Maoist insurgency in movies: Telling a tale of war from the people’s perspective : Making a movie about real life events such as the Maoist insurgency isn’t easy. There is always the possibility of personal biases being reflected in movies especially with a matter as sensitive as violence or war, by Shrutika Raut (nlt 25/07/2022)

Women still no more than eye candies on big screen, by Anushka Nepal (ae 14/07/2022)

Nepali film ‘Lori’ wins a Special Mention of the Jury at Festival de Cannes : Nepali writer and director Abinash Bikram Shah’s short film ‘Lori’ was among the nine short films selected for the Short Film Palme D’or category (kp 29/05/2022)

The personal and the public : At Film South Asia, four Nepali women filmmakers explore how the private and the personal relate to the public and the collective, by Shuvangi Khadka (rec 24/04/2022)

‘Nepal emerges as a center of South Asia happenings’ (rep 24/04/2022)

Refusal to learn from past mistakes : The biggest and the most unforgivable sin of the ‘A Mero Hajur 4’ team is how they handle representation, by Abhimanyu Dixit (kp 23/04/2022)

‘To reach where I am now, I had to struggle a lot’ ; Asha Magrati, a renowned actor and filmmaker, on what it is like to be a woman from a marginalised community in Nepal’s film industry and her efforts to change the way things are in Nepal’s filmmaking landscape, by Ankit Khadgi (kp 10/02/2022)

‘Unlike in the past, the film industry today is more open to experimenting’ : Arjun Karki, popularly known as Swami, shares his years of experience working in Nepal’s film industry, how he ended up becoming an editor/colourist, and what got him involved in starting the Pame Film Festival (interview) (kp 15/12/2021)

Into the migrant woes : ‘The Riyalists’ is an unflinching and raw portrayal of the journey of four Nepali migrant workers, by Shranup Tandukar (kp 14/12/2021)

Nepal launch of Global Migration Film Festival 2021 marked with screening of a migration-centered Nepali feature film Bulbul (rep 02/12/2021)

Nepali films are more vocal and less visual: Narendra Mainali : Cinematographer Mainali talks about his journey in the Nepali film industry, his thoughts on where Nepali films stand visually, and the challenges professionals like him face (interview)i (kp 08/09/2021)

Programs demanded for revival post-COVID-19 film industry (kh 08/06/2021)

Women treated as second class in Nepali films: Study (kh 05/06/2021) [see corresponding research report]

‘We have many stories from Upper Mustang that need to be told’ : Filmmaker Dhondup Tsering talks about his award-winning film Ama Khando and the hard work  that went into making the movie and the need to give more platforms to Nepal’s indigenous filmmakers, by Ankit Khadgi (kp 15/05/2021)

The best short films of 2020—and the promising future they hold for Nepali filmsThis New Year, to celebrate the efforts of Nepali filmmakers who even during the pandemic didn’t stop entertaining the audience, the Post picks five best Nepali short films of 2020, by Ankit Khadgi (kp 01/01/2021)

Fifteen years after release, Tsering Rhitar Sherpa’s Karma is still impactfulRecently released on YouTube, Karma is a thoughtful film made by a stellar cast and crew, depicting a heartfelt  story of a nun from Mustang who goes through a spiritual transformation, by Ankit Khadgi (kp 28/11/2020)

Foreign filmmakers sell Nepal as a paradise of sob stories—and Nepali filmmakers follow : The portrayal of Nepalis as poor, hungry, Mount Everest-climbing, uneducated people is not a result of what the people chose to share with the world but because that’s what filmmakers decided was worth telling, by Abhimanyu Dixit (kp 17/10/2020)

When it comes to portraying ethnicity, Nepali pop culture still depends on stereotypical tropes: From using blackface makeup to actors speaking in exaggerated indigenous accents, why is Nepali films and television still filled with regressive cultural stereotypes?, by Ankit Khadgi (kp 16/07/2020)

Luring cinema-goers back to theatres an uphill task for movie industry, by Arpana Ale Magar (ht 10/05/2020)

Can Nepali cinema survive the viral outbreak? The Post’s in-house film critic on what the ongoing pandemic could mean for the Nepali film industry which is already fraught with problems, by Abhimanyu Dixit (kp 09/05/2020)

The Nepali film industry has lights, camera, action—but no substance: The industry is in the doldrums primarily because most films neglect the basics of filmmaking--a good script with memorable characters, cinematography, and sound design, by Timothy Aryal (kp 08/02/2020)

17th iteration of KIMFF opens today: This year’s edition will feature 63 films from 29 countries (kp 11/12/2019)

‘Ghamad Shere’ has everything going for it, but still falls short: The movie has a strong message, and despite its limitations, could open doors in the future for other socio-political dramas, by Abhimanyu Dixit (kp 16/11/2019)

Just Another Love Story could have been more than just another love story: Priyanka Karki’s web series is a lazy and unjust attempt at representing queer relationships, by Amita Manandhar (kp 02/10/2019)

A long way to go: Nepali cinema is grappling with the fundamental questions of experiments marketing of cinema, by Abhi Subedi (kp 29/09/2019)

Hajar Juni Samma is an exact representation of what’s wrong with Nepali filmmaking: There are problems everywhere in Bikash Raj Acharya’s latest movie. The biggest being the very foundation of the film—its screenplay, by Abhimanyu Dixit (kp 24/08/2019)

Na Eta Na Uta: an insensitive bully of a film masquerading as a comedy: The latest Nepali film proves that filmmakers still underestimate their audience’s intelligence. And judging from the audience’s reaction in the cinema hall, we’ve had enough, by Abhimanyu Dixit (kp 10/08/2019)

A new film bill draws sharp criticism from Nepali entertainment industry: The proposed bill gives sweeping authority to film censor board and adds unnecessary hassles, filmmakers say, by Bhrikuti Rai (kp 03/08/2019)

There is promise in Appa’s director, but not so much in the film: In his first film, Anmol Gurung has directed the ubiquitous Dayahang Rai in such a way that he looks and feels like a different character, by Abhimanyu Dixit (kp 06/07/2019)

In yet another protectionist move, Oli administration prepares to limit foreign film screenings: A new law will mandate showing Nepali films exclusively for half a year, and limiting  foreign movies—predominantly Bollywood—to 185 days, by Timothy Aryal and Anil Giri (kp 03/07/2019)

Bir Bikram 2 is sexist, poorly plotted and includes crudely drawn characters: Director Milan Chams wants to teach comedian Pranesh Gautam a lesson, but if  Bir Bikram 2 is anything to go by, it is perhaps Chams who needs a lesson in respecting women, by Abhimanyu Dixit (kp 14/06/2019)

Nepali films have evolved, they are getting more modern—and more misogynisticSome may argue they are reflecting society, but for many,  they are following regressive typecast, by Rose Singh (kp 12/05/2019)

Govt’s film policy favors foreigners, ignores domestic needs, by Anil Yadav (rep 12/05/2019)

On and off screen: Nepal and China could reach an accord to nudge their film industries to join forces, by P. Kharel (kp 01/05/2019)

Whose story is Saili?At a time when most Nepali films are dismal, Saili stands out. But herein lies the problem with films about women written by men—Saili doesn’t have any agency in her own story, by Abhimanyu Dixit (kp 06/04/2019)

A new movie depicts the cold reality of Nepali migrant workers: Saili, which was originally the title of a popular song, is a tale of love, heartbreak, rural absurdity, class and caste divides, and more pointedly, the tragedy of separation, by Timothy Aryal (kp 30/03/2019)

With a uniquely fascinating premise, Gopi is a no-frills homegrown production that warrants a watch, by Timothy Aryal (kp 02/02/2019)

Digital distribution lifts Nepali film industry, by Krishana Prasain (kp 23/01/2019)

Nepali cinema: A tale of two timelines, by Sarans Pandey (ht 02/01/2019)

Nepali cinema’s identity crisis: The Nepali film industry had a few films to be proud of this year as art-house filmmakers switched into the mainstream, by Timothy Aryal (kp 31/12/2018)

Film as a medium of expression: Free of superstars, melodrama and item numbers, Katha ’72 takes the audience on a personal journey of self-discovery, by Abhimanyu Dixit (kp 15/12/2018)

Nepal, as it was: On two films by Austrian anthropologist Christoph von Fürer-Haimendorf, by Amish Raj Mulmi (kp 30/11/2018)

Talking Nepali movies: Most Nepali movies are mixture of bad casting, bad direction and second-rate screenplays which most audience find extremely funny, by Rahat Poudel (rep 15/09/2018)

Tharu films on the rise (kp 31/08/2018)

Nepal’s film industry going great guns, by Krishana Prasain (kp 12/07/2018)

Indigenous film fest seeking to break barriers (kp 29/06/2018)

Film and Television Institute of India to train Nepali actors (kp 12/02/2018)

Kathmandu Short Film Fiesta in Jan (kp 28/11/2017)

Documenting South Asia: The 11th edition of Film Southasia begins on 2 November, by Sahina Shrestha (nt 27/10/2017)

All aboard, by Timothy Aryal (kp 19/08/2017)

Lomba to premiere at Nepal Indigenous Film Festival (kp 10/08/2017)

What Kollywood gets wrong: There are very few movies that offer hill audiences insights into the lives of individuals in the Tarai, by Bikash Gupta (kp 09/07/2017)

Dhanapati: ‘An obligatory commentary on Nepali society (kp 06/07/2017)

‘Indigenous films continue to struggle for screentime’ (kp 05/07/2017)

The award conundrum: Producers of two critically-acclaimed films, White Sun and Kalo Pothi, have decided to pull out of mainstream Nepali film awards, begging the question, ‘Are Nepali movie awards just a sham?’, by Timothy Aryal (kp 17/06/2017)

Breaking Kollywood’s glass ceiling: The Nepali movie industry might be in its golden period, but women filmmakers are still few and far between, by Aakriti Dhital (kp 12/04/2017)

Dharan film fest rumbles on: Day three of the fest saw more screenings, talks and panels, by Pratik Menyanbo (kp 15/01/2017)

qJust look around: Nepal has lots of fascinating  stories waiting to be told (kp 16/12/2016)

Hospital: Kesang Tseten’s latest film tells the story of how dedicated doctors strive valiantly to save lives in remote Nepal, by Jessica Cortis (nt 16/12/2016)

Bringing Shankhadhar to life: Though not without fault, The Lengend of Shankhadhar—Nepal’s first animated movie—is a veritable breakthrough, by Bijaya Ratna Asanbare (kp 10/12/2016)

Kathmandu International Mountain Film Festival 2016: This year the festival will screen films by film-makers from Nepal and our neighbouring countries, by Sophia Pande (nt 09/01/2016)

Acquainted with the night: Making the rounds at midnight with Kaanphata Jogis, by Anup Ojha (kp 26/11/2016)

Seen & Unseen On Screen, by P. Kharel (rn 24/10/2016)

Lights, camera, action: Nepali movies with home-grown content and themes are doing well (kp 23/09/2016)

Narrating Nepal: Rendezvous with director of critically acclaimed movie Kalo Pothi, by Smriti Basnet (nt 10/06/2016)

Nepali Movies On The Right Track, by Saroj Lamichhane (rn 04/06/2016)

Changing winds in Kollywood: Anagat promises to bring a shift in Nepali cinema, and to break the box of what people think of when they hear the word, by David Caprara (kp 28/05/2016)

First national indigenous film festival kicks off at Nach Ghar (ht 24/04/2016)

The elusive God: Ani Choying Drolma’s Bhetiyena Ishwor Ajhai tells the story of characters who are desperate to find God, by Timothy Aryal (kp 23/01/2016)

Film Southasia opens to warm reception (kp 20/11/2015)

Striking a delicate balanceDrawing the Tiger is a challenging project. It deals with the sensitive subject matter of the suicide of the key protagonist, by Surendra Lawoti (kp 31/10/2015)

Smoke and mirrors: A telefilm about air pollution and its link to health and climate, by Sahina Shrestha (nt 30/10/2015)

Clash of the worlds, by Preena Shrestha (kp 03/10/2015)

Hollywood Himalaya: Adventure epic has stunning digital scenery of Everest, but downplays role of Nepali climbers in the 1996 tragedy, by Madeline Zutt (nt 18/09/2015)

Curtailing creativity: Film Development Board must amend its new directives for filmmakers (kp 10/07/2015)

Screen Space Of Nepali Cinema, by P. Kharel (rn 20/04/2015)

In search of a lone crusader: Kesang Tseten’s new documentary explores two enigmas—caste and Dor Bahadur Bista, by Weena Pun (18/04/2015)

All eyes on her: Bhaskar Dhungana’s new Suntali is vibrant both in colour and content—a playful farce as well as a loving send-up of Nepali cinema, the film makes for a genuinely funny watch, by Preena Shrestha (kp 14/02/2015)

Pushing the Boundaries of Nepali Cinema, by Pragyan Thapa (rep 06/02/2015)

House of sand and fog, by Preena Shrestha (kp 24/01/2015)