'Casetu Nagen' review: This Priyadarshan-inspired Assamese movie is a wild goose chase on greed and fraud

Assamese cinema's freshest gem, 'Casetu Nagen', is stirring quite the buzz — but here’s the million-dollar question: Who exactly is Nagen? The whole town seems to be on a wild goose chase! Yet, the real answer lies hidden within the film’s frames. What secret draws Phani, brilliantly portrayed by Himangshu Prasad Das, to the quaint village of Kachubari in search of this elusive Nagen? Well, that mystery is yours to unravel — but only if you dive into the movie itself.

Through the eyes of Phani, the audience embarks on a suspenseful journey in search of Nagen, all while uncovering several powerful messages along the way. Rooted in a realistic storyline, the film mirrors the pressing realities of today’s world. It exposes how, disguised as legitimate chain system businesses, a group of cunning fraudsters trap unsuspecting villagers with the lure of easy money — only to cheat them out of their hard-earned cash and vanish without a trace.

Director Dhanjit Das, speaking with IndiaTodayNE, shared that Casetu Nagen was never just about entertainment — it was a conscious attempt to spotlight uncomfortable rural truths.

"All these rural issues are deeply rooted in our society. I chose to portray them through satire. The film was scripted as an entertainer. So, we aimed to reflect the social image on a comic surface. I believe this approach makes it easier for a general audience to digest such serious topics", he said. 

"We all know that natural human instincts like 'Greed' can't be completely erased, specially in a social ecosystem as diverse as ours. That’s why I wrote that line as the film’s closing note. But at the same time, I strongly believe, education is the only key to controll these instincts and to restore social balance. That’s exactly why, in the second post-credit scene, we highlighted the topic of education", he added.

Tale of greed preying on hope

Driven by the hope of doubling or even tripling their earnings, people often end up losing their hard-earned money and property in the blink of an eye, left shattered and helpless. Meanwhile, a class of opportunistic elites exploits their misfortune for personal gain. Through the character of Padmaram — the self-proclaimed ‘king’ of the village — the film delivers a pointed warning against those who slyly seize the rice, land, and belongings of hardworking villagers to fast-track their climb to wealth and power.

A growing apathy

The film also paints a vivid picture of how villages have changed — they are no longer the close-knit communities they once were. It highlights the rise of self-centeredness and growing apathy among people. At the same time, it brings attention to persistent issues like illiteracy and the lack of interest in education, especially in remote rural areas.

A village where progress is a distant dream, education is a luxury

Kachubari village, nestled near the foothills of a distant border mountain, struggles with underdeveloped roads, no electricity, and access only by boat due to the absence of a bridge. This stark portrayal sends a clear message to the government: many villages across the state remain untouched by progress.

Furthermore, the film exposes the grim reality that, with few educational institutions available, villagers are trapped in a cycle of illiteracy. It also shines a light on the often-absent elected representatives who appear only during election season to distribute goods and seek votes, but remain disconnected from the real struggles of the people throughout the rest of the year.

Critical observations by IndiaTodayNE

The film aimed to be a comedy, but the humour often fell flat. Many of the so-called funny scenes failed to elicit laughter from the audience, creating a noticeable gap between creative intent and actual execution.

Heavily inspired by Priyadarshan-style storytelling, especially the film Malamal Weekly, it attempted to bring elements of absurdist comedy into Assamese cinema. The narrative introduced two eccentric characters living in their own bubble, while chaos unfolded around them over a bag of money. However, this promising absurdity lost direction in the second half.

The dialogues were overly simplistic, lacking the quirky charm that the film seemingly aspired to achieve.

Despite these flaws, the direction stood out for its ability to capture the essence of rural Assam and the theme of human greed. One striking scene — where a man lies dead beneath a tree with bloodstains visible, yet the villagers are fixated only on the bag of money — brilliantly reflects the film's underlying commentary.

In the end, the movie seemed ill-suited for theatrical release but could have resonated better with audiences on OTT platforms, where niche storytelling often finds its place.

A lingering sense of concern and reflection

The film, directed by Dhanjit Das and produced by Khalekur Zaman, was released on May 13 and has won the audience’s appreciation through the impressive performances of actors both new and veteran, including Himangshu Prasad Das, Amrita Gogoi, Tapan Das, Siddharth Mukherjee, Pronami Bora, Atul Pachani, Atanu Mahanta, Prashanta Kalita, and Nitu Barman Rajyungke.

Apart from a few slow-paced moments in two or three places, the film successfully blends action, thrill, and songs beautifully. The rap song ‘Shukan Khori’ by Devadwip Bora has become particularly popular. The natural landscapes of Chandubi and Umchuwa in West Karbi Anglong add a special charm to the film.

At the end of the movie, Tapan Das’s voiceover saying, “Kachubari village, however, did not change,” leaves the audience with a lingering sense of concern and reflection.