Why Priyakanta Laishram’s best director win feels like our own victory
13 Mar 2025 23:46:28
Araba Hijam
Some victories extend beyond personal achievement—they symbolize defiance, resilience, and the courage to challenge deeply entrenched norms. Priyakanta Laishram’s Best Director (Northeast) win at the Prag Cine Awards 2025 is one such triumph. It is not merely his success but a moment of validation for every artist, every outsider, and every individual who has been told they do not belong. As Mahatma Gandhi once said, “First they ignore you, then they laugh at you, then they fight you, then you win.” This recognition marks the culmination of that journey.
Unlike many filmmakers who enter the industry with institutional support, Laishram’s career began at the age of nine (9), using a mobile phone - Nokia N70 to create films. Without financial backing, he juggled part-time jobs while pursuing his education, saving every rupee to fund his projects. Whatever earnings he made from awards, he reinvested in his next film—driven not by privilege, but by an unwavering passion for cinema.
Yet financial challenges were only one battle. Since 2015, Laishram has faced relentless criticism and backlash for daring to tell stories that remain largely unexplored in Manipuri and regional Indian cinema. At a time when many filmmakers chose safer narratives, he tackled difficult subjects head-on. The Foul Truth addressed male rape, while ONENESS became Manipuri cinema’s first gay-themed feature film.
This bold approach came at a cost. By 2018, after films such as Who Said Boys Can’t Wear Makeup and The Foul Truth, he became a target of widespread online ridicule and personal attacks. What began as casual mockery escalated into something far more sinister—organized trolling, hate campaigns, and even death threats from extremist groups. The fact that this level of hostility began when he was only 17 or 18 years old makes it all the more alarming.
In 2020, his digital talk show, Upclose With Priyakanta Laishram, became yet another battleground. As the first of its kind in Manipur, the show sparked controversy for its progressive discussions on gender roles, patriarchy, and societal norms. Instead of embracing this fresh perspective, critics seized upon everything from his clothing choices to his language and style of presentation, turning him into the subject of viral memes and online attacks.
Then came ONENESS, the film that would push him into the center of controversy like never before. The journey to completing ONENESS was fraught with obstacles. Finding a lead actor willing to portray a gay character took years, as most feared being associated with the subject. Even after the film was completed, opposition persisted. A single offhand remark by lead actress Maya Choudhury—where she stated that she does not watch films in which she does not star—was twisted into a controversy significant enough to put the film’s release at risk.
As the premiere approached, threats against Laishram escalated. Multiple organizations attempted to block the film’s release, some resorting to intimidation tactics—including armed threats—to silence him. The message was clear: ONENESS was not welcome, and neither was he.
The pressure took its toll. In a raw, emotional Facebook Live session before the film’s release, Laishram broke down, expressing his frustration and exhaustion. It was evident that this battle was about more than just one film—it was the culmination of years of struggle, of being marginalized in his own industry and homeland, of constantly having to fight for the right to tell stories that mattered.
And yet, against all odds, ONENESS prevailed. His Best Director win at the Prag Cine Awards 2025 is not just a professional milestone—it is a defining moment in Manipuri cinema. The recognition extends to Maya Choudhury as well, who, after more than 25 years in the industry, received her first-ever Best Actress nomination in the pan-Northeast category for her role in the film. It is a testament to the fact that talent cannot be erased by controversy, nor can meaningful stories be silenced forever.
Beyond filmmaking, Laishram’s academic achievements further reinforce his commitment to storytelling as a tool for change. Recently, he completed his Master’s in Journalism and Mass Communication from Amity University, Noida, earning a distinction. His success across both artistic and academic spheres reflects a broader vision—one that sees cinema not just as entertainment but as a catalyst for critical discourse.
His victory serves as a powerful message to every artist who has been silenced, to every storyteller who has been told their narratives do not matter. It is a reminder that persistence ultimately triumphs over resistance.
As Ralph Waldo Emerson once wrote, “Do not go where the path may lead, go instead where there is no path and leave a trail.” That is precisely what Priyakanta Laishram has done. And now, the world is finally taking notice.
Some victories extend beyond personal achievement—they symbolize defiance, resilience, and the courage to challenge deeply entrenched norms. Priyakanta Laishram’s Best Director (Northeast) win at the Prag Cine Awards 2025 is one such triumph. It is not merely his success but a moment of validation for every artist, every outsider, and every individual who has been told they do not belong. As Mahatma Gandhi once said, “First they ignore you, then they laugh at you, then they fight you, then you win.” This recognition marks the culmination of that journey.
Unlike many filmmakers who enter the industry with institutional support, Laishram’s career began at the age of nine (9), using a mobile phone - Nokia N70 to create films. Without financial backing, he juggled part-time jobs while pursuing his education, saving every rupee to fund his projects. Whatever earnings he made from awards, he reinvested in his next film—driven not by privilege, but by an unwavering passion for cinema.
Yet financial challenges were only one battle. Since 2015, Laishram has faced relentless criticism and backlash for daring to tell stories that remain largely unexplored in Manipuri and regional Indian cinema. At a time when many filmmakers chose safer narratives, he tackled difficult subjects head-on. The Foul Truth addressed male rape, while ONENESS became Manipuri cinema’s first gay-themed feature film.
This bold approach came at a cost. By 2018, after films such as Who Said Boys Can’t Wear Makeup and The Foul Truth, he became a target of widespread online ridicule and personal attacks. What began as casual mockery escalated into something far more sinister—organized trolling, hate campaigns, and even death threats from extremist groups. The fact that this level of hostility began when he was only 17 or 18 years old makes it all the more alarming.
In 2020, his digital talk show, Upclose With Priyakanta Laishram, became yet another battleground. As the first of its kind in Manipur, the show sparked controversy for its progressive discussions on gender roles, patriarchy, and societal norms. Instead of embracing this fresh perspective, critics seized upon everything from his clothing choices to his language and style of presentation, turning him into the subject of viral memes and online attacks.
Then came ONENESS, the film that would push him into the center of controversy like never before. The journey to completing ONENESS was fraught with obstacles. Finding a lead actor willing to portray a gay character took years, as most feared being associated with the subject. Even after the film was completed, opposition persisted. A single offhand remark by lead actress Maya Choudhury—where she stated that she does not watch films in which she does not star—was twisted into a controversy significant enough to put the film’s release at risk.
As the premiere approached, threats against Laishram escalated. Multiple organizations attempted to block the film’s release, some resorting to intimidation tactics—including armed threats—to silence him. The message was clear: ONENESS was not welcome, and neither was he.
The pressure took its toll. In a raw, emotional Facebook Live session before the film’s release, Laishram broke down, expressing his frustration and exhaustion. It was evident that this battle was about more than just one film—it was the culmination of years of struggle, of being marginalized in his own industry and homeland, of constantly having to fight for the right to tell stories that mattered.
And yet, against all odds, ONENESS prevailed. His Best Director win at the Prag Cine Awards 2025 is not just a professional milestone—it is a defining moment in Manipuri cinema. The recognition extends to Maya Choudhury as well, who, after more than 25 years in the industry, received her first-ever Best Actress nomination in the pan-Northeast category for her role in the film. It is a testament to the fact that talent cannot be erased by controversy, nor can meaningful stories be silenced forever.
Beyond filmmaking, Laishram’s academic achievements further reinforce his commitment to storytelling as a tool for change. Recently, he completed his Master’s in Journalism and Mass Communication from Amity University, Noida, earning a distinction. His success across both artistic and academic spheres reflects a broader vision—one that sees cinema not just as entertainment but as a catalyst for critical discourse.
His victory serves as a powerful message to every artist who has been silenced, to every storyteller who has been told their narratives do not matter. It is a reminder that persistence ultimately triumphs over resistance.
As Ralph Waldo Emerson once wrote, “Do not go where the path may lead, go instead where there is no path and leave a trail.” That is precisely what Priyakanta Laishram has done. And now, the world is finally taking notice.
