If you skim the surface of news right now, it might seem that the only film in theatres this week is the sequel to a certain Hindi blockbuster. Shut out the noise though, and you will discover a development with significant implications for Indian cinema.
The Dhurandhar 2 juggernaut may have mowed down most films in its path to get a near-monopoly in theatres for its release. But two gems from the Northeast - Lakshmipriya Devi's Manipuri film Boong, and Rima Das' Assamese Village Rockstars 2 - have resolutely held their ground, both in their third week in theatres, despite these formidable odds.
Of the two, the one grabbing headlines this season is Boong, since it won the Best Children's & Family Film trophy at the Baftas in February, a first for an Indian production. Though the number of cities in which it is playing has fallen now, its survival, in itself, is worth celebrating.
Set in Manipur, Boong is the story of a child's search for his missing father whom he hopes to bring home as a surprise gift for the mother he loves. Considering its uncommon theme, in addition to its location and language that are marginalised both in national politics and nationwide discussions on cinema, Boong's resilience is incredible. What's even more incredible is that this is its second theatrical run.
After premiering at the Toronto International Film Festival in 2024, Boong was first released in India in late 2025. It is back in theatres this month, riding the wave of interest generated by the Bafta win. But distributors and exhibitors in this country are notorious for ignoring even public demand in favour of conventional 'wisdom' that favours high-decibel ventures about larger-than-life men. In these challenging circumstances, Boong's re-release was made possible presumably by the clout and experience of the Hindi film major that produced it, Farhan Akhtar and Ritesh Sidhwani's Excel Entertainment.
Boong takes its title from the nickname of its protagonist, a mischievous and sprightly fellow who is observant enough to notice his mother Mandakini's sadness, and negative reactions that her husband's absence elicits from those around her. Boong's quest for his dad, which ultimately takes him to the India-Myanmar border, is packed with adventures.
Transitioning smoothly back and forth between poignance, humour, and tension, until a long stretch of thriller-like suspense, Boong is ultimately both an intimate personal saga - of a boy, a woman, and the boy's best friend - and an odyssey through Manipur's socio-political landscape. The film offers insights into ethnic and racial divides in Manipur, their influence on young minds as represented by Boong and his Marwari friend Raju, migration, militarisation of the region, the state's cultural practices, and its transgender community, with a starring role for Madonna's 'Like a Virgin'.
Lakshmipriya, Boong's debutant director who has also written the film, and editor Shreyas Beltangdy, weave this rich tapestry with a light touch that belies the gravity of its politics. They could not have asked for a better cast to achieve this balance, led by Gugun Kipgen, an absolute livewire, playing Boong; a charismatic Bala Hijam in the role of Mandakini; and Angom Sanamatum who delivers a remarkably mature performance as Raju, the child viewed as an outsider.
Boong reportedly wrapped up shooting in 2020. Conflict broke out in 2023 between Manipur's Meitei and Kuki-Zo communities, leaving at least hundreds dead and thousands displaced. Peace is yet to return to the state, a tragedy that Lakshmipriya underlined in her Bafta speech. Knowing this reality adds a layer of meaning to Boong, since the film has captured a Manipur that, in a sense, has been replaced by another.
The fact that Boong, and the equally charming, compelling Village Rockstars 2, have not yet been swept away by the ongoing tsunami in theatres, is a good sign for cinephiles with a fondness for storytelling that has heart, soul and restraint.
The Dhurandhar 2 juggernaut may have mowed down most films in its path to get a near-monopoly in theatres for its release. But two gems from the Northeast - Lakshmipriya Devi's Manipuri film Boong, and Rima Das' Assamese Village Rockstars 2 - have resolutely held their ground, both in their third week in theatres, despite these formidable odds.
Of the two, the one grabbing headlines this season is Boong, since it won the Best Children's & Family Film trophy at the Baftas in February, a first for an Indian production. Though the number of cities in which it is playing has fallen now, its survival, in itself, is worth celebrating.
Set in Manipur, Boong is the story of a child's search for his missing father whom he hopes to bring home as a surprise gift for the mother he loves. Considering its uncommon theme, in addition to its location and language that are marginalised both in national politics and nationwide discussions on cinema, Boong's resilience is incredible. What's even more incredible is that this is its second theatrical run.
After premiering at the Toronto International Film Festival in 2024, Boong was first released in India in late 2025. It is back in theatres this month, riding the wave of interest generated by the Bafta win. But distributors and exhibitors in this country are notorious for ignoring even public demand in favour of conventional 'wisdom' that favours high-decibel ventures about larger-than-life men. In these challenging circumstances, Boong's re-release was made possible presumably by the clout and experience of the Hindi film major that produced it, Farhan Akhtar and Ritesh Sidhwani's Excel Entertainment.
Boong takes its title from the nickname of its protagonist, a mischievous and sprightly fellow who is observant enough to notice his mother Mandakini's sadness, and negative reactions that her husband's absence elicits from those around her. Boong's quest for his dad, which ultimately takes him to the India-Myanmar border, is packed with adventures.
Transitioning smoothly back and forth between poignance, humour, and tension, until a long stretch of thriller-like suspense, Boong is ultimately both an intimate personal saga - of a boy, a woman, and the boy's best friend - and an odyssey through Manipur's socio-political landscape. The film offers insights into ethnic and racial divides in Manipur, their influence on young minds as represented by Boong and his Marwari friend Raju, migration, militarisation of the region, the state's cultural practices, and its transgender community, with a starring role for Madonna's 'Like a Virgin'.
Lakshmipriya, Boong's debutant director who has also written the film, and editor Shreyas Beltangdy, weave this rich tapestry with a light touch that belies the gravity of its politics. They could not have asked for a better cast to achieve this balance, led by Gugun Kipgen, an absolute livewire, playing Boong; a charismatic Bala Hijam in the role of Mandakini; and Angom Sanamatum who delivers a remarkably mature performance as Raju, the child viewed as an outsider.
Boong reportedly wrapped up shooting in 2020. Conflict broke out in 2023 between Manipur's Meitei and Kuki-Zo communities, leaving at least hundreds dead and thousands displaced. Peace is yet to return to the state, a tragedy that Lakshmipriya underlined in her Bafta speech. Knowing this reality adds a layer of meaning to Boong, since the film has captured a Manipur that, in a sense, has been replaced by another.
The fact that Boong, and the equally charming, compelling Village Rockstars 2, have not yet been swept away by the ongoing tsunami in theatres, is a good sign for cinephiles with a fondness for storytelling that has heart, soul and restraint.
(Disclaimer: The opinions expressed in this column are that of the writer. The facts and opinions expressed here do not reflect the views of www.economictimes.com.)
Anna MM Vetticad