She is the story

Nepali films have in the past often portrayed women in limited, one-dimensional roles: selfless mothers, obedient wives, or victims of abuse. 

Nepal’s very first feature film, Ama was a pioneering drama portraying the socio-political landscape of the 1960s Panchayat era Nepal. But it reinforced traditional gender roles where women are caregivers, who silently bear emotional labour, while men are protectors and providers.

The mother’s strength is portrayed in her endurance in separation from her soldier son, but she still exists largely just there to support the male protagonist’s journey.

“A man was always the hero, that was the norm. Women are either victimised or their struggles are over sensitised,” says Shanta Nepali, director and cinematographer. “Many have raised awareness through their films, but when it comes to true representation of women’s issues, we are still far behind.”

Plan International Nepal in a research paper breaks down Matighar directed by BS Thapa and starring Bollywood star Mala Sinha into three acts: first where Maya is a romantic lead who is soon widowed and abandoned, she is then forced to flee with her young son and work in a brothel, and finally she seeks a better future for her son. 

In the end, Maya is accepted back into society but essentially through mercy, highlighting the film’s theme of domesticity as a woman’s rightful place. Not much has changed since the early days of Nepali cinema, although there have been some recent attempts to alter the stereotype.

“Women are still largely seen as eye candy, sidekicks, or an element of glamour rather than a central character driving the story. Their portrayal remains superficial, lacking depth and complexity,” says theatre director and actor Akanchha Karki of Katha Ghera. “There has been some progress in recent years, but not nearly enough.”

More recent movies like Shambhala and Rajagunj have tried to break through the mould. Min Bahadur Bham’s Shambhala is centred around a complex female character defined not just by men around her but her own ambitions and struggles. Pema played by Thinley Lhamo is an active agent of her own story of self-discovery in the face of patriarchy.

Rajagunj directed by Deepak Rauniyar follows inspector Pooja Thapa who is sent to a Madhes town to investigate the kidnapping of two boys amidst political unrest and violent protests. 

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Even the 2001 film Numafung by Nabin Subba stands out for an empowering portrayal of women, and a rare glimpse of Limbu customs. After being widowed early, Numafung is expected to marry her late husband’s younger brother but defies tradition in the pursuit of her own independence. 

Although the 2019 film Xira directed by Ashutosh Raj Shrestha was critically panned, it did introduce an action-oriented, assertive, revenge-driven female protagonist played by Namrata Sharma.

Nepali cinema often takes inspiration from Bollywood which has also seen a shift in how women are portrayed. Older films like Pink directed by Aniruddha Roy Chowdhury critiqued societal prejudices against independent women as well as emphasised the importance of consent.

Last year’s Laapata Ladies directed by Kiran Rao was a critical and commercial success. Through slice-of-life storytelling, the satirical drama set in rural India advocates women’s empowerment, education, and equality. Meanwhile, Mrs, a Hindi adaptation of The Great Indian Kitchen, follows a young woman after an arranged marriage in which she finds her aspirations suppressed.

A big part of the reason behind often stereotypical portrayals of women on screen is the lack of female filmmakers, directors, writers, and producers.

“Many women who started alongside me are no longer in the field, people try to break you mentally,” says Shanta Nepali. “I also faced caste discrimination, so it is even more difficult for women from marginalised communities.”

Nepali is creating platforms such as the Nepali Female Filmmakers’ Community for women to actively engage in the field. She adds: “Even men struggle in this industry but when a woman says she wants to direct, the discouragement outweighs the support. It feels like going to war.”

Anjila is a recent biopic based on the real-life journey of Anjila Tumbapo Subba, the captain and goalkeeper of national women’s football team. Subba plays herself, and the movie depicts her struggles and achievements in a male-dominated field. 

Akanchha Karki says that women-centric films often struggle at the box office. Audience preference for action-packed, masala drama discourages nuanced narrative as well as reinforces the traditional beauty standards, perpetuating unrealistic ideals. 

“Producers and directors don’t invest in them because they don’t do as well, making it harder to break the cycle,” explains Karki. “Even current women filmmakers in the field often feel compelled to prioritise commercial viability over authentic storytelling.”