ABSTRACT
The use of color has received comparatively less academic attention in the films of Northeast India, partly due to limited dedicated research and expertise in this area, and because cinema in India has historically been regarded more as a medium of entertainment and a vehicle for spreading messages than as an aesthetic audio-visual art form. The authors find that filmmaker Pradip Kurbah stands out among the others by consciously using color in Lewduh (Market, 2019) to augment beauty and imply the meaning of its narrative, as well as showcasing the socio-cultural scenario of Khasi society and the Lewduh market in Shillong, Meghalaya. The significance of this article lies in its attempt to fill a research void on the technical artistry, namely the use of color in film to impart meaning, in the cinema of the Northeast, thereby opening new avenues for scholarly and artistic appreciation.
KEYWORDS
Color Psychology, Conveyors, Visual Metaphor in Cinema, Northeast Indian Cinema
In the language of film, color, light, and sound are as crucial as words in literature. The importance of color draws its significance from its ability to affect the viewer’s psychology by triggering emotional responses, such as excitement, tension, calmness, or sadness, and, thus color is a powerful tool to influence the audience (Tavaragi and C 2016), and has been utilized in various fields, namely in marketing (Bytyçi 2020), and in psychology and other domains of the medical sciences (Maryam and Ali 2014). Filmmakers make extensive use of the power of color to convey a message as well as set up the environment for a particular scene or shot.
As communicators have widely exploited color, new insights appear from time to time, often leading to a cinematic revolution. Sergei Eisenstein, in his essay “Colour and Meaning,” discusses the association of certain colors with specific emotions (Eisenstein 1948). However, in the same essay, he claims that these associations are not solid. In his words, “This means that we do not obey some ‘all-pervading law’ of absolute ‘meanings’ and correspondences between colors and sounds—and absolute relations between these and specific emotions, but it does mean that we ourselves decide which colors and sounds will best serve the given assignment or emotion as we need them.” Eisenstein’s comment advocates for certain “freedom” or “absolute free”-ness of interpretation which he talks about in detail in the same essay.
The same color may be used to convey different messages, for instance, white, which generally represents purity, innocence, and peace, was extensively used to represent horror and isolation in the horror/mystery film, Midsommar (Ari Aster, 2019). In an article, “The Meaning of White in Horror,” published on the website Slow Burn Horror, Shannon Lewis explores how the color white is contrastingly used in horror films to set environments of vulnerability and alienation, and even to represent death. A scientific study of color in psychology reveals how it triggers physiological and cognitive responses. Daniel Berens explains that color is “a perceptual experience constructed by the brain,” which immediately associates shades with emotions according to the human perception of the world (Berens, 2014). Red increases heart rate and arousal, whereas blue relaxes with low wavelengths, as demonstrated by Elliot and fellow researchers (Eliot 2007). The desaturated grays in the film, The Road (John Hillcoat, 2009) represent despair; similarly, the stark reds in Sin City (Frank Miller and Robert Rodriguez, 2005) ignite anxiety, but the red in American Beauty (Sam Mendes, 1999) expresses fiery passion. George Miller splashed Mad Max: Fury Road (2015) in fierce orange to convey intense zeal, while director Guillermo del Toro used a combination of red and yellow to represent conflicting souls in Pan’s Labyrinth (2006). In simpler terms, the filmmaker has the liberty to decide which color to use to convey what is desired on the basis of strong scientific theories.
This paper utilizes mainly qualitative methods for analysis, as follows:
(i) Analysis of Characters and Scenes
The background of each character is studied to understand why a particular color palette is associated with them, as it is understood that past experiences and emotional states can affect one’s appearance, and this fact is well-utilized in cinema. The scenes are analyzed thoroughly to understand what the film is trying to convey, and how the colors on display help in that effort.
(ii) Comparative Analysis
A comparative analysis is conducted with films from other countries and cultures to understand how filmmakers across the world have used colors as metaphors.
1. Theoretical Framework
1.1 Color Psychology
A color is characterized by its three attributes, hue, chroma or intensity, and value or lightness. In their research, the psychologists, Suk and Irtel (2009), list two experiments, where thirty-six color stimuli were exposed to the subjects on A5-size glossy paper and CRT monitors, respectively, to examine how they responded to different values of those attributes. Making use of various statistical parameters, namely ‘Reliability Coefficient’ and ‘Cronbach’s Alpha,’ they concluded that the intensity of color has a strong influence on the emotional state of the audience, and the tone of the color. Their studies revealed that emotional responses are caused by the tone of colors, which is a measure of how bright or dark they appear.
The existing literature offers insights gained by studying the emotional words and facial expressions that represent emotional ups and downs in response to different color stimuli (Takahashi and Kawabata 2017). Scholars agree on the hypothesis that color acts as a trigger for emotional reciprocity for viewers, but even before the initiation of such academic evaluations, market experts and filmmakers were using it as a medium to transmit their message.
On September 10, 1958, the Daily Herald newspaper of the United Kingdom made history by using colors for the first time ever to advertise their magazine, Woman (“News, History of Advertising Trust,” n.d.), and since then the advertising industry has exploited the power possessed by colors to attract consumers. Another popular example is that of Coca-Cola which is commonly recognized by a special type of red color that was standardized for the global market in 1941 when the company hired experts to create what is popularly known as “Coca-Cola red” (Alexander 2025). Red not only provides a unique identity to the brand, but also fills the hearts of customers with energy, excitement, and passion, giving a special meaning to a color, and rooting brand recognition among the global masses.
As discussed above, a color is not bound to signify a single, fixed meaning, but can imply several interpretations according to how it is presented. It is historically associated with some particular meaning. Table 1 lists of some common colors with their usual meaning (Cianci 2023; Olesen 2025; “Color Theory for Designers, Part 1: The Meaning of Color—Smashing Magazine” 2010).
Table 1
1.2 Color as a Tool of Communication in Cinema
In a visual art form, anything can be treated as a medium for communication. The main background theme of Francis Ford Coppola’s The Godfather (1972), composed by the distinguished Italian composer, Nino Rota, haunts the audience with an inexpressible agony that underlies the entire film. In the words of William D. Laffler, a journalist at United Press International in the 1970s, the score “generates nostalgic longing for things past and a foreboding underlying theme” (The Sentinel 1972). Here, the music works as a metaphor. Similarly, light and shadow are used as conveyors of special meaning in films like Rashomon (1950) and Seven Samurai (1956) by the Japanese filmmaker, Akira Kurosawa.
Color is used in the media especially for two reasons—for its aesthetic value and its historical connection with emotions. Rabbaa and Gueddou (2024) emphasize that color carries traces of one’s ethnic identity and the memories of the culture they have been brought up in. A pivotal scene in Steven Spielberg’s Schindler’s List (1993) shows a girl wearing a red coat roaming the streets to disappear within a few seconds. Spielberg ingeniously presents girl’s red coat (the only color in the film) as a fleeting symbol of hope and innocence, which have faded amid the horror of the Holocaust.
A notable point here is that in the Indian sociological context, red is often associated with auspiciousness, such as the color of sindoor that married Hindu women wear, a performance signifying the influence of culture on the meaning of color. Barbie (2023), a fantasy comedy movie directed by Greta Gerwig, was shot in pink primarily to connect the film with womanhood, representing another aspect of color, that of gender. And, South-Indian filmmakers have used their knowledge of color theory in Tamil cinema (Amaljith N., Shemin K, and Salman O. M. 2024b), but not many studies have been done in the context of the films of Northeast India. This article attempts to open a gateway for future research.
The Khasi cinema industry, born in 1981 in the Northeastern state of Meghalaya in India, reaches beyond the one million Khasi language speakers, and crosses national borders, largely due to the work of the internationally recognized filmmaker, Pradip Kurbah. After receiving the Best Feature Film awards for his first two films, Ri: Homeland of Uncertainty (2013) and Onaatah: of the Earth (Orphan: of the Earth, 2016) at the 61st and 63rd National Film Awards, respectively, he bagged another one for his third film Lewduh (Market, 2019), at the 67th National Film Awards. His fourth movie Ha Lyngkha Bneng (The Elysian Field, 2025) won the Best Film and Best Director awards at the 47th Moscow International Film Festival in 2025. Kurbah is known as one of the few directors in Northeast India who explicitly and sensibly use color psychology in their movies, from setting the environments to depicting metaphorical meanings.
Figure 1: Traditional Meanings of Some Colors in Cinema. Source: Rabbaa and Gueddou, 2024.
2. Symbolic Use of Color in Lewduh
Director Pradip Kurbah’s Khasi-language film Lewduh, set in a daily market area of Meghalaya, is a poignant reflection on the vibrant lives of the market people. As the term ‘Lewduh’ translates as market, it can be assumed to be a story that revolves around the market itself.
2.1 Color as Metaphor in Lewduh
Kurbah personifies the Lewduh market in order to tell the story of everyday people and explore the theme of human relationships (Neog, n.d.). The market itself acts as a narrator, a character, and a metaphor in the film. Throughout the movie, the director cleverly employs color in such a way that both its aesthetic value is enhanced and the need for coherent expression is met. One cannot simply put it down as an unconscious move, but rather a signature of the creator’s expertise in the subject matter.
Figure 2: In Lewduh, the character Lamare’s pink beanie represents his hope that his son will come back to bring him home. Source: https://indianexpress.com/wp-content/uploads/2019/10/p4-ewduh-film-still-3.jpg
The use of color as a metaphor is seen through the character Lamare, an old man with dementia, abandoned by his son and daughter-in-law. He lives in the market in the hope that his son would come to take him back, and all he has left are the memories of his dead wife. He is always seen wearing a pink beanie. Although the color pink is traditionally associated with compassion, love, playfulness, and femininity, here it conveys hope, innocence, and sadness rather than a single definite meaning. The pink beanie represents various contrasting tropes: the old man’s unsuccessful desire to reunite with his children, the tragedy of his life which he is not aware of due to his dementia, and the materialist attitude of present-day society that disregards emotional connections. Lamare’s pink beanie is symbolic of his hopeless quest to see his children, the unspoken tragedy of his solitary life, and the materialistic indifference of modern society towards emotional attachments, and the desire to belong—transforming the implied meaning of pink as a symbol of love and playfulness into innocence, sadness, and unfulfilled desire.
Another important character, Priya, is usually seen in pink or other light-colored clothes, which gives her a calm and peaceful appearance. As she silently suffers the physical and emotional abuse of her husband, she finds a reliable friend in the main character, Mike. The light colors in her dress (Figure 3) show her purity, her trust in Mike, and the optimism she carries that someday her husband would start behaving well and fill her with love. But as her hopes fail, one day, she suddenly sets herself on fire. The burning is filmed so that the orange color of the flames gradually covers her face, revealing her helplessness. Here, again, Kurbah employs a color which is usually associated with positivity, vitality, or festivity to convey tragedy.
The style of using non-traditional colors to represent contrasting aspects is a significant example of the ‘freedom’ of the artist that Sergei Eisenstein talks about (Eisenstein 1948). Director Kurbah breaks the traditional ‘color symbolism’ by making orange the color of death to imply that death can sometimes be more peaceful and meaningful than a life full of unrelieved suffering.
Figure 3: The light-colored dress Priya is seen wearing depicts her purity and innocence, and her trust in Mike to whom she tells her tragic story. Source: https://filmfreeway-production-storage-01-connector.filmfreeway.com/attachments/files/004/440/345/original/IMAGE_21.jpg?1579150322
The protagonist of the story, Mike, is a sweeper in the market area. He is a part of the lives of the other characters, and he tends to assist them with their problems. Mike rescues a young man, Hep, from drug addiction, and he lives with Mike. Mike treats Hep as a younger brother. Deserted by his father, Hep lived with his mother, but she also leaves him. He goes to the bus station several times, hoping that she would come back. In the first half of the movie, Hep is depicted wearing a dark grey t-shirt, and the scenes where he opens up to Mike, especially on the terrace, are accompanied by heavy, dark clouds which symbolize his inner conflict. But once Hep finally accepts that his mother is never coming back, he takes it surprisingly calmly, as though it is his destiny. When he tells Mike about this realization, once more on the terrace, the sky in the background changes: it is bright and clear, a symbol of the beginning of a new life. Later in the movie, Hep is depicted in light-colored t-shirts signifying that playfulness has returned to his life, and the clouds of agony have faded away.
Figure 4: Adona is in fire-brick colored dress which depicts Mike’s unexpressed feelings for her. Source: https://imphalreviews.in/wp-content/uploads/2020/04/Lewdah.jpg
Adona is a central character on whom Mike has a huge crush, but he hesitates to confess his feelings. His innocent and sweet love for her is reflected through the pink and fire-brick colors of her dress. Yet, when Adona gets married to Nabin after rejecting Mike’s proposal, the colors of her dresses darken, giving a hint that his dreams of marrying her have disappeared. Here, the director draws another metaphor with a cup of red tea. Adona is a tea vendor, but Mike, out of shyness, never buys tea from her. The redness of the tea depicts his love for her; but later, as he accepts the fact that she is married and cannot be his, he takes tea from her and consumes it without hesitation, implying that he has accepted that his love cannot be fulfilled.
The character of a street singer who performs ballads connecting the audience to the theme of grief, wears a red hat all the time, which represents the hope of the people in the market. Despite their day-to-day hustle, struggle, and pain, they aspire for a better tomorrow.
Towards the end of the film, Mike adopts Lamare as his father, and brings him home. Lamare abandons the hope of seeing his son again. The room, which is portrayed in a gloomy dark color tone, now appears bright as sunshine comes in. Lamare is no longer wearing the pink beanie, he has let go the burden of expectations and grief. The gloominess of the color palette is replaced by radiance.
2.2 Comparison with Other Films
Kurbah’s use of color symbolism in Lewduh borrows inspiration from renowned filmmakers, yet he has succeeded in crafting his own unique metaphors through color. The color pink, for example, is traditionally associated with compassion, love, and femininity, as seen in the playful pink tones of Funny Face (Stanley Donen, 1957), but in Lewduh, Lamare’s pink beanie conveys a more complex mix of hope, innocence, and sadness. Light colors are often used to express purity, calmness, and trust, much like the cheerful, light tones in The Grand Budapest Hotel (Wes Anderson, 2014). In the context of Lewduh, Priya is seen wearing a light-colored dress, depicting her purity, hope, and love for her husband despite being abused by him. In the film Joker (Todd Phillips, 2019), grey is used to show alienation, whereas in Lewduh, grey in Hep’s clothing in the first half of the film conveys his gloominess. Pink and fire brick-colored dresses of Adona reflect Mike’s unspoken and innocent feelings for her, just like yellow and pink dresses were worn by the female protagonist of La La Land (Damien Chazelle, 2016), which depicts love. We have already discussed how Spielberg used the color red in Schindler's List (1993) to imply hope; in Lewduh, the red hat of the street performer, who sings about the lives of the people in the market, represents everyone’s hope. In a scene in the film Swades (2004, directed by Ashutosh Gowariker), the bulb lighting up an old lady’s hut signals a new dawn in the village. Similarly, the transition in Lewduh from a dark environment to a bright background, as the movie proceeds, represents the emergence of hope in the lives of the people in the market. While the orange saree of Raveena Tandon in the music video of “Tip Tip Barsa Pani” in Mohra (Rajiv Rai, 1994) represents warmth and youthfulness, in Lewduh, the traditional association of orange (in the orange fire in which Priya burns herself) is broken by the director using it to imply helplessness and the unexpressed frustration of Priya.
3. Key Findings and Significance
This study of Lewduh demonstrates director Kurbah’s artistic and innovative approach of using color as a tool or medium of portraying context-specific meanings and narratives. Throughout the film, color plays the part of shaping the context, reflecting the characters’ psychology and development, and shapes the audience’s emotion. The color scheme of the film progresses from dark, gloomier tones at the beginning to rich, brighter ones towards the end, symbolizing a shift from despair to hope in the characters’ emotional journey.
This significance of this article lies in demonstrating how regional films like Lewduh present a new outlook of visual metaphor and the use of color theory. The paper has demonstrated how directors like Kurbah are trying to expand the scope of color symbolism in Northeast Indian cinema, which is often underrepresented in “mainstream” cinema production. It has also shown that “color” is not bound to any stereotypical norms, and is dynamic. This study has properly taken into account Eisenstein’s assertion of the filmmaker’s “freedom” to interpret color, reflecting how color counters narrative complexities and builds a connection with the audience through inventive approaches.
Filmmakers across the world continue using color psychology in their films in order to stimulate the emotions of the audience, and to help them connect with the context more deeply. This article draws the conclusion that in Northeastern India, “color theory” holds a special place in filmmaking, and directors like Pradip Kurbah are extraordinary experts in it. Kurbah’s film Lewduh, a masterpiece in the use of color as metaphor, has won both critical and audience acclaim. Colors, in this movie, are not just tools for aesthetic enhancement, but serve as strong media to convey themes and emotions.
As a cultural representation of Meghalayan society, Lewduh serves as a reflection on modern-day culture of the Khasis and other communities residing in the state. The Lewduh market in Shillong has historically been women-dominated (Pal 2022), which is a consequence of the matrilineal social system in Meghalaya. Two of the central characters of the film, Priya and Edwina, run their independent businesses, depicting society’s progressive stance on gender. Edwina was courageous enough to choose her life partner outside the community, going against traditional norms, which is again a signature of the status of women in Khasi society. In contrast, Priya’s tragic life with her abusive husband points to universal issues faced by women.
Lewduh is a common marketplace for the different communities of India who came and settled there to earn their livelihood: in the film, Sharma Ji is such a character, who comes from Assam, runs a teashop in the market and is an integral part of the neighborhood. While Lewduh’s focus is not mainly on the several communities living in Meghalaya or in the Lewduh market itself, it still captures the lives of people around the region. This paper marks the beginning of a new avenue of film research in Northeastern India, focusing not only on the content but also on the technical aspects which have been neglected for the reasons discussed above.
Acknowledgements
We humbly dedicate this article to Zubeen Garg (Zubeen Da), a cultural icon of Northeastern India, who reinforced and redefined the cinema industry of this region to compete on the world stage. We pay our heartfelt gratitude to Dr. Subrat Jyoti Neog, Department of Assamese, Tezpur University, for his kind mentorship and support. His lectures on “Writings on Cinema in Assamese” at Tezpur University, for an open elective course, planted the seed for our motivation to see films through the lens of color.
Niyar Prabhat Kalita completed his Master’s degree in Physics from Tezpur University in 2025, and intends to pursue research in contemporary areas of theoretical physics. His love for physics helps him survive in hard times. He is also interested in films and literature. He took “Writings on Cinema in Assamese” as an open elective course during his MSc, which enriched him with the skill of seeing films through the aspects of color, sound, shots, etc. In his free time, he enjoys writing articles, poetry, and stories in Assamese, which have found their way to publication in several established dailies and periodic magazines of Assam. His review article, “A Review on Radio Astronomy: Achievements, Techniques, and Future Insights,” was published in the book, Insights: Understanding Multidisciplinary Themes, Volume I, 2025. His article, “Mukto, Soxobdo” (English Translation: “Free, Aloud”) was published in the book Zubeen Garg: Geet Guwa Darshonikjon (Print I, 2025). He was the editor of the magazine Jowar at Cotton University in 2019, and also a member of the editorial board of the college magazine at Pub Kamrup College in 2020. He was awarded the “Yuva Lekhak Sanman-2025” (“Young Writer’s Award-2025”) by the Publication Board of Assam and the Government of Assam in 2025.
Raktima Dutta is a post-graduate student at Tezpur University, Assam, pursuing English Literature. She was awarded multiple scholarships by the Government of Assam and the Government of India for academic excellence in school and in her undergraduate course as well. She took “Writings on Cinema in Assamese” as an open elective course during the second semester of MA, which enriched her with technical knowledge of seeing films through the aspects of color, sound, and shots. Her interests lie in exploring poetry, fiction, and film, and she is passionate about writing. She represents the university female cricket team as an all-rounder at an institutional level, and was an active member of the National Service Scheme. Raktima is interested in pursuing a career in literature and conducting research in the field. She enjoys writing poems and articles. Her Assamese poem entitled “Insomnia,” published in the Assamese monthly magazine Rengoni (2022), brought her significant attention among poetry-enthusiasts in the region. She has served as the editor of the Pub Kamrup College Magazine (2020-21) during her undergraduate years.
Swapnil Bhuyan is currently pursuing a Master’s degree in Linguistics and Language Technology at Tezpur University, Assam. He holds a Bachelor’s degree in English Literature and has a strong academic interest in postcolonial studies, indigenous narratives, and cultural representation in contemporary literature and media. He took “Writings on Cinema in Assamese” as an open elective course during the second semester of MA, where he learnt about film-literature. Alongside his academic pursuits, he has over five years of experience as a private tutor, mentoring school students in English and the Humanities. As a freelance writer, he contributes movie reviews, cultural commentary, and poetry to magazines and newspapers. His Assamese article, “Bhupen Hazarikar Geet Aru Asomiya Somaj” (English translation: “Bhupen Hazarika’s Songs and Assamese Society”), published in the e-magazine, Being Asomiya (Volume 1, Year 1, October 2023), gained critical attention because of its academic analysis of the songs of cultural icon Dr. Bhupen Hazarika. He has written a film report for the e-magazine, Betupat (Volume 1, Year 7, January 2022), entitled “Hellaro,” which provides an analytical review of the National Film Award-winning film Hellaro (Abhishek Shah, 2019). His work often reflects a keen engagement with regional languages and identities, particularly within the socio-cultural context of Northeast India.
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