'Sundarpur Chaos' – A film that tackles key issues of Assam without the chaos

Guwahati, Oct 24: Director-writer Jhulan Krishna Mahanta has smoothly highlighted some of the key issues of present-day Assam in his film ‘Sundarpur Chaos’, released in theaters across Assam on Friday (October 25). Despite its title, the film is far from chaotic, offering a thoughtful depiction of the state’s socio-political landscape.

Set against the backdrop of issues like the encroachment of Sattra land and the broader socio-political concerns in Assam, the film explores the mindsets and inner conflicts of young, thinking individuals. The protagonist, Kingkor, is a young boy from a Sattra in Assam who is deeply connected to the traditional dance and music inspired by Srimanta Sankardeva's Neo-Vaishnavite movement, which boasts a 550-year-old legacy. While rooted in tradition, Kingkor has a modern outlook on life and takes on the issue of illegal immigration in his homeland. However, he faces an inner struggle between the non-violent teachings he has learned and his intolerance for injustice. This tension shapes his journey as he navigates between tradition and his sense of duty.

We caught up with Jhulan Krishna Mahanta, the writer, editor, and director, for a conversation about his work.

Excerpts from the interview:

Q: How did you manage to highlight the burning issues so aptly? How have these issues affected you personally?

A: Not just as a filmmaker, but as a common man who loves his homeland, these issues are deeply disturbing. Through the film, I have tried to depict the problems that have troubled me for years. We've long witnessed illegal encroachments on the sacred land of our Sattras, which is unfathomable. On top of that, there's been politics surrounding these issues. I hope for a holistic approach to address these real problems in a way that safeguards our land and people. I don’t want to place blame, but this film reflects my emotions and thoughts.

Q: Your film doesn’t just highlight problems but also hints at the root causes behind them…

A: As I said earlier, I’m not here to make a political statement. I’ve simply depicted what I’ve experienced living here in my state. This is a work of fiction, and if it provokes people to think, I feel I’ve done my job as a filmmaker.

Q: In this chaotic world of politics, religion, caste, and creed, you’ve drawn on the teachings of Srimanta Sankardeva. Do you think his teachings are more relevant now?

A: Absolutely. The teachings of Srimanta Sankardeva have always been relevant, and in today’s chaotic world, we need them more than ever. Sankardeva’s teachings provide solutions to the challenges we face in life. We just need to listen and practice them. We are fortunate to have a social reformer like Sankardeva. If my film serves as a reminder of his teachings, I will be more than happy.

Q: One of the dialogues in the film mentions that while land encroachments in Bordowa or Majuli make the news, similar incidents in other Sattras rarely receive media attention. Why do you think this is the case?

A: That’s the reality, and I don’t know how to explain it. All the Sattras are equally important and represent the cultural heritage initiated by the great Saint Srimanta Sankardeva. It’s not just the Sattras of Majuli and Bordowa that matter; every Sattra holds equal significance and is sacred to the Assamese community.

Q: Tell us about your cast and crew.

A: The team has been brilliant. We’ve had a fantastic cast and crew. Partha Pratim Hazarika and Silpi Dutta did a tremendous job, and Arun Nath, as always, delivered his best. We also had outstanding performances from Jolly Laskar, Rajeev Goswami, Bonny Deori, Gargee Dutta, Debajit Deka, and others. Our DoP, Chandra Kumar Das, did excellent work, and Debajit Gayan captured the sound beautifully. Sourav Mahanta’s music is mesmerizing, and DI colourist Dhanjit Das did a fantastic job. I’m especially grateful to Papon da and Shaan for lending their voices to the film. Lastly, I’d like to thank our producers – Ramendra Kumar Chamuah, Gayatri Hazarika, and Diganta Thakuria – because without them, this project wouldn’t have been possible.

Q: How has your journey been as a director?

A: I still consider myself a student of film, and I’m at a very early stage in my career. With the love and support of my team and well-wishers, I’ve been able to bring my thoughts to life through moving images. I’m delighted that viewers and critics appreciated my previous work, ‘Nodi Matho Boi’.

After graduating from the Regional Government Film and Television Institute in Guwahati, I had the chance to meet individuals like Utpal Borpujari, Utpal Datta, Sanjeev Hazarika, and Suraj Duwara, who helped me grow as a filmmaker. I also had the opportunity to work with renowned film editor A Sreekar Prasad, which was invaluable to my journey. Additionally, attending film festivals in different places has helped me immensely. I’ve been inspired by the themes and presentations of several commercially accepted films.