National Award-winning filmmaker Sanjib Sabhapandit returns after a decade with Akash Henu Nodir Naam (Ballad to the Winds), his first film since Dikchow Banat Palaax. The film explores queer identity and questions of acceptance within a middle-class family in rural Assam. Ahead of its theatrical release on April 3, 2026, the film was screened at the 22nd Third Eye Asian Film Festival, where it won the Best Film Award, and also earned the Best Screenplay Award at the 8th Sailadhar Baruah Film Awards (NE), 2025.
The film tells the story of a Brajavali language scholar, played by Bishnu Kharghoria, confronting the queer identity of his son, played by Chanku Niranjan Nath. Set in rural Assam, it explores love, family conflict, acceptance and cultural traditions while also touching on Assamese traditions and language. Actor Atanu Mahanta plays Chanku’s south Indian friend while Rina Bora plays his mother.
Akash Henu Nodir Naam struggles primarily because of its weak execution. While the subject of queer identity in a rural Assamese setting is important and timely, the film fails to translate this into a compelling emotional experience. The intention is sincere, but the storytelling lacks depth and impact.
Another major issue is the poor production quality. The visuals often feel unrefined and distracting, with overly high contrast and unnatural color grading. Outdoor scenes appear excessively saturated, while indoor scenes are too dark, making it difficult to clearly see details. This inconsistency in visual treatment affects the overall viewing experience.
The narrative structure also feels confused. Sanjib Sabhapandit seems unsure whether to focus on the parents’ emotional conflict or the romantic journey of the two young men. As a result, both tracks run side by side without proper balance, creating a tonal mismatch that weakens the story.
It also signals a noticeable shift in the creative trajectory of Sanjib Sabhapandit. Once regarded for the depth and sensitivity of films like Dikchow Banat Palaax, Juye Poora Xoon, etc., his latest work suggests that those defining strengths may be waning. Akash Henu Nodir Naam reflects a filmmaker who appears out of sync with latest content, subject matter and style of filmmaking. It is safe to conclude that his most impactful phase might now be behind him.
In terms of performances, the film lacks uniform strength. While Bishnu Kharghoria and Rina Bora, as the father and the mother, deliver solid performances and carry much of the film, the younger actors, Chanku Niranjan Nath and Atanu Mahanta, fail to leave a strong impression. This uneven acting further reduces the emotional weight of the narrative.
Finally, the film feels repetitive in its thematic approach. Several recent Assamese films have already explored similar conflicts around queer identity and family acceptance such as Satya: The Truth, Xitore Xemeka Rati, and Fireflies: Jonaki Porua. Instead of offering a fresh perspective, Akash Henu Nodir Naam adds little new, making it feel dated despite its relevant subject.
Moreover, releasing Akash Henu Nodir Naam in the middle of the Assam Assembly Elections 2026 is a high-risk move that could severely affect its prospects. During election periods, public attention is overwhelmingly drawn toward political developments, significantly reducing footfall in theatres. For a regional film already navigating limited screens and fragile box office conditions, such timing is also sure to injure the film in many ways.
With competing titles like Dhurandhar 2 occupying audience interest, even a few underperforming shows could lead to the film being quickly pulled from theatres, making the release strategy appear almost self-defeating. But braving all odds, the film is now all set to release on more than 20 screens across Assam.
