Boong’s global breakthrough
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Dipak Kurmi
In a moment of rare cinematic triumph for India’s Northeast, the quirky Manipuri coming-of-age comedy-drama Boong has secured international acclaim by winning the prestigious BAFTA Award for Best Children’s & Family Film in London. Produced by Excel Entertainment, the film’s victory marks a significant milestone not only for Manipuri cinema but also for the broader landscape of regional Indian filmmaking. The achievement resonates far beyond the glamour of the awards stage, signalling a growing global openness to stories emerging from culturally rich yet historically underrepresented regions. For Manipur, where art often intersects with lived realities of conflict and resilience, the honour carries deep emotional and symbolic weight.
The film’s debutant director, Lakshmipriya Devi, delivered one of the evening’s most moving moments with her acceptance speech, transforming what might have been a routine celebration into a poignant appeal for peace. Receiving the coveted trophy from Paddington Bear, the beloved character associated with the West End production Paddington The Musical, Devi reflected on the unlikely journey of her film. She described the path to the BAFTA stage as “the last few steps to reach a summit of a mountain we never knew we were climbing,” a metaphor that captured both the modest beginnings of the project and the magnitude of its achievement. Her words quickly shifted from celebration to conscience, as she used the global platform to voice concern for the ongoing distress in her home state.
Devi’s speech carried an unmistakable moral urgency. She prayed for peace to return to Manipur and expressed heartfelt concern for internally displaced children, including some of the young actors who were part of the film. Her remarks underscored the stark contrast between the innocence celebrated in children’s cinema and the harsh realities faced by many young people in conflict-affected regions. She also invoked forgiveness as humanity’s greatest superpower, urging that no conflict should be powerful enough to extinguish it. The moment transformed Boong’s victory into something larger than a cinematic win; it became a reminder that art can serve as both mirror and messenger in troubled times.
Standing beside Devi during the ceremony were the film’s producers, Farhan Akhtar and Ritesh Sidhwani, along with assistant director Rahul Sharda. Fellow producer Alan McAlex was also present, reflecting the collaborative effort behind the project. Excel Entertainment, known for backing distinctive and often genre-defying cinema, has in recent years shown increasing willingness to support stories from beyond mainstream Bollywood geography. Boong’s success may well validate that strategy, demonstrating that authenticity and regional specificity can resonate powerfully with international juries when executed with sincerity and craft.
At its heart, Boong is a coming-of-age narrative that blends humour with emotional depth, a tonal balance that is notoriously difficult to achieve. The film features compelling performances by Gugun Kipgen and Bala Hijam, both of whom bring lived-in authenticity to the story’s youthful perspective. Their portrayals help ground the film’s quirky sensibility in emotional truth, enabling it to speak to universal themes of childhood, aspiration, and resilience. While rooted in Manipuri cultural textures, the narrative’s emotional arc appears to have travelled effortlessly across borders, a key factor in its BAFTA triumph.
The scale of Boong’s achievement becomes clearer when viewed against its competition. The film outperformed major international nominees including Lilo & Stitch, Arco and Zootropolis 2. These titles emerged from well-resourced global studios with far greater marketing reach and distribution networks. For a Manipuri-language film to surpass such heavyweight contenders speaks volumes about the BAFTA jury’s recognition of storytelling merit over commercial scale. It also reflects a broader shift within global film culture, where authenticity, regional voices, and culturally grounded narratives are increasingly valued alongside technical polish.
The ceremony itself unfolded amid considerable glamour at the Royal Festival Hall on the banks of the River Thames. The 2026 edition of the British Academy of Film and Television Arts Awards drew an impressive international gathering of film personalities. Among the celebrity guest presenters was Bollywood star Alia Bhatt, whose presence highlighted the growing global footprint of Indian cinema. The evening’s major sweep, however, belonged to the Leonardo DiCaprio-starrer One Battle After Another, which reportedly led the night with six trophies. The presence of BAFTA president Prince William and Catherine, Princess of Wales among the chief guests added further ceremonial gravitas.
Yet amid the evening’s star power and multiple big-ticket wins, Boong’s victory stood out for its emotional authenticity and geopolitical resonance. Children’s and family films often occupy a gentler corner of the awards landscape, but this particular win carried a distinct moral undertone because of the context from which the film emerged. Manipur has in recent years witnessed periods of unrest and humanitarian strain, and Devi’s acceptance speech ensured that the region’s reality was not eclipsed by the glamour of London’s awards circuit. In doing so, she followed a long tradition of filmmakers who have used international platforms to amplify local concerns, reminding audiences that cinema can be both entertainment and testimony.
The success of Boong may also have long-term implications for the visibility of Manipuri cinema. Historically, film industries in India’s Northeast have struggled with limited funding, distribution bottlenecks, and minimal national exposure. Yet the region possesses a rich storytelling tradition shaped by theatre, oral narratives, and strong visual culture. International recognition of a Manipuri-language film could encourage greater investment, wider festival circulation, and more systematic archival efforts for regional cinema. It may also inspire emerging filmmakers from the Northeast to pursue projects that remain rooted in their cultural milieu rather than imitating mainstream Bollywood formulas.
Equally significant is the film’s thematic positioning as a children’s and family narrative emerging from a conflict-affected region. Such storytelling challenges reductive global perceptions that often associate Manipur solely with unrest. By foregrounding childhood, humour, and emotional growth, Boong presents a more layered portrait of the region’s lived experience. The BAFTA win suggests that international audiences are receptive to such nuanced representations. If leveraged thoughtfully, this moment could help reposition Northeast India within global cultural conversations, shifting attention from headlines of instability to narratives of creativity and resilience.
Ultimately, Boong’s triumph is more than a trophy on a shelf. It is a convergence of artistic courage, regional representation, and timely moral voice. Lakshmipriya Devi’s emotional appeal for peace ensured that the film’s victory carried a human message alongside its cinematic recognition. Supported by Farhan Akhtar, Ritesh Sidhwani, Alan McAlex, and the wider creative team, the project demonstrates what becomes possible when regional authenticity meets professional backing. As the lights dim on the 2026 BAFTA ceremony, Boong leaves behind not just a moment of pride for Manipur but a compelling reminder that powerful stories can emerge from the margins and speak to the world.
In a moment of rare cinematic triumph for India’s Northeast, the quirky Manipuri coming-of-age comedy-drama Boong has secured international acclaim by winning the prestigious BAFTA Award for Best Children’s & Family Film in London. Produced by Excel Entertainment, the film’s victory marks a significant milestone not only for Manipuri cinema but also for the broader landscape of regional Indian filmmaking. The achievement resonates far beyond the glamour of the awards stage, signalling a growing global openness to stories emerging from culturally rich yet historically underrepresented regions. For Manipur, where art often intersects with lived realities of conflict and resilience, the honour carries deep emotional and symbolic weight.
The film’s debutant director, Lakshmipriya Devi, delivered one of the evening’s most moving moments with her acceptance speech, transforming what might have been a routine celebration into a poignant appeal for peace. Receiving the coveted trophy from Paddington Bear, the beloved character associated with the West End production Paddington The Musical, Devi reflected on the unlikely journey of her film. She described the path to the BAFTA stage as “the last few steps to reach a summit of a mountain we never knew we were climbing,” a metaphor that captured both the modest beginnings of the project and the magnitude of its achievement. Her words quickly shifted from celebration to conscience, as she used the global platform to voice concern for the ongoing distress in her home state.
Devi’s speech carried an unmistakable moral urgency. She prayed for peace to return to Manipur and expressed heartfelt concern for internally displaced children, including some of the young actors who were part of the film. Her remarks underscored the stark contrast between the innocence celebrated in children’s cinema and the harsh realities faced by many young people in conflict-affected regions. She also invoked forgiveness as humanity’s greatest superpower, urging that no conflict should be powerful enough to extinguish it. The moment transformed Boong’s victory into something larger than a cinematic win; it became a reminder that art can serve as both mirror and messenger in troubled times.
Standing beside Devi during the ceremony were the film’s producers, Farhan Akhtar and Ritesh Sidhwani, along with assistant director Rahul Sharda. Fellow producer Alan McAlex was also present, reflecting the collaborative effort behind the project. Excel Entertainment, known for backing distinctive and often genre-defying cinema, has in recent years shown increasing willingness to support stories from beyond mainstream Bollywood geography. Boong’s success may well validate that strategy, demonstrating that authenticity and regional specificity can resonate powerfully with international juries when executed with sincerity and craft.
At its heart, Boong is a coming-of-age narrative that blends humour with emotional depth, a tonal balance that is notoriously difficult to achieve. The film features compelling performances by Gugun Kipgen and Bala Hijam, both of whom bring lived-in authenticity to the story’s youthful perspective. Their portrayals help ground the film’s quirky sensibility in emotional truth, enabling it to speak to universal themes of childhood, aspiration, and resilience. While rooted in Manipuri cultural textures, the narrative’s emotional arc appears to have travelled effortlessly across borders, a key factor in its BAFTA triumph.
The scale of Boong’s achievement becomes clearer when viewed against its competition. The film outperformed major international nominees including Lilo & Stitch, Arco and Zootropolis 2. These titles emerged from well-resourced global studios with far greater marketing reach and distribution networks. For a Manipuri-language film to surpass such heavyweight contenders speaks volumes about the BAFTA jury’s recognition of storytelling merit over commercial scale. It also reflects a broader shift within global film culture, where authenticity, regional voices, and culturally grounded narratives are increasingly valued alongside technical polish.
The ceremony itself unfolded amid considerable glamour at the Royal Festival Hall on the banks of the River Thames. The 2026 edition of the British Academy of Film and Television Arts Awards drew an impressive international gathering of film personalities. Among the celebrity guest presenters was Bollywood star Alia Bhatt, whose presence highlighted the growing global footprint of Indian cinema. The evening’s major sweep, however, belonged to the Leonardo DiCaprio-starrer One Battle After Another, which reportedly led the night with six trophies. The presence of BAFTA president Prince William and Catherine, Princess of Wales among the chief guests added further ceremonial gravitas.
Yet amid the evening’s star power and multiple big-ticket wins, Boong’s victory stood out for its emotional authenticity and geopolitical resonance. Children’s and family films often occupy a gentler corner of the awards landscape, but this particular win carried a distinct moral undertone because of the context from which the film emerged. Manipur has in recent years witnessed periods of unrest and humanitarian strain, and Devi’s acceptance speech ensured that the region’s reality was not eclipsed by the glamour of London’s awards circuit. In doing so, she followed a long tradition of filmmakers who have used international platforms to amplify local concerns, reminding audiences that cinema can be both entertainment and testimony.
The success of Boong may also have long-term implications for the visibility of Manipuri cinema. Historically, film industries in India’s Northeast have struggled with limited funding, distribution bottlenecks, and minimal national exposure. Yet the region possesses a rich storytelling tradition shaped by theatre, oral narratives, and strong visual culture. International recognition of a Manipuri-language film could encourage greater investment, wider festival circulation, and more systematic archival efforts for regional cinema. It may also inspire emerging filmmakers from the Northeast to pursue projects that remain rooted in their cultural milieu rather than imitating mainstream Bollywood formulas.
Equally significant is the film’s thematic positioning as a children’s and family narrative emerging from a conflict-affected region. Such storytelling challenges reductive global perceptions that often associate Manipur solely with unrest. By foregrounding childhood, humour, and emotional growth, Boong presents a more layered portrait of the region’s lived experience. The BAFTA win suggests that international audiences are receptive to such nuanced representations. If leveraged thoughtfully, this moment could help reposition Northeast India within global cultural conversations, shifting attention from headlines of instability to narratives of creativity and resilience.
Ultimately, Boong’s triumph is more than a trophy on a shelf. It is a convergence of artistic courage, regional representation, and timely moral voice. Lakshmipriya Devi’s emotional appeal for peace ensured that the film’s victory carried a human message alongside its cinematic recognition. Supported by Farhan Akhtar, Ritesh Sidhwani, Alan McAlex, and the wider creative team, the project demonstrates what becomes possible when regional authenticity meets professional backing. As the lights dim on the 2026 BAFTA ceremony, Boong leaves behind not just a moment of pride for Manipur but a compelling reminder that powerful stories can emerge from the margins and speak to the world.