Agnisnaan is a 1985 Indian Assamese language drama film directed by Bhabendra Nath Saikia.

The film starred Indra Bania, Kashmiri Saikia Baruah, Chetana Das, Ashok Deka, Moloya Goswami, Arjun Guha Thakuria, Arun Nath and Biju Phukan.

How his first wife feels cheated in her unquestionable love and dedication to him and how she takes revenge is the basis of the story.

A certain locality of a small town is inhabited by some poor people: a fisherman from Bengal, Madan ̶ a thief who spends a considerable time of the year in police custody, Phool ̶ a widow who is reportedly having an affair with the policeman on night duty in the area, etc.

Mohikanta, a man with the characteristics of feudal vanity and conceit, comes in contact with a British Deputy Commissioner of the district, who helps him in establishing a ricemill in the town.

One day, to the utter dismay of everyone around, Mohikanta rides on an elephant at the head of a marriage procession and makes Kiran his second wife.

Menoka, though determined not to submit her body to Mohikanta any more, her thirty-two-year-old flesh and mind keep her sweating, especially when the midnight music from Kiran's bedroom wafts into her ears.

First, the bewildered Menoka immediately collects herself and takes Madan to a solitary place beneath the bamboo grove at the back of the house.

Madan breaks down and tells Menoka that he finds it difficult to bear her silent sufferings and Mohikanta's tyranny any more.

Madan proves himself to be a trustworthy, devoted worker, but remains utterly perplexed at the behaviour of Menoka.

In the absence of Kiran, Mohikanta becomes more bewildered, maddened and one night he drives Menoka to the wall.

Surging through the confused streams of emotions and impulses ̶ love, anger, misery and an inexplicable hunger ̶ is a strong, ever burning desire for revenge.

Events drive her to a point when she invites Madan to the solitary place beneath the bamboo grove at midnight.

One night Menoka breaks down in tears and asks Madan to forget everything and cease contact with her.

Before the frowning face of Mohikanta, in the midst of the noise of the machines of the rice mill, Menoka gradually transforms herself into a representative of womanhood ̶ trampled, oppressed ̶ now raising her head in rebellion.