Nepali cinema has made considerable progress in expanding its film production, with the industry now producing nearly 100 films annually. However, the growing output has also brought an important question into focus: is the industry developing the creative strength needed to sustain that progress? Producer Prachanda Man Shrestha believes there is reason for concern. During a discussion at the inaugural Kathmandu Film Festival, he warned that Nepali cinema could face a further decline within the next two to three years if filmmakers continue repeating familiar formulas instead of pursuing creative excellence.
The contrast between the industry’s past and present is striking. Veteran actor Hari Bansha Acharya recalled a time when Nepal produced approximately one film every five years, with filmmakers relying on celluloid and 16mm formats. Today, the country produces close to 100 films annually on average, reflecting a significant transformation in its filmmaking landscape. Acharya also emphasised cinema’s importance in preserving national identity, suggesting that Nepal should be recognised and remembered through its films.
The expansion in production represents a considerable change in the country’s filmmaking capacity. However, the discussion at the festival highlighted that a larger number of films does not automatically translate into stronger creative output. The industry’s next challenge may lie in ensuring that its growing production activity is accompanied by distinctive storytelling, greater experimentation and a stronger connection with audiences. Acharya’s comments also placed this growth within a wider cultural context, underlining the role films can play in documenting a country’s identity and giving its stories a lasting presence.
Yet, increased production does not necessarily translate into stronger storytelling or sustained audience interest. Shrestha, co-producer of the Cannes-recognised Nepali film Elephants in the Fog (2026), argued that rising box-office earnings and a larger number of releases cannot independently secure the industry’s future. According to him, filmmakers risk losing audiences if they continue trying to recreate the success of previous hits rather than exploring original ideas. His remarks brought attention to a challenge familiar to several growing film industries: finding a balance between commercial expectations and creative experimentation.
The concern is not simply about the number of films being made, but also about the creative decisions that shape them. When filmmakers repeatedly attempt to reproduce the formula of an earlier commercial success, the industry risks limiting the range of stories presented to audiences. Shrestha’s warning suggests that the current expansion in production needs to be supported by a willingness to develop new ideas and approaches. Without that creative progression, the industry’s growing output and commercial achievements may not be enough to maintain audience interest over the longer term.
The discussion also explored how technological developments are beginning to influence Nepali filmmaking. Artificial intelligence, in particular, is finding applications at different stages of production. Director Basanta Niraula used AI during the pre-production of Paanch Pandav to visualise a scene, while director Deepa Shree Niraula employed the technology in Chhakka Panja 5 to make actor Deepak Raj Giri appear younger in a scene. These examples illustrate how filmmakers are beginning to explore AI as a tool for visualisation and specific creative requirements.
However, filmmaker and educator Ngima Gelu Sherpa cautioned against treating AI as a shortcut to completing projects faster. She stressed the importance of following every stage of filmmaking, adding that finding an individual voice and maintaining originality remain significant challenges for young filmmakers. Her comments introduced another dimension to the discussion about the industry’s future: technology can assist the filmmaking process, but it does not replace the creative decisions and development required to build a distinctive cinematic identity.
The examples discussed at the festival also indicate that AI is being considered for different purposes, rather than being limited to a single stage of production. Its use in pre-production visualisation and in modifying an actor’s appearance demonstrates the range of applications being explored. At the same time, Sherpa’s remarks underline the need to approach such tools thoughtfully, without allowing technological convenience to come at the expense of creative development or the filmmaking process itself.
Another important concern raised during the discussion was the representation of Nepal’s diverse communities. Actress Thinley Lhamo, known for her performance in Min Bahadur Bham’s Shambhala, called for more authentic portrayals of Himalayan and Indigenous communities through original stories. Recalling her early experience in the industry, she said casting decisions could be influenced largely by appearance, gender and language. Her comments brought attention to the need for more considered representation, particularly when filmmakers are telling stories connected to communities with distinct cultural identities and experiences.
Lhamo also cited Tenzing, whose scriptwriting process reportedly took nearly 18 years, as an example of the time and research required to develop a film. The example highlighted the importance of long-term creative development, particularly for stories that require detailed research and an understanding of the people and communities being represented. Her remarks connected the question of originality with a broader issue of whose stories are being told and how accurately they are brought to the screen.
The discussion around representation also added to the festival’s wider examination of the relationship between cinema and national identity. While Acharya spoke about the importance of Nepali films in preserving the country’s identity, Lhamo’s comments focused on the need to ensure that its different communities are represented authentically. Together, these perspectives pointed to the importance of developing a cinema that reflects the diversity of the country rather than relying on a limited range of familiar narratives.
Organised by Kathmandu Metropolitan City, the three-day inaugural Kathmandu Film Festival concluded on November 1, bringing together contemporary films, restored classics and conversations about the industry’s direction. Its programme included screenings of Kumari (1977) and Ke Ghar Ke Dera (1985), placing earlier works of Nepali cinema alongside contemporary filmmaking and discussions about the industry’s future.
The festival also featured a conversation between Indian actor Shabana Azmi and Nepali actor Swastima Khadka about women’s representation and cinema’s social responsibility. The discussion extended the festival’s engagement with questions about how films portray society and the responsibilities that come with representing different experiences on screen. The closing programme featured Deepak Rauniyar’s 18-minute film Private Property (2026), a Nepal-US-France-Australia production.
The festival’s combination of contemporary films, restored classics and industry conversations provided a setting to examine both the progress Nepali cinema has made and the questions it faces as production expands. The participation of filmmakers, actors, producers and educators brought different perspectives to issues ranging from commercial sustainability and creative originality to the use of emerging technology and the representation of communities.
The discussions offered a perspective on an industry that has moved considerably beyond its earlier production limitations but still has important creative questions to address. As Nepali cinema reaches more audiences and expands its output, its ability to develop original stories, embrace technology thoughtfully and represent its communities authentically could prove just as important as its commercial growth. The warning raised by Shrestha serves as a reminder that producing more films is only one measure of an industry’s progress; sustaining that progress will also depend on the quality, diversity and originality of the stories it chooses to tell.
