Jahnu Barua’s new Assamese film ‘Herowa Chanda’ is set for theatrical release on January 2, 2026.

Following the release of his film ‘Bhoga Khidikee’ in 2018, master filmmaker Jahnu Barua considered the possibility of retiring from the film industry. Nonetheless, reflecting on a piece of wisdom imparted by his father during his youth, which significantly influenced his artistic journey, he remarked at the recent poster unveiling and audio launch of two songs from his latest Assamese film ‘Herowa Chanda’ held at the Kanaklal Barua Auditorium of the Assam State Museum that there is no age restriction for retirement in the realm of creative endeavours. An artiste must engage in creative endeavours throughout their lifetime and continue to do so until their death. Drawing inspiration from the profound wisdom imparted by his father, filmmaker Jahnu Barua has brought to fruition his newest film, ‘Herowa Chanda’. Following a hiatus of seven years since the production of ‘Bhoga Khidikee’ by Bollywood actress Priyanka Chopra, Jahnu Barua’s latest creation is anticipated with great enthusiasm, as it is expected to serve as a beacon of optimism for the Assamese film industry. It’s noteworthy that Barua has collaborated with an entirely fresh array of actors and technicians for this film. He expressed his delight in working with them, highlighting their agility and intellect.

‘Herowa Chanda’ revolves around deeply emotional and complex psychological dynamics within a family, showcasing the intricate relationships and conflicts that arise among husbands and wives, children, relatives, and friends. It features a talented cast including Joy Kashyap, Amrita Gogoi, Ozu Barua, Sukanya Rajguru, Dr. Arup Borthakur, Ujjal Rajkhowa, Mayukh Sharma, Audrey Hatibaruah, Ashmita Devi, Amaira Dityaa, Deepa Das, Vikram Gogoi, Dibson Lal Baruah, Dr. Narayan Sharma, along with a number of emerging artistes.

Notably, the film also marks the Assamese cinematic debut of Jahnu Barua’s son Ozu Barua, who has already made a mark in Bollywood as well as Tamil and Telugu cinema.

The event witnessed the unveiling of two visually appealing posters and one digital poster. The posters were unveiled by Rahul Chandra Das, Director of the Directorate of Cultural Affairs, Government of Assam, Dr. Alekhya Barua, Vice-Chairman, Assam State Film (Finance & Development) Corporation, and actor Kapil Bora. During the event, the audio release showcased two notable musical compositions. The first was a song crafted by music director Ibson Lal Baruah, featuring the powerful vocals of Usha Uthup – a celebrated playback singer from Hindi cinema and acclaimed pop artiste – alongside Anindita Pal, a prominent singer in the Assamese film industry. The second musical piece was composed by Reeta Baruah Das, with musical direction by the emerging talent Nilotpal Bora, and performed by Ozu Barua, Geetali Dutta, and the young artiste Ashmita.

‘Herowa Chanda’ is produced under the banner of A. Mukbha Productions by Dr. Sarbeswar Sahariah, a distinguished physician and film enthusiast. Dr. Sahariah, who has been providing medical services with distinction in Hyderabad for a long time and has earned a reputation, is a resident of Guwahati and a close friend of Jahnu Barua. The film’s technical team includes highly skilled professionals from the industry, featuring Sumon Duwerah as the cinematographer, Amrit Pritam responsible for sound design, and Debajit Changmai overseeing the sound mixing. The music is composed by Ibson Lal Baruah and Nilotpal Bora, while the background music is scored by Raja Rasaily. The assistant directors are Ronald Hussain and Parismita, while Manash Das serves as the executive producer. Gayatri Barua takes charge of the production design, while Minakshi Dhekial Phukan crafts the costumes, and Arup Das brings his expertise as the production’s makeup artiste. The narrative, script, dialogue, and editing of the film were all crafted by Hue-En Barua. Hirokjyoti Pathak executed the teaser and trailer, Sachin Mohite took charge of the visual effects, Prasad Film Labs oversaw the digital intermediate and mastering processes, Mrinmoy served as the associate editor, while RA Creation acted as the co-producer of the film. Pallav Mahanta is responsible for the still photography, while Hrishikesh Bhattacharjee is in charge of promotion and publicity.

It is noteworthy that at the commencement of the event, actor Kapil Bora and the invited guests paid tribute to Dr. Bhupen Hazarika and the recently deceased beloved artist Zubeen Garg by lighting lamps before their portraits. The stage was inaugurated by prominent producer and film distributor, Shankar Lal Goenka. The event was hosted by the film’s leading lady, actress Amrita Gogoi, along with Parismita and Hrishikesh Bhattacharjee.

Assamese cinema has just completed 90 years of its journey. Yet, nothing interesting or exciting has been happening in the space of current theatrical releases in Assam. On February 28 director Bikul Dutta released an abomination in the name of Assamese film called Xopune Pakhi Mele (2025). The tag line was: Dreams Come True Just Think act (exactly in this way). Please don’t question about its meaning. Due to lack of audiences, screenings of the film were suspended almost everywhere. The next release was Chandra Mudoi’s Gomon: The Last Journey.

Gomon: The Last Journey (2025), released on March 14 across cinema halls of Assam, is faithful to its director Chandra Mudoi’s school of direction. Its voraciously loud, over-the-top and relies more on sentimentality than sentiment to make its point. Much of the first half of the film cycles around in a loop. There is a failed marriage in which the wife has walked out, leaving behind an abusive husband and a young school-going son. Now, the responsibility of the son falls on his unmarried uncle and grandmother, who live together in a joint family. Actor Jatindra Nath Khanikar plays the role of the uncle who runs an old timber shop from his home, supplying wood and logs to the cremation ground nearby. There’s a threat to his survival because the government soon plans to launch a new electric crematorium, which, as many assume, will put an end to his business.

The story is set in Guwahati and the electric crematorium featured in the film is the Dr Banikanta Kakoti Electric Crematorium, constructed by the Guwahati Metropolitan Development Authority, located at Ulubari.

The film alternates between the child’s constant questioning of when his mother will return, and the daily routine of taking him to school and bringing him back. In between, there are scenes depicting the husband’s frustration and his arguments with his elder brother (Jatindra Nath Khanikar) and mother. Meanwhile, the wife appears only when the son is taken to school, watching him from a distance as he enters the school. The school is Assam Jatiya Bidyalay and it gets prominently featured in the film for a multiple of times. Had enough audiences had turned up to watch the film, this film would have been a good advertisement of the school.

After spending much time repeatedly dwelling on the same set of situations, the director finally decides to carry the plot forward as he explores the backstory of the failed marriage between Boby (Amrita Gogoi) and Dipu (Dibyajyoti Das). What started off as a love story for them, gradually became hell for Boby because Dipu resorted to drugs, violence and abuse after the birth of their son. Dipu burns Boby with his cigarette and hits her physically. When Boby demands that her husband earn money because they can no longer afford their child’s upbringing and school fees using his uncle’s money, Dipu responds by questioning the value of schooling and education in society. He should have thought that before becoming a father.

Very soon, a jobless Dipu, trapped in a chronic situation of learned helplessness, gives up on everything. An electrical engineer by profession, he throws all of his equipment and tools down the drain because, despite his qualifications, he believes he has gained nothing significant in life. He is now disinterested with his life, his son and his family and is in a perennial mood of frustration. Unable to bear the everyday verbal and physical abuse, Boby leaves. Failing to find a direction for his anger, Dipu now channels his energy into picking random fights with strangers, arguing at home, and loitering aimlessly while smoking joints.

There are occasional bits of social commentary in the film that are so strong that it almost feels like a lecture on morality. In one particular scene, the elder brother’s cart, while carrying logs to the cremation ground, is hit by a car. The driver of the car, apparently a spoiled rich brat (played by Bikram Rajkhowa in a guest appearance), becomes furious and strikes the helper pulling the cart. Enter the big brother, who delivers a moral lecture in the middle of the road about how pride and strength are ultimately useless, as one day everyone will be reduced to ashes and return to the ground. And yes, whatever the elder brother says proves true: later, the rich spoiled brat dies from injuries sustained in a bike accident and his dead body is brought to the same cremation ground that the elder brother supplies wood to. A real karmic connection.

The lecture on morality takes a very verbose form, as the focus also shifts to discussing whether the inauguration of the electric crematorium will mark the end of the old wood business. Should we embrace scientific progress, or should we stick to traditions? The grandmother even hides a few logs in anticipation of her death, fearing that she shouldn’t be cremated in an electric crematorium. But after her death, how would she tell her family members where the wood is hidden?

Actually, the purpose of the entire dilemma related to technology, change and how it will make the services of providing wood to the cremation ground obsolete, is an attempt to re create the psychological complexities of Bishnu Kharghoria’s character in Jahnu Barua’s Xagoroloi Bohu Door (1995), only that Gomon: The Last Journey feels amateurish and fake. And it is mainly because of the unrealistic, dated, loud and poor filmmaking skills of director Chandra Mudoi.

The lecture-baazi doesn’t end there because Gomon: The Last Journey is not just a film; it’s a collection of multiple social commentaries, held together by a few plot points that tie everything together. It also speaks for the collective issue of unemployment and how success doesn’t always come to those who work hard. Using the background of a failed marriage, it also dwells on issues such as domestic violence and marital rape. There is also the recuring reference of a great public intellectual in the film, someone who consistently advocates for the betterment of the Assamese people and society, yet whose efforts have often been misunderstood by the public. No brownie points for guessing whom the film is referring to.

The filmmaking language of Chandra Mudoi is also repetitive. The visual motif of breaking glass in anger to symbolise conflict and tension is repeated multiple times in the film. Amrita Gogoi is wasted once again after the debacle in the name of filmmaking called Soi Gaaor Chompa (2017), also by Chandra Mudoi. There is poor dialogue delivery in the film which is fixed in post and can be easily made out. And special appreciation must be given to the poster designer of the film. To sum it up, it seems like the film was made very casually. It’s mainly because of a lack of formal and professional approach in handling the promotional materials of the film. For example, the Facebook page of the film says the name is Gaman, The last Journey but ticket booking platform, Bookmyshow states that it is Gomon… The Last Journey.

It is very much films like this that repeals the new generation of Assamese audiences from embracing Assamese cinema and filmmakers like Chandra Mudoi are very much responsible for this plight. They are repeatedly making cringe content in the name of cinema. Any audience who is willing to challenge this claim can watch Chandra Mudoi’s GO GO i (2022), again featuring Jatindra Nath Khanikar. It’s a dare, a double dare. Interestingly, no reviewer or critic from the region has been daring enough to watch these film and write about it.

But there is an urgent need to discuss or call out these films as well to ensure a healthy film culture in the region. Many of these films are also notorious for managing some recognition in shady, bogus and uncredible XYZ awards and film festivals and promoting it like winning the Nobel Prize. The media is equally responsible for amplifying these claims.

Moreover, Gomon: The Last Journey also shows the consequences of social and personal derailment if relentless anger and pessimism is given the control of a situation. This particular aspect works better in the film because of Dibyajyoti Das’s performance and the inability of his character or rather his disinterest in explaining himself which limits the reliance on dialogues to explain his condition. The situation speaks for itself which is why it is more palpable and this should have been the overall approach in the film rather than relying on character monologues to examine the morality of a situation.

Whatever progress the film makes in the characterization of the younger brother, it undoes it in its characterization of the elder brother. The more flawed the younger brother is, the more morally superior the elder brother becomes. In one scene, when the elder brother goes to drop off his nephew at school in the morning, they witness a road accident. Seeing the tragedy of the person lying on the road, the good Samaritan in him rises, and he immediately abandons the child to take the victim to the hospital. He returns to the kid only after evening. While his dedication and selflessness in helping an accident victim (whom no one was willing to help) highlights his sense of social responsibility, but at the same time, his decision to abandon his nephew — a child who is left alone in his school uniform for the entire day — definitely casts a shadow over his priorities.

The character of Boby is equally confusing. She leaves her child in the shadow of an abusive husband and an indifferent father while she herself escapes the family. Now she works in Central Mall, Guwahati and looks after herself while also being sad about her son. Her character is definitely that of a flawed mother. In fact, all the characters in the film are escapists in their own way. Boby as a wife walks out of her marriage and as a mother leaves her child. Dipu has given up on everything. Even his mother gives up on him. In such a situation, how can the only sane person in the family, Dipu’s elder brother, function reasonably? This is why when he goes to the shop to buy some sugar and tea leaves, he does a big mix up.

While on his way, he notices some litter on the road. Being a good Samaritan, he immediately collects the trash in a white bag. However, later, in his absent-mindedness, he accidentally throws the package containing the sugar and tea leaves into the roadside dustbin, thinking it’s the trash he collected earlier and returns home with the actual litter, which he had picked up on the way. When he realises his mistake, he goes back to the dustbin and gets inside it to search for the lost bag of sugar and tea leaves.

While he is inside the bin, people come and throw their wastes (because it is out of their imagination that a person might be inside the bin) which hit him directly. Very soon he is dressed in waste food and litter from head to toe. So, what does the filmmaker might be trying to convey here? Are we supposed to feel sorry for the character?

Or are we supposed to believe that a character – who shops in Centrall Mall for his nephew or immediately buys a second-hand mini truck when his wooden cart breaks in an accident – is so poor that he had to get inside a dustbin to retrieve the minor items that he had mistakenly thrown away? This is a perfect example of non-sensible filmmaking. Here, mention has to be made of one more ridiculous scene where the child’s t-shirt is ripped off just because there was a need to meet his mother. Confused? Let’s have an explanation.

The film stages a scene where the child is pulling his father’s bike from behind. The father needs to go somewhere urgently but is unable to move forward because the child is clinging to the bike. Observing the situation, the child’s uncle rushes over to help, creating a sort of chain: the child pulling the bike while the uncle pulls the child. The uncle yanks the child so forcefully that the child’s t-shirt rips off.

Now, to buy a new t-shirt, the uncle and his nephew head to Central Mall. Why Central Mall, though? Can a person who makes a living by selling wood afford to spend shopping at such a place? The answer lies in the fact that the child’s mother works there. And the entire scenario is drafted in just to stage a supposed re-union between the child and the mother. The re-union happens or not is a different equation altogether. Moreover, the way the child is made to act in the film, it is sure to give him a guilt trip ten years later, if he watches the film again because the child delivers an act of pure cringe. Especially the way he says: Yayy maa aji ahibo… maa aji ahibo… maa aji ahibo. His acting in the film seems like terrible prosthetics applied to the plot.

Its strange to observe that some filmmakers from Assam are so constantly resistant to change – in terms of the subject matter of their films or their filmmaking style. Neither these films are making any money nor are they able to gain any genuine praises (good words from the friends and family of the cast and crew are to be considered as moral support) and yet they are getting enough financial support, one film after the other, to keep the machine of churning out cringe content going on and on. How?

The fate of Chandra Mudoi’s Gomon: The Last Journey is very similar to that of Xopune Pakhi Mele. It witnessed no healthy audience in cinema halls and as a result the film was removed after one week. But the more interesting question is – what’s up with filmmaker Chandra Mudoi lately?

The rest of the cast of the film includes Saju Ahmed, Ashim Krishna Baruah, Arati Kalita, Amulya Kumar, Master Chakshit Om Sarma, etc.

The trailer of the film can be watched here: https://www.youtube.com/watch?v=0OkAoxsMyRg

Shooting of the Assamese feature film ‘Dipholu’ by Borluit Productions has officially started this week. The first schedule is set to be completed within the next 20 days near Titabor in Jorhat district of Assam. This marks a significant milestone for the Tezpur-based production house, which is widely acclaimed for its short films as it now ventures into the broader canvas of feature-length cinema.

Known for their acclaimed short films ‘Akaax Bisari – Into the Sky’ and ‘Rong – The Colour’, Borluit Productions is making its foray into feature films with ‘Dipholu’, which promises a captivating mix of situational comedy and emotional depth.

The film features a stellar cast with Amrita Gogoi and Subrat Deori playing the leads along with veterans like Arun Nath, Mridula Barua, Arun Hazarika and Purnada Hazarika. Othercast members include Dr. Hitesh Baruah, Simashree Bora, Rajib Dowari, Anirban Kalita, Kanika Nath, Priyanshi Kashyap, Ankur Baidya, Jyotishman Bora, Dibya Pratim Bhagabati,
Debajit Bora, Prabal Bora and Nilofer Nazbin and among others.

The film’s story, direction, and editing are helmed by Nekib, while Debojit Bora is responsible for the screenplay and dialogues. Cinematography by Uttam Kalita captures the scenic beauty of rural Assam. The music and background score, composed by Jekiv, who is also the film’s producer, further enhance the film’s emotional tone. The choreography by Uday Shankar adds an elegant and graceful element to the narrative.The chief assistant director is Jitul Rajbongshi, supported by Debasish Deka and Afiron Nisha. Costumes are designed by Juri Kalita, with makeup by Pijumoni Sharma, and
production management overseen by Utpal Kalita. Life’s Purple, a Guwahati-based PR and Reputation Management Consultancy, is handling the film’s PR and social media campaigns.

Borluit Productions, known for its commitment to telling authentic Assamese stories, is making its feature film debut with ‘Dipholu’. The production house has been widely praised for its earlier works, which showcased a deep understanding of Assamese culture and societal issues. With ‘Dipholu’, Borluit Productions aims to expand its reach, delivering a cinematic experience that is not only entertaining but also reflective of the region’s rich
heritage and contemporary struggles.

Scheduled for release in the summer of 2025, ‘Dipholu’ is poised to captivate audiences with its relatable characters, humour, and emotional depth. The film’s exploration of the clash between modernity and tradition, alongside the personal journeys of its, is expected to resonate with viewers both within Assam and beyond.

Borluit Productions, acclaimed for their award-winning short films, announced the start of shooting for their first full-length feature film, ‘Dipholu,’ at a press conference on Wednesday. The film promises a captivating mix of situational comedy and emotional depth, representing a significant milestone for the production company. Following the success of their lauded short films ‘Akaax Bisari – Into the Sky’ and ‘Rong – The Colour,’ ‘Dipholu’ marks Borluit Productions’ entry into feature-length cinema. This new project builds on the artistry and storytelling excellence of their previous works, setting the stage for a compelling cinematic experience.

The film stars Amrita Gogoi and Subrat Deori in the lead roles, with Arun Nath, Chetana Das, Mridula Barua, Jayanta Bhagawati, and Arun Hazarika among the talented cast. Additional cast members include Dr. Hitesh Baruah, Simashree Bora, Rajib Dowari, Anirban Kalita, Ankur Baidya, Priyanshi Kashyap, Kanika Nath, Dibya Pratim Bhagabati, Prabal Bora, Nilofer Nazbin, and Nasim Begum.

‘Dipholu’ follows Kuhi (Amrita Gogoi), a young woman from Guwahati who is sent to a remote village on the banks of the Dipholu River for her medical training. As she navigates the challenging conditions of the village and its dilapidated healthcare facility, she meets Neel (Subrat Deori), a humble school teacher. Their initial clash evolves into a heartwarming journey of personal growth and community impact. The film captures Kuhi’s transformation from a materialistic, city-centric dreamer to a compassionate, grounded individual through a series of humorous and heartfelt experiences.

Nekib directs and edits the film, with a story, screenplay, and dialogues by Debojit Bora. Cinematography is managed by Uttam Kalita, and Narayan Medhi handles art direction. Jekib, who also serves as the film’s producer, composes the music and background score. Jitul Rajbongshi is the Chief Assistant Director, supported by Debasish Deka and Afiron Nisha. Costumes are designed by Juri Kalita, makeup by Pijumoni Sharma, and Utpal Kalita has been appointed as the Production Manager. Life’s Purple, a Guwahati-based PR and Reputation Management Consultancy, will manage the film’s Public Relations and Social Media Campaign.

In addition to announcing ‘Dipholu,’ the event on Wednesday also marked the official release of Borluit Productions’ critically acclaimed short film ‘Rong – The Colour.’ The short film has won numerous awards at national and international film festivals, earning widespread recognition for its powerful storytelling and visual excellence. ‘Rong – The Colour’ is celebrated globally and is now available for viewers on Borluit Productions’ YouTube channel.

লগতে, অসমীয়া সংগীত ক্ষেত্ৰখনৰ এক জনপ্ৰিয় তথা চিনাকী নাম হৈছে গীতালী দেৱীৰ। প্ৰায় বোৰ গীতেৰেই দৰ্শক আৰু শ্ৰোতাৰ ধ্যান আকৰ্ষণ কৰা গীতালীৰ প্ৰত্যেকটো গীতত জনপ্ৰিয়তা আচলতে নুই কৰিব পৰা নাযায়। তেজপুৰৰ জীয়ৰী তথা অসমৰ জনপ্ৰিয় গায়িকা গীতালী কাকতিৰ কন্ঠৰ প্ৰায় সংগীতেই বৰ্তমান সাধাৰণজনৰ মুখে মুখে। “ছেলফী ৰাণী”, “পাগল পাগল মন”, “এনাইদেউ” আৰু অলপতে জনপ্ৰিয় হৈ উঠা গীত “প্ৰীতি ভৰা” আৰু “ঘপককৈ” ৰ লগতে বিভিন্ন বিহু গীতত কন্ঠ নিগৰাই এতিয়া হাজাৰ হাজাৰ দৰ্শকৰ হৃদয়ত কন্ঠশিল্পী গৰাকী।

“আজিকালি প্ৰায়েই এটা প্ৰশ্ন মোক সকলোৱে সোধে , যে “মাক” হোৱাৰ পিছতেই ইমান সোনকালে কামলৈ ঘুৰি অহাটো মোৰ বাবে কেনেদৰে সম্ভৱ হ’ল । মোৰ inbox ত বিভিন্ন জনৰ শুভেচ্ছা আশীৰ্বাদৰ লগতে এই প্ৰশ্নটো প্ৰায়েই পাও,প্ৰায়েই পঢ়ো । ইয়াৰ উত্তৰটো হৈছে ফটোখনত থকা সেই বিশেষ ব্যক্তিজন । যিজনে মোক মানসিক আৰু শাৰীৰিক ভাৱে ভীষণ শক্তিশালী কৰি প্ৰতিটো দিনৰ বাবে মোক প্ৰস্তুত কৰি তোলে । এইজনেই হৈছে মোৰ “উত্তৰ”তুমি মোক “মই” হৈ থাকিবলৈ দিয়া আজি মোৰ এই জীৱনটো তোমাৰ বাবেই হৈ পৰিছে ইমান সহজ, ইমান মসৃন ফটোখন যোৰহাটৰ এটা photoshoot ৰ সময়ত আমি গম নোপোৱাকৈ Rahul Rrd এ তোলা,ডেৰমহীয়া ৰিধিক চম্ভালি থকা অৱস্থাত মোৰ মানুহটো ।”

আহিবলগীয়া সময়ত আন কেইবাখনো অসমীয়া ছবিৰ সৈতে দেখিবলৈ পোৱা যাব অভিনেত্ৰী গৰাকীক। কিছুদিন পূৰ্বে সুবাসনা দত্তৰ গীত “আপুনি আহিব” যোগে অমৃতা গগৈক দেখিবলৈ পোৱা গৈছিল টেলিভিছন স্ক্ৰীণত। অভিনেতা কমল লোচনৰ সৈতে অভিনেত্ৰী গৰাকীৰ নতুন যুঁটিটোক পচন্দও কৰিছিল একাংশই।

ৰং চেনেলৰ দ্বাৰা আয়োজিত “মই অসম দেশৰ ছোৱালী” ৰ খিতাপ লাভ কৰা অমৃতা গগৈ চিৰিয়েল “ৰাগিণী” ৰ পৰা লাভ কৰিছিল চিনেমাৰ প্ৰজেক্ট। “ছয়গাঁৱৰ চম্পা” চিনেমাখন তেওঁৰ ছবিৰ ক্ষেত্ৰত প্ৰথমটো প্ৰজেক্ট আছিল যদিও “অহেতুক” খন প্ৰথমে মুক্তি লাভ কৰাৰ বাবে অমৃতা গগৈৰ জীৱনৰ প্ৰথমখন চিনেমা বুলি ধৰা হয় “অহেতুক” ছবিখনক। ২০২০ বৰ্ষৰ প্ৰথমাভাগত এই গৰাকী অভিনেত্ৰীক নাৰী সৱলীকৰণক কেন্দ্ৰ কৰি নিৰ্মিত ছবি “প্ৰতিঘাত” ত দেখিবলৈ পোৱা গৈছিল।

“ছয়গাঁৱৰ চম্পা” চিনেমাখন তেওঁৰ ছবিৰ ক্ষেত্ৰত প্ৰথমটো প্ৰজেক্ট আছিল যদিও “অহেতুক” খন প্ৰথমে মুক্তি লাভ কৰাৰ বাবে অমৃতা গগৈৰ জীৱনৰ প্ৰথমখন চিনেমা বুলি ধৰা হয় “অহেতুক” ছবিখনক। ২০২০ বৰ্ষৰ প্ৰথমাভাগত এই গৰাকী অভিনেত্ৰীক নাৰী সৱলীকৰণক কেন্দ্ৰ কৰি নিৰ্মিত ছবি “প্ৰতিঘাত” ত দেখিবলৈ পোৱা গৈছিল।