8/10
Ukhrul, Aug 19 | EKHON: As far as filmmaking goes, biopics are some of the most difficult films to adapt successfully. Many filmmakers choose not to get their hands muddled up in the challenge of appropriately eulogising a famous person while navigating the complications that arise from balancing artistic liberty and historical accuracy. It’s no surprise, thus, that Meiphung Production’s biopic of the Late Luingamla Maza Muinao, titled Luingamla, is a historic first in our community’s long history of filmmaking. It’s also clear to see how much time and effort Meiphung put into making the film.
The biopic broke Meiphung’s cardinal rule of “One Year One Film” and was released on the 14th of August 2026 at Town Hall, two years after their last film, Mashunwo. The film, written by Makanmi Ramror, stars Ilishan Jajo as Luingamla Maza Muinao and is co-directed by Seema KS Hungshi and SC Horzak Zimik.
The opening sequence of the film, animated by Mazanmung AC and narrated by Edmund Chiphang, sheds light on the long-running Indo-Naga conflict and sets the context for the circumstances in which a young Luingamla would grow up. When the film opens at Ngainga in 1986, Luingamla is introduced as an 17-year-old who is admired and loved by all in the village for her beauty and kindness.
Contrary to traditional films where Act One is often regarded as the most monotonous, Act One of Luingamla is perhaps the liveliest Act of the film and maybe understandably so. It closely follows Luingamla as a normal teenage girl living her best life with her friends and family. SC Horzak’s nuanced understanding of the fundamentals of filmmaking makes the film an evocative and nostalgic watch, while Wungramthing’s melancholic vocals and music add much depth and emotion to the film. Through Luingamla’s life and daily routines, the viewers are transported to the 1980s – an era of kerosene lamps, slippers, tin cups and plates, bell bottom pants and leather jackets. It also celebrates the peer group culture of the Tangkhul Nagas that fosters friendship, reciprocal labor and community responsibility among others. The romanticising of the quaint village life in the 1980s is juxtaposed with the ever-looming presence of the Indian armed forces and the draconian AFSPA rule that casts an ominous shadow over the villagers.
The film progresses from its colourful and lively imagery to a more sombre and emotive note in the second act as Luingamla’s young life is tragically cut short by Captain Mandhir Singh, Commander of Phungyar Post. The sheer helplessness of Luingamla’s family in their quest for justice and the villagers in the face of the grotesque brutality of the Indian armed forces portrays a distressing picture of the injustice and suffering endured by the Naga people in the 1980s and 1990s before the ceasefire agreement of 1997.
Though the film has a lengthy run time of 1 hour 58 minutes, the viewing experience is surprisingly seamless and the emotions translate very well from across the screen. The film doesn’t strive to deviate from the truth nor forcefully deliver poetic justice but puts on record infallible evidences for the jury (audience) to make a verdict on a matter the Indian judicial system has continued to turn a blind eye to this very day. In this regard, while the film is about Luingamla, it also lends voices to the many silenced Naga women who faced such incidents under the Indian army and for whom justice has not been delivered till today.
Meiphung Productions deserve praise for their bold decision to take up such a challenging story and for delicately delivering an emotional film with a relatively fresh-faced crew. Only Seema KS Hungshi (Co-Director) and Wurngam Ruivah (Assistant Cinematographer) can boast of their experience of working in a feature film prior to this. For many of the other crews, this is their first big gig. SC Horzak Zimik has directed and shot multiple documentaries, music videos and short films, but this is his first feature film. The same can be said of the costume designer Yuithingwon Vashai, the makeup artist Yaithingchon Ronra, prop master Mayonching Huileng, boom operator Ngakuingam Zingkhai and assistant cinematographers Uranim KC Shaiza and Vamsingshomi YS.
The cast also consisted of a number of actors making their debut. Ilishan Jajo, having taken a minor role in Zingthanwo, comes to the fore in the film and delivers a tremendous performance as Luingamla. The acting of Mayochan SW as Chonmila and Khayaishai Rainam as Ramkathing deserves immense plaudits, while Nimmi Mawon (Shimreila) and SW Makunchui (Tharawon) both delivered truly memorable performances. Though Yursem Luithui (Honrei) got limited screen time, he showed why he’s grown as one of the best actors in the Tangkhul film industry in recent years.
A critic has the easiest job in the world when a film is bad. But when a film is good, the opposite is true. Since Luingamla is a biopic, it offers little room for criticism with regard to the scriptwriting. In the film, however, there are a few instances where the editing could be tighter and the pacing could have been better. While the background score is unique and sets the tempo of the film, the audio mastering felt a little haphazard in some sections where dialogues were drowned out by the overpowering music and ambient sounds. The biggest criticism of the film would be the performances of some of the minor actors and extras who felt like they were picked up randomly and assigned roles on the spot. The chasm in acting between the major characters and a few minor characters made some of the most important scenes lose their punch. That said, by no means do these little blemishes take away the poignancy of the film.
For many years now, the average Tangkhul audience has called for a film that is truly Tangkhul in its essence. Although there have been considerable improvements in the Tangkhul film industry in recent years, the overarching influence of Hollywood and dependence on visual aesthetics rather than on storytelling seem to still plague our movies.
Luingamla is different. It is a film that feels uniquely Tangkhul. Maybe the fact that it is a biopic helps the cause for Meiphung because the film doesn’t try to show the Tangkhul community as something we are not. It has the feel of an independent film and celebrates our people as people who live, love, grieve and survive. Luingamla is a film of strength, resistance and the power of women in our community and stays with you long after the credits have rolled.
Many got to see the premiere of the film for free but it is one of the few tangkhul films people would happily pay to watch.
