least some sense of that period. Encouragingly, many young people who’ve seen it have expressed a desire to learn more about the era, which we see as the film’s true success. Even if the audience is small, we believe in their intellect and critical spirit, for today’s youth will shape the Assam—and India—of tomorrow.
Q. Where do you see Assamese cinema heading in the next five years?
A. Definitely in a positive direction. Many talented directors have emerged, along with excellent actors and actresses. If we also see the rise of strong, committed producers, Assamese cinema will surely shine on the world stage.
Q. Do you feel regional films like yours are getting the national and global attention they deserve?
A. I absolutely believe that independent filmmakers like us—who value free and original thought—will make a mark on the world stage. We will bring Assamese cinema into global recognition. Filmmakers like Rima Das, Deep Choudhury, Konkon Deka, Himjyoti Talukdar, Khangchian Kishore Nath, Manjul Baruah, Vishal Chaliha, and Maharshi Tuhin Kashyap are already making Assamese cinema shine internationally. Even before them, legends like Jahnu Barua and the late Bhupen Hazarika Saikia paved the way for Assamese films. This legacy will continue, and the world will be compelled to recognize the power and uniqueness of Assamese cinema.
