Nepali Cinema

Typically a Nepali film has a larger-than-life story, broadly-defined characters, multiple song and dance sequences, mostly in exotic locales, fight sequences, and a victory and/or reunion (for the protagonist) in the end.

But this does not mean all Nepali films are crude montage of the so-called popular cinematic elements, are stereotypical, boring to watch or always predictable. Nor does it mean that all Nepali films have nonsensical stories with no relevance or relation to (Nepali) life. Watching Nepali films, even the popular ones, can be quite enjoyable. Also, many filmmakers have tried to make socially conscious films even within the popular genres.

But then there are other filmmakers with a different concern. They dislike making films with the esthetics same as or similar to Bollywood. They try to tackle serious subjects and go for a more realistic approach. Their films do not have the elements of popular genre. Thus, watching their films is altogether a different experience
Recognition for Nepali Cinema
While Nepali Cinema is yet to make a niche for itself in the international arena, some Nepali films have achieved international recognition. Among them, some of them are as follows:
Tsering Rhitar Sherpa's documentary The Spirit Doesn't Come Anymore Among, profiling an old Tibetan shaman earned the Best Film award in FILM SOUTH ASIA'97- a festival of South Asian documentary films and the best Indigenous Filmmaker of the Year at Parnu Anthropological Film Festival, Estonia.
His first feature film Mukundo was Nepal’s Official Entry for Academy Awards (OSCAR) in Best Foreign Language Film Section in 2000 and participated in various international film festivals. Mukundo is, in the filmmaker's own words, 'an expression and exploration of confusion caused by rituals and beliefs prevalent in the Nepali society.'
Navin Subba's Numafung, a beautiful tale of a subtle female revolt against the patriarchal social structure, participated in various international films festival and received several international awards.
Kesang Tseten's We Homes Chaps, featured as among highlights at the Margaret Mead International Film Festival, 2002. His documentary Machhendranath was mentioned for the Prix Nanook - Jean Rouch at the Bilan du Ethnographique, Paris, 2006

Nepali Cinema - the Past and the Present
Nepali Actors:
Rajesh Hamal
Niruta Singh
Bipana Thapa
Nikhil Upreti
Shiva Shrestha
Bhuwan K.C.
Kristi Mainali
Usha Khadki

Filmmaking started in Nepal around 1962. The state made three propaganda films between 1964 and 1971 and later formed Royal Nepal Film Corporation (RNFC) in 1974. RNFC made some films, developed some infrastructures and manpower. Even though some of the films made by RNFC became hits, it could not do much to develop the sector.
One film Maitighar was made as early as around 1966. But no other followed it. It took about 16 years for the private sector to come up with another film -- Juni. Unfortunately this proved a failure. Filmmaking was still a risky business and the government regulated it quite strictly.
In the 1970s, the government introduced a tax rebate policy. According to it, 50 percent (which was later increased to 65 percent) of entertainment tax would be rebated to the producers. This proved to be a major booster. Investment in film became a little more secure. Also, after 1980s, some relatively more creative films were made and they became successful too. Thus, filmmaking started to appear a little more viable profession and the number of productions increased a bit.
In 1990, the country witnessed an important political change. The people's movement brought the autocratic monarchy to its knees and democracy was restored. The society started to become open and vibrant. This had an important consequence for the fledgling film industry: it began to grow rapidly, or even to 'bloat', if one might call it so. There was an unprecedented growth in number of productions. Within a period of three years, some 140 films were made. Distribution started to develop. Market share in the existing market increased and the market itself expanded. Cinema halls increased to more than 300. Nepali filmmakers became optimistic of displacing Hindi films--which dominated and continue to dominate Nepali market.
But, towards the end of 1990s, Nepali films began to fare badly. Gradually, the film industry began to experience a very hard time, though productions did not cease altogether.
The major reasons for this were that the quantity of films outdid the capacity of the market and also most of the films lacked quality. Also, quite importantly, the violent war, started by the Maoists rebels in 1998, began to crumple the economy and deteriorate the security situation. Most of the cinema halls outside the urban centers had to be closed. The situation worsened after the king took over in 2005.
During the 90s, some filmmakers, mostly with non-fiction base, started championing for a new kind of cinema. They denounced the crude imitation of Bollywood esthetics and demanded indigenous esthetics and a more realistic approach. They made some films, which have received some critical acclaim at home and some international recognition.
The people's movement - 2 in April 2006, ousted the autocratic monarch for the second and, in all probability, for the last time. Democracy has been restored and the rebels have agreed to join the government and resolve the conflict peacefully.
This new political development has stirred Nepali film industry. There is a new hope and optimism. Also lately, there has been a common realization in the industry that the quality of the films needs to be bettered and that Nepali Cinema requires international exposure.