Kathmandu, the UNESCO-designated city of film, is all set to celebrate cinema with the 22nd edition of KIMFF from 28 May to 1 June. The <a href="https://nepalitimes.com/news/kimff-turns-21-wz756ixn">Kathmandu International Mountain Film Festival</a> this year features a selection of 65 films from all over the world on the theme of <a href="https://nepalitimes.com/here-now/knowing-our-mountains-43v4iyvo">mountains</a>. The festival opens with the Nepal premiere of Jeremy Power Regimbal’s documentary ‘Between the Mountain and the Sky’ featuring Surkhet-based educationist and CNN Hero Maggie Doyne.&nbsp; Launched in 2000 by a journalists’ collective, <a href="https://nepalitimes.com/review/kimff-2019-p8070ipt">KIMFF has evolved over the years</a>, bringing in new themes like climate breakdown, indigenous groups, tourism and Himalayan culture. “This time we are prioritising people-driven stories and, most importantly, <a href="https://nepalitimes.com/here-now/homecoming-with-music">Nepali voice</a>,” says KIMFF convener Ramyata Limbu.&nbsp; This year’s films reflect broader changes in <a href="https://nepalitimes.com/here-now/nepali-cinema-s-melodramatic-realism">Nepal’s filmmaking landscape</a>, as access to <a href="https://nepalitimes.com/opinion/comment/tech-and-transition-in-nepal">technology</a> and <a href="https://nepalitimes.com/here-now/they-have-stories-to-yell">storytelling platforms</a> expand. Kimff’s Nepal Panorama section over the years has become a launchpad for many of the country’s leading independent filmmakers. This year, The festival is widening its scope with its inaugural Kathmandu DocLab. This is a five-day incubator designed for the South Asians by the <a href="https://nepalitimes.com/here-now/documenting-the-anthropocene">South Asian filmmakers</a> and aims to foster local talent from the region and equip them with the tools to craft globally resonant stories.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052209054_6ae4c176750255257e98b623cec24307747b6d6ae08bd0c7c0aeaae014219f59.jpg" data-media-id="editor_8" data-image-id="2025052209054_6ae4c176750255257e98b623cec24307747b6d6ae08bd0c7c0aeaae014219f59" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="Kimff 2025 NT"> </figure>  “DocLab is a place for filmmakers to come together to work on their ideas and to make the stories even more engaging,” says its director Alok Adhikari. “Documentaries are regarded as a boring genre. We want to change the narrative by learning to tell engaging stories.” The DocLab aims to demystify fund-raising for films outside South Asia and simulate a real-world <a href="https://nepalitimes.com/opinion/comment/documentary-films-come-of-age">film market</a>. The nine selected participants will be mentored by Anam Abbas (Pakistan-Canada), Arun Bhattarai (Bhutan), and Rintu Thomas (India). “In <a href="https://archive.nepalitimes.com/news.php?id=12940">documentary filmmaking</a>, a regional context is even more crucial, which South Asians inherently understand,” explains Adhikari. “Too often, when these ideas are pitched to Western investors, key cultural elements get lost in translation.” After the workshop, participants will pitch ideas to audiences and filmmakers. The top three projects get prize money, and DocLab will also connect them with international industry partners to secure funds.&nbsp; This year’s festival will also host a Cut.Katha Documentary Pitch, supported by the British Council, in which five <a href="https://nepalitimes.com/here-now/she-is-the-story">Nepali women filmmakers </a>will pitch short documentary projects. Other highlights include a Nikon Youth photography/filmmaking workshop and a VR installation of &nbsp;Maya: The Birth of a Superhero. “Kathmandu is now a regional hub for documentary filmmaking, offering industry connection, creative collaboration and access to the global film market much like the world’s biggest film festivals,” says Ramyata Limbu. The festival is taking place simultaneously at QFX Chhaya Centre, Astrek Park, and GAA Hall in Thamel.&nbsp; <h2>Watchlist</h2> <h2>Have you seen my gods?&nbsp;</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052209054_82a2592d31907b782dadc670056d256424aec941d472803839252979377faed6.jpg" data-media-id="editor_12" data-image-id="2025052209054_82a2592d31907b782dadc670056d256424aec941d472803839252979377faed6" data-rendition-name="original" width="800" height="533" loading="lazy" alt="Kimff 2025 NT"> </figure>  A compelling and deeply personal journey to track down the whereabouts of <a href="https://nepalitimes.com/here-now/nepal-s-deities-in-transit">Kathmandu’s stolen sacred deities</a>, many of which are displayed in museums across the United States. To honour his grandmother’s final wish, Joshi looks for stolen gods. &nbsp; 60 min | Nepal/United States | 2025&nbsp; English/ Nepali Director: Amitabh Joshi&nbsp; <h2>Butterfly Bhutan &nbsp;</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052209054_8e90fc879ea35a62ea29fd7a25de1d3b591805ddabaa1ee88f8b553abeebc803.jpg" data-media-id="editor_14" data-image-id="2025052209054_8e90fc879ea35a62ea29fd7a25de1d3b591805ddabaa1ee88f8b553abeebc803" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="Kimff 2025 NT"> </figure>  Sonam Phuntsho, a devoted Buddhist, starts questioning the environmental impact of acrylic prayer flags. The documentary follows Sonam as he starts removing flags, getting push back from his own community.&nbsp; 30 min | Bhutan | 2024 Dzongkha Director: Sonam Yangzom <h2>Songs of Love and Hate&nbsp;</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052209054_2cde15daafd995354ae1f84a4cd5b1c85114181768bce612244d00ccd7a220f2.jpg" data-media-id="editor_15" data-image-id="2025052209054_2cde15daafd995354ae1f84a4cd5b1c85114181768bce612244d00ccd7a220f2" data-rendition-name="original" width="1920" height="1065" loading="lazy" alt="Kimff 2025 NT"> </figure>  Prem hosts a popular radio program on relationship advice. Afflicted by a heartbreak himself, he navigates an emotional rollercoaster of love along with his listeners.&nbsp; 17 min | Nepal | 2024&nbsp; Nepali Director: Saurav Ghimire&nbsp; <h2>The Lama’s Son&nbsp;</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052209054_d70f429797cafa56b540be1b7167a6349fe0288c040645a7dfe5107f9cf8952b.jpg" data-media-id="editor_16" data-image-id="2025052209054_d70f429797cafa56b540be1b7167a6349fe0288c040645a7dfe5107f9cf8952b" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="Kimff 2025 NT"> </figure>  A Bonpo Lama waits for his sushi chef son to return from New York. But he does not want to come back threatening the family’s ancestral lineage.&nbsp; 72 min | Nepal | 2025&nbsp; Lo-Kay/Tibetan Director: Kesang Tseten&nbsp; <h2>Kottukkaali</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052209054_d02176866a12a849d966afe64a25afcb09b1b788d1e3e7422efa87e24b7e040e.jpg" data-media-id="editor_17" data-image-id="2025052209054_d02176866a12a849d966afe64a25afcb09b1b788d1e3e7422efa87e24b7e040e" data-rendition-name="original" width="2049" height="1000" loading="lazy" alt="Kimff 2025 NT"> </figure>  A woman falls in love with a man from a lower caste, and spotlights the dangerous discrimination still dormant in Indian families and society.&nbsp; 101 min | India | 2023&nbsp; Tamil Director: Vinothraj PS

Pinki Sris Rana

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Festival of mountain films

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11dc9c7e80680e0da4fcjpeg.jpg" alt="" width="973" height="690"/><figcaption>Director Bernardo Bertolucci and producer Jeremy Thomas, with photographer Lynn Davis (behind) and screenwriter Rudy Wurlitzer on the Little Buddha recce in Chitwan, 1992. Photo: LISA CHOEGYAL</figcaption></figure>In 2005, Hollywood actress Cameron Diaz, hosted a documentary series for MTV called Trippin’. The show had celebrities visit ecological locales around the world to educate young viewers about nature.The first episode was filmed in Nepal, featuring Diaz with actress Eva Mendes, rapper Redman and Mark Hoppus of the hit rock band Blink-182. The film was shot on location in Kathmandu and Chitwan.Carolyn Syangbo was a production liaison for the show in Nepal, and recalls the producers being concerned about paparazzi in Chitwan. In Honduras, the shoot was nearly ruined because fans and media recognised Diaz and Mendes.“In the end, I said, look, I am going to be really honest and burst your bubble, no one knows who Diaz is here,” Syangbo says. “It took me ages to convince them that we did not need a security protocol to control paparazzi in Chitwan.”When Michael Palin was in Pokhara in 2004 to shoot his BBC series Himalaya, he was pleasantly surprised not to be recognised at all by Nepalis — until he was mobbed by a British tour group while filming in Boudha.In 2015, Benedict Cumberbatch was being filmed near Pashupati dressed in a frayed overcoat followed by a camera crew and a microphone attached to a pole overhead.Marvel’s Doctor Strange was being shot in Kathmandu, but after the first photo went viral, crowds gathered in Thamel, Indra Chok, Swayambhu and Patan to catch a glimpse of the actor.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11df9c7e80680e0da4fdjpeg.jpg" alt="" width="2878" height="1200"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11e49c7e80680e0da4fejpeg.jpg" alt="" width="2880" height="1128"><figcaption> </figcaption></figure>Director Scott Derrickson decided to film Doctor Strange in Nepal to feature an “Eastern city" that would not be familiar to audiences. In the original comic, Strange travels to Tibet, but that was cancelled because of fears of Chinese censorship.Cumberbatch and Derrickson came to Nepal despite the 2015 earthquake so the film could potentially boost tourism here.On top of that, any Nepali watching the film would have felt a connection to see the title card ‘Kathmandu, Nepal’ about 21 minutes in, followed by a minute-long montage of Strange walking around the familiar historical and cultural sites in the Valley.Bollywood has also chosen Nepal as a location for its many films, starring major stars like Dev Anand in Haré Rama Haré Krishna in 1971 and Amitabh Bachchan in Uunchai last year. Finding one’s country represented in a Hollywood or Bollywood blockbuster, that too as an important piece in the story, is a moment of instant recognition and special delight.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11e89c7e80680e0da4ffjpeg.jpg" alt="" width="1200" height="969"><figcaption> </figcaption></figure>Philippe de Broca’s 1965 adventure-comedy Les Tribulations d'un Chinois en Chine (later retitled Up to His Ears) starring the French screen idol Jean-Paul Belmondo features 15 minutes of Kathmandu landmarks and the Himalayan backdrop.Several scenes of the 1986 fantasy martial arts film The Golden Child with Eddie Murphy were also filmed around Asan and Indra Chok with some Nepali extras.Éric Valli’s Oscar-nominated 1999 adventure film Himalaya (also titled Caravan), was shot in widescreen over nine months on location in remote Upper Dolpo.Pier Paolo Pasolini’s 1974 fantasy adventure Arabian Nights includes a sequence with a character named Yunan whose story begins and ends in Nepal. In one scene, he plays hide and seek with his friends in and around the Jaisi Deval Temple in Kathmandu, and in another he runs to his father's palace on Kathmandu Darbar Square to tell him he wants to go to the sea. He finds his father in the sunken bath of Patan’s Sundari Chowk. After his return home from his adventures he says farewell to his royal life on Bhelukhel Square in Bhaktapur. Other places to feature in the film are the Kumari Baha, Ashok Binayak Temple in Kathmandu, the Golden Gate, the courtyard of Pujari Math in Bhaktapur, and Saraswati Hiti in Patan.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11ec9c7e80680e0da500jpeg.jpg" alt="" width="1605" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11f09c7e80680e0da501png.png" alt="" width="1609" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11f79c7e80680e0da502jpeg.jpg" alt="" width="1870" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe11fc9c7e80680e0da503png.png" alt="" width="1611" height="1000"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12059c7e80680e0da504png.png" alt="" width="1610" height="1000"><figcaption> </figcaption></figure>The Hong Kong supernatural film Witch from Nepal and the British film To the North of Katmandu, were both shot on location in Nepal  in 1986.Then there is Bernardo Bertolucci’s ambitious drama Little Buddha, filmed in 1992 and released a year later, starring the pre-Matrix Keanu Reeves as Siddhartha Gautam. The film follows three children, one American and two Nepali, who might be the reincarnation of a Buddhist spiritual teacher Lama Dorje, and their story is told in parallel with the story of Gautam Buddha.Lisa Choegyal, who was a production liaison for Little Buddha in Nepal, remembers how the Bhaktapur Darbar Square had been transformed with fibre-glass sculptures and wood trellises to stand in for Siddhartha’s Kapilvastu palace.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe120c9c7e80680e0da505jpeg.jpg" alt="" width="640" height="480"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12119c7e80680e0da506jpeg.jpg" alt="" width="640" height="480"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12159c7e80680e0da507jpeg.jpg" alt="" width="640" height="480">Set designs showing the transformation of the Kathmandu Valley World Heritage Sites for the 1992 production of Little Buddha that starred Keanu Reeves. Photos: LISA CHOEGYALChoegyal wrote in her Nepali Times column in 2017 that local residents were confused because the recreated sets could not be differentiated from the real thing.“It was the most elaborate, ambitious movie to be filmed in Nepal then,” recalls Choegyal. “This was after the 1990 People’s Movement and Girija Prasad Koirala was prime minister. The Tourism Ministry really got behind us because it was the same crew who had done The Last Emperor in Beijing.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12199c7e80680e0da508jpeg.jpg" alt="" width="792" height="520"><figcaption> </figcaption></figure>The Last Emperor went on to win 13 Oscars, and after its release visitors to China increased by 25%. And that is why the production of Little Buddha was backed by Koirala’s cousin Niranjan who was adviser to the Ministry of Tourism. The Prime Minister’s Office also assigned a special official to iron out any problems while filming.“So, in the 10 months of preparation and three months of filming, we didn’t lose a single day,” recalls Choegyal.Little Buddha was very successful in France, and made around $48 million globally. It also featured in several Year-end lists, including The Washington Post and The New York Times. This kind of exposure, Choegyal says, is valuable to Nepal because it boosts tourism and the economy.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe121c9c7e80680e0da509jpeg.jpg" alt="" width="2010" height="1000"><figcaption> </figcaption></figure>Little Buddha’s production contributed one-tenth of 1992’s tourism revenue in Nepal. Doctor Strange employed around 70 Nepalis in the production side of things and 500 extras.But lavish productions like Little Buddha are no longer possible on the same scale. The cost of filming on location has gone up, as has the development of CGI and visual effects. For instance, BBC’s Black Narcissus, a 2022 three-episode series based on Rumer Godden's novel of the same name partly filmed in Jomsom, was made almost entirely in studios with only a handful of scenes filmed in Mustang.Unlike the 1998 IMAX documentary Everest, the 2015 movie Everest starring <a href="https://en.wikipedia.org/wiki/Jason_Clarke">Jason Clarke</a>, <a href="https://en.wikipedia.org/wiki/Jake_Gyllenhaal">Jake Gyllenhaal</a>, <a href="https://en.wikipedia.org/wiki/Josh_Brolin">Josh Brolin</a> and about the 1996 deaths on the mountain, was shot only till Base Camp. The rest of the climb was recreated in the Italian Alps and Pinewood Studios in the UK with real-life pilot Vijay Lama playing the character of the helicopter rescue pilot, Madan KC.Producers are also avoiding location shooting because of more expensive and stricter insurance and liability laws in the US and UK. Kathmandu’s notorious pollution could also be another reason.Bertolucci had clear blue skies and stretches of green hills, but Syangbo recalls filming for the upcoming film Tiger’s Nest in Chitwan and Surkhet: “The footage was just thick and murky. We were down there filming, and we couldn’t breathe and sometimes we couldn’t even see well.”She says it is not cheap to film in Nepal, and poor infrastructure adds to the risk.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12219c7e80680e0da50ajpeg.jpg" alt="" width="1919" height="792"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12249c7e80680e0da50bjpeg.jpg" alt="" width="1919" height="958"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe12289c7e80680e0da50cjpeg.jpg" alt="" width="1919" height="762"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe122b9c7e80680e0da50djpeg.jpg" alt="" width="1919" height="951"><figcaption> </figcaption></figure>Ram Krishna Pokhrel of Icefall Productions helps with location scouting for NatGeo, BBC, HBO and others. Among the projects he has worked on are the 2015 Japanese film Everest: The Summit of the Gods and the 2017 adventure comedy L'Ascension.“Our government doesn’t fully understand filmmaking and there has been no change in its attitude towards films,” Pokhrel laments. “They celebrate when a film comes out but are not supportive during production. Policies are not clear and there are too many restrictions.”Pokhrel believes that Nepal needs to keep up with international developments in filmmaking techniques to boost the country’s tourism. Nepal could also give tax incentives, like New Zealand, UK and Iceland, for international producers who were to shoot on location here.“It is not surprising why not many feature films which require large crews are shot in Nepal these days,” says Pokhrel. Documentaries and short films, by contrast, are smaller productions.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230228150236/63fe122f9c7e80680e0da50ejpeg.jpg" alt="" width="316" height="785">When foreign filmmakers come to Nepal to shoot, it is also an opportunity for the local crew to learn and be familiar with what is happening in the industry outside Nepal.Kiran Bhakta Joshi of Incessant Rain, wants to promote Nepal as a location destination to create jobs and generate foreign exchange income. Right now, mountains remain the most popular subject, but Joshi believes we also need to explore our arts and culture in our films, whether narrative or documentary.“A step to take in that direction would be to create content ourselves and export abroad,” he adds. “In addition, the system right now does not allow for open competition and works almost like a syndicate. We see the same names making films in Nepal, and even though there are young, talented artists, they haven’t been able to enter the mainstream. This needs to change.”Joshi previously worked for Disney and co-developed the herding system for the wildebeest stampede sequence in The Lion King. He left the company in 2017 to establish Incessant Rain in Kathmandu, and has worked on visual effects and set extension for Stranger Things, House of the Dragon and A Series of Unfortunate Events.“We can even create a studio hub here, with a proper sound stage, green screen room,” adds Joshi. “Filmmakers from the US, Italy, even India will want to come here and make films in Nepal. We should think about promoting Nepal not just as a shooting location, but a filmmaking destination.”

Ashish Dhakal

Lights, Camera, Action in Nepal

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110811114/636a29ac9c7e80680e0458dejpeg.jpg" alt="" width="1500" height="1000"/>Given his multinational background, it was perhaps inevitable that it would be Pema Dhondup would make the first truly global Nepali feature film. Dhondup’s family moved down from Tibet to Jomsom after the Chinese annexation, and from there to Himachal Pradesh and cities across India. He has been living in the United States for the past 15 years.His movie <a href="https://www.imdb.com/title/tt5364878/" target="_blank" rel="noopener">The Man from Kathmandu</a> is shot in Kathmandu and Los Angeles, features a stellar cast of Nepali actors like <a href="https://www.imdb.com/name/nm4542007/?ref_=tt_cl_t8" target="_blank" rel="noopener">Karma</a>, <a href="https://www.imdb.com/name/nm0787463/?ref_=tt_cl_t11" target="_blank" rel="noopener">Neer Shah</a>, <a href="https://www.imdb.com/name/nm1200073/?ref_=tt_cl_t6" target="_blank" rel="noopener">Mithila Sharma</a>, <a href="https://www.imdb.com/name/nm7273293/?ref_=tt_cl_t5" target="_blank" rel="noopener">Anna Sharma</a> and international stars including <a href="https://www.imdb.com/name/nm0004109/?ref_=tt_cl_t1" target="_blank" rel="noopener">Gulshan Grover</a> from India, and other actors from Puerto Rico and Spain."Many people from across the world travel to be a part of the <a href="http://archive.nepalitimes.com/blogs/thebrief/page/87/" target="_blank" rel="noopener">terrorist group ISIS</a>, even educated men from Western countries. But so far not a single one of them has been a Nepali," says Dhondup, “I wanted to explore the story of that one man among thousands. I wanted to find out what is it about Kathmandu that brings about this phenomenon."Read also: <a href="https://www.nepalitimes.com/here-now/animated-in-nepal/" target="_blank" rel="noopener">Animated in Nepal</a>, Sikuma RaiTheme of his film is interaction between man and city, how Kathmandu changes the outlook of a radical half-Hindu-half-Muslim protagonist. Terrorism is just the backdrop to the plot, the real story is of a man's journey.To be sure, making Kathmandu the setting for this movie seems unusual, since Dhondhup is not Nepali and does not speak the language. And the film itself seems to be an effort on the part of the director to come to terms with his own identity and the definition of ‘home’."You can say the quest has ended in a way for me, in the form of my American passport. But does that really define who I am?" he asks.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110811114/636a29af9c7e80680e0458dfjpeg.jpg" alt="" width="2000" height="1376"><figcaption> </figcaption></figure>We interview Dhondup in the Labim Mall office of the film’s producer Nakim Uddin of QFX. Despite his globe-trotting, the director says Kathmandu was the only city he could have filmed his story in. He has fond memories of Kathmandu from his childhood when he came here to visit family members, and in those days it was as exotic as visiting a foreign country."This is a place where identities and cultures are always in flux. In any other city, you immediately know who is who, what a particular person's origins are. But in Kathmandu, walk down a street and you cannot figure out people. Temples, monasteries, churches and mosques flourish side by side. The city has accepted and absorbed all kinds of identities," he adds.The theme of The Man from Kathmandu actually follows on from Dhondup's earlier movies where he explored the question of identity. His 2004 movie <a href="https://www.imdb.com/title/tt0452541/" target="_blank" rel="noopener">We're No Monks</a> was about a group of Tibetan boys coming out of their secluded existence to face the world. His documentaries have profiled members of the Tibetan diaspora scattered all over the world."It is very hard to make it in American filmdom, and not because of the reason you may be thinking," Dhondhup explains. "Being brown, or of any race, doesn't matter as much as you might expect. But it matters how well you fit into the capitalistic, money machine of Hollywood studios. If you fit, you can make progress. If you don't fit, and you want to experiment you will have a hard time."Still, years of working in Hollywood has given a certain rigour to his work which he feels is necessary for <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Lights-camera-copy-paste,1146" target="_blank" rel="noopener">Nepali cinema</a> to make it on the global stage. Many Nepali films are still formulaic stories, but Dhondhup says that is not the real problem."No matter what kind of film you make, it has to be up to international technical standards, of sound, visual, editing, otherwise we have everything in Nepal to make world class cinema, from good actors to good equipment. Using these, we can tap into huge market in India and China just next door," he says.Whether or not The Man from Kathmandu will be ‘world cinema from Nepal’ and is of international standard remains to be seen. But Dhondup says it is already global in a sense that it meets technical specifications, and is set to be released in 50 countries after its Nepal premier this week. Dhondup hopes to continue working in Nepali cinema with Nakim Uddin, grooming and helping a new generation of Nepali filmmakers.https://www.youtube.com/watch?v=kMvpmY7zfoYThe movie will be in cinemas in Nepal from 15 March.

A director from Kathmandu

<figure><img width="1500" height="1000" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937609c7e80680e03fe30jpeg.jpg" alt=""/><figcaption>Photo: OM ASTHA RAI</figcaption></figure>What is it about <a href="https://www.nepalitimes.com/editorial/the-lottery-of-migration/" target="_blank" rel="noopener">labour migration</a> that keeps drawing hundreds of thousands of people every year away from their homes and families despite the evident risks?<a href="http://panosa.org/" target="_blank" rel="noopener">Panos South Asia</a>’s new collection of reportage from the region, Uncertain Journeys: Labour Migration from South Asia seeks to answer this question through the eyes of 15 senior journalists who researched their stories in destination countries. Based on their interviews, they analyse various aspects of labour migration.Read also: <a href="https://www.nepalitimes.com/opinion/changing-the-headlines-on-migration/" target="_blank" rel="noopener">Changing the headlines on migration</a>, Upasana Khadka<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/here-now/labour-pain/" target="_blank" rel="noopener">Labour pain</a>, Om Astha RaiThe first chapter on Nepal is by <a href="https://archive.nepalitimes.com/article/nation/caught-in-the-middle/migration-agency-exploitation,4003" target="_blank" rel="noopener">Upasana Khadka</a>, who has reported widely on the issue of Nepali migrants in the Gulf and Malaysia <a href="https://www.nepalitimes.com/opinion/changing-the-headlines-on-migration/" target="_blank" rel="noopener">for this newspaper</a>. Khadka likens labour migration to a lottery, a culturally fatalistic view borne out of desperation to escape poverty back home. She narrates the stories of four individuals: Sharmila, Ramesh, Shama and Ram who are unlucky and are either caught, cheated, trafficked, or deported. Yet, even though they know the risks,  thousands of others take same route to seek their fortunes. <img width="200" height="174" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937639c7e80680e03fe31jpeg.jpg" alt="">‘Individuals are often aware of the common risks of migration … however, many continue to make risky decisions, not always because of lack of information, but despite it … it is possibility of being lucky that encourages so many to take risks,” she writes.Khadka also talks about the lack of bilateral agreements that have encouraged  avenues for illegal migration. Case in point is the <a href="https://www.nepalitimes.com/banner/homes-away-from-home/" target="_blank" rel="noopener">blanket ban on female domestic workers leaving Nepal</a>, despite which migrants continue to risk unauthorised channels to make it to their destination, setting in motion the chain of trafficking.Janak Raj Sapkota, author of the much-acclaimed book Kahar: Baideshi Rojgarile Bitholindo Samaj’ delves into human trafficking in Nepal under the guise of legal foreign employment, and the lack of laws that makes the connection between the two that has helped traffickers work behind the scenes.He argues that the political protection enjoyed by the remittance industry has aided this form of modern-day slavery to flourish, and until the ambiguities in legal structures are cleared and stronger policies are in place, Nepalis abroad will continue to be duped, or worse, abused and <a href="https://www.nepalitimes.com/banner/paying-an-arm-and-a-leg/" target="_blank" rel="noopener">maimed</a>. Read also:<a href="https://www.nepalitimes.com/banner/paying-an-arm-and-a-leg/" target="_blank" rel="noopener">Paying an arm and a leg</a>, Om Astha Rai<a href="https://nepalitimes.atavist.com/nepalis-killed-in-the-line-of-duty" target="_blank" rel="noopener">Killed in the line of Duty</a>, Om Astha Rai and Sonia AwaleUncertain Journeys: Labour Migration from South AsiaEdited by A.S. PanneerselvanSpeaking Tiger Publishing, New Delhi Price: INR 499<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937649c7e80680e03fe32jpeg.jpg" alt="" width="200" height="278">Filmmaker Kesang Tseten whose acclaimed 2008 documentary <a style="background-color: #ffffff; letter-spacing: 0.01em;" href="https://www.imdb.com/title/tt1519643/" target="_blank" rel="noopener">In Search of the Riyal</a> about four young Nepalis on journeys to the Gulf first bought the stark realities behind the remittances, also has a chapter about filming in Qatar and how he had to sneak behind aircraft crew to capture conversations with migrants inside the planes.Eleven years later he revisits characters from the first film for a sequel. He found that Danvir Jogi is still in Qatar and making good money, Navin Rai returned to a broken marriage and left again for Dubai, Prem Bareilly is in Dharan working as a silversmith amidst stigma of being a Dalit and Bhojraj Darzi is now a successful pig farmer in Nepal. But none of these are representative tales, Tsenten stresses, pointing out that it is vital to understand and sympathise with Nepalis opting to go abroad.The chapters on other South Asian show that there are a lot of similarities between the tragic tales of Nepali workers and those from Pakistan, Sri Lanka, Bangladesh and India. The case of Zulfiqar Ali of Pakistan who was charged with drug trafficking and consequently spent 13 years in death row in Indonesia reminds one of <a href="https://archive.nepalitimes.com/article/nation/nepalis-from-chitwan-to-chidoya,4110" target="_blank" rel="noopener">conviction and incarceration of Govinda Mainali</a>, who was falsely accused of the murder and robbery of a Japanese woman in Tokyo in 1997.Read also: <a href="https://archive.nepalitimes.com/article/nation/nepalis-from-chitwan-to-chidoya,4110" target="_blank" rel="noopener">From Chitwan to Chiyoda</a>, Kunda DixitIn a chapter appropriately titled ‘A Return to Nothingness’, narration of an everyday scene at Indian airports, of the body bags being unloaded is not unlike <a href="https://nepalitimes.atavist.com/nepalis-killed-in-the-line-of-duty" target="_blank" rel="noopener">Nepali migrants returning home in coffins at Kathmandu airport</a>. The migration of Sri Lankan farmers to the Gulf because of droughts caused by climate change is similar to that of <a href="https://nepalitimes.atavist.com/recharging-the-mountains-" target="_blank" rel="noopener">outmigration of people from the mid-hills of Nepal</a>. Bangladeshis overcharged and cheated of jobs in Singapore echo the plight of most <a href="https://www.nepalitimes.com/banner/kleptocrats-of-kathmandu-and-kualalampur/" target="_blank" rel="noopener">Nepali migrants in Malaysia</a>. Read also: <a href="https://www.nepalitimes.com/banner/kleptocrats-of-kathmandu-and-kualalampur/" target="_blank" rel="noopener">Kleptocrats of Kathmandu and Kuala Lumpur</a>, Ramu Sapkota and Alyaa Alhadjri<a href="https://nepalitimes.atavist.com/home-they-bring-the-workers-dead" target="_blank" rel="noopener">Home they bring workers dead</a>, Upasana Khadka Amidst the poignant stories of loss, there are tiny rays of hope. Following the three decades of war in Sri Lanka, women were forced to leave as domestic workers and toil hard in the Gulf, but discovered themselves in the process as individuals with rights and freedom.  What ties all of these stories together are the shared stories of aspiration and shattered dreams. Meanwhile all South Asian nations rely on the same destinations resulting in completion with each other, allowing employers to get away with little pay and exploitation in turn.Each chapter is a raw portrayal of a migrant life, and the book gives significant understanding of the poverty and social injustice in South Asia.The book is being launched at the Nepal Literature Festival in Pokhara during the weekend. <h2>Riyal revisited </h2> <figure><img width="1400" height="1024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636937659c7e80680e03fe33jpeg.jpg" alt=""><figcaption> </figcaption></figure>“The tidal wave of migration that began 20 years ago continues…” That is how Kesang Tseten begins his documentary sequel to the 2008 film <a href="https://www.imdb.com/title/tt1519643/" target="_blank" rel="noopener">In Search of the Riyal</a>. He tries to locate migrant workers he had filmed a decade ago, to find out what has become of them.Were their dreams realised? Did the Nepali workers in Qatar and UAE find what they were looking for? Were the intervening years kind to them? In The Riyalists, acclaimed film-maker Tseten (pictured, above) spends the first five minutes setting the stage for the journey ahead. We get to revisit young Nepalis on scaffolds whom we first met in the previous award-winning documentary.Ten years ago Dhanvir Jogi, a lanky lad from Terathum left behind his three-month-old son and started training at an institute in Kathmandu. He was diligent and hopeful, but worried about falling sick in the hot desert. In In Search of the Riyal Prem Bareily who often faced the stigma of being a Dalit back home in Dharan, did not shy away from his fears: “They might be talking about killing me but I wouldn’t know… I won’t understand their language.” Bhoj Darzi was fully aware of the risk he was putting himself into. He had heard of Nepalis returning home in coffins. Yet he took a loan in the hope of trading his job as a tailor in Jhapa for a more financially secure position in the Gulf. Shy and awkard, Nabin Rai, has a sad story with a happy ending. Tseten narrates: “It was the image of Nabin in his crisp white shirt and his newly married wife sporting a blue umbrella that remained etched in my mind from the earlier film.” But after two years in Qatar, Nabin came back to find that his wife took off with another man and abandoned his twin daughters. Nabin remarried and left for Dubai. Today, he is a foreman at an offshore gas rig and earns a good salary. He gets to visit home every three months where he is building a new home for his family.Dhanvir, who is with the same construction company in Qatar, has managed to acquire some land, get his sisters married, send his son to school, but missed out on his upbringing. “I was thin and young when I came,” he says on camera, “I’ll go back old.”Prem left Doha because he was not paid on time and mistreated by employers, and now works as a silversmith but faces stiff competition. He proudly shows the best worker certificate he received in Qatar and often regrets his decision to return. “I make good enough living here but there is no saving for future,” he rues.In Bhoj, there is no trace of a young man who once explained with wonder how the food tray inside planes worked. He was deported from Dubai for going on strike, framed by fellow workers. He left for Qatar next but returned shortly afterwards when his wife fell sick. His mother and wife run a local garment factory and he recently overtook his dead brother’s profitable piggery. He believes Nepalis can make it at home if they work hard. The four men are just a few of the hundreds of thousands of Nepalis toiling abroad. Their lives are mostly fascinating, not tragic. But what draws audience to these individuals is Tseten’s simple but compelling storytelling, his poignant narration, flawless direction interwoven with clips from ten years ago. Viewers will be struck by his compassion for less fortunate compatriots.There are moments of laughter, of camaraderie, of loss and farewells. Through it all, Tsenten is with us, uncovering men’s lives, sharing their grief and intact hopes, bringing us an intimate portrayal of Nepali migrants away and at home. The day this documentary will be launched, another 1,500 young Nepali men and women will fly off, forsaking their fields and families for the hopes of a better future. This film will help us understand why they leave despite real risks, and the need to create opportunities at home. The Riyalists Directed by Kesang Tseten Sunyata Film Productions, 2018 61 minutesSonia Awale

Sonia Awale

Shared stories, shattered dreams of South Asian migrant workers

<a href="https://nepalitimes.com/here-now/waiting-for-bipin-joshi" target="_blank">Nepali student Bipin Joshi</a>, who was taken captive by Hamas on 7 October 2023, was not on the list of those freed following the end of the bombardment and fighting in Gaza.&nbsp; On Monday morning, the Israeli military notified Bipin's family and Nepal’s ambassador to Israel Dhan Prasad Pandit, that there is no evidence of him still being alive. However, Nepal's Foreign Ministry is yet to be notified by Israel's government of Bipin's status. The news came three days after a US-brokered ceasefire between Israel and Hamas came into effect, and hostage and prisoner exchanges by the two sides started Monday morning.&nbsp; Almost 2,000 Palestinians held in Israeli prisions are expected to be released by Israel in exchange for the hostages during the next phase of the peace deal between the two parties, and the bodies of deceased hostages remaining in Gaza are also expected to be returned.&nbsp; Bipin Joshi was among a group of Nepalis who had arrived in Israel in 2023 just weeks before 7 October 2023 as part of a ‘learn and earn’ program to work and earn in kibbutz farms there.&nbsp; Along with other students Joshi had been working on a farm in Kibbutz Alumim in southern Israel near Gaza. <a href="https://nepalitimes.com/here-now/war-in-israel-earthquake-and-grief-in-nepal">Ten Nepali students were killed </a>while taking cover in shelters near their farms in two separate attacks by Hamas fighters.&nbsp; Joshi’s colleagues, fellow Nepalis who survived the attack, recall gunmen lobbing two grenades into the bunker that they had taken cover in. Bipin hurled one of the grenades out, they say, but the other one exploded, killing and injuring Nepalis inside. &nbsp;&nbsp;&nbsp;&nbsp; Shortly after, Bipin was captured by Hamas along with a Thai national and led away into Gaza. CCTV footage showed Bipin alive and at a hospital in Gaza on the day of the attack itself after he was taken hostage.&nbsp; Thirty-one Thai citizens, who like Nepalis worked in farms in Israel, were taken hostage during the Hamas attack, the highest number of foreign captives in October 2023.&nbsp; <a href="https://nepalitimes.com/news/deft-diplomacy-freed-thai-hostages">Deft Thai diplomatic engagement</a> with officials from Iran, Egypt, and Qatar brought about the release of 23 of its nationals in 2023. Five more Thai nationals were released earlier this year.&nbsp; In August, Joshi’s family visited Israel at the invitation of the government and urged the international community to push for his return. Bipin’s mother Padma and sister Pushpa have been at the United Nations to lobby for his release.&nbsp; His family last week also released a video clip of Bipin briefly speaking on camera, reportedly obtained by Israel and said to be filmed in November 2023, around a month after he was taken captive. Joshi looks healthy in that video.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251013091028_d551c7f88204c52217152fb5db655bb5a5f8bf2cff1e6a055326ebf64453ff9f.png" data-media-id="editor_3" data-image-id="20251013091028_d551c7f88204c52217152fb5db655bb5a5f8bf2cff1e6a055326ebf64453ff9f" data-rendition-name="original" width="2848" height="1528" loading="lazy" alt="Bipin Joshi NT"> </figure>  More than 67,000 Palestinians have been killed during the last two years of the genocide in Gaza. About 1,200 people were killed during the Hamas attack on 7 October 2023, while more than 251, including Bipin Joshi, were taken as captives.&nbsp; This is the third ceasefire implemented in Gaza since 7 October 2023 after previous ones in November 2023 and January 2025. This 20-point deal facilitated by intermediaries US, Qatar, Turkey, and Egypt included terms for Hamas to give up its arms, and for a devastated Gaza to be governed by a Palestinian body of independent technocrats, while Israeli troops will withdraw in stages from Gaza.&nbsp; Hamas has agreed to relinquish control of Gaza, but has rejected the demand for disarmament, saying the group will demobilise but is prepared to resume fighting if Israel breaches the ceasefire.&nbsp; Following the ceasefire, Palestinians in Gaza have begun long journeys back to homes reduced to rubble by Israel’s two-year assault on the strip. The flow of humanitarian aid in the city has also increased following the peace deal.&nbsp; Israel's closure of humanitarian corridors in the past months had blocked the entry of food and medicine into Gaza, causing widespread famine. The United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) has said that the restriction of aid into the beseiged city has left as many as <a href="https://www.unrwa.org/newsroom/news-releases/gaza-unrwa%E2%80%99s-lancet-study-reveals-alarming-surge-child-malnutrition">54,600 children acutely malnourished</a>.&nbsp; Meanwhile, US president Donald Trump landed in Israel on Monday as hostages were being released, and world leaders are expected to head to Egypt for an international summit to discuss the next steps in Gaza, Israel, and West Asia.&nbsp;

Nepali hostage in Gaza not alive: Israel

In the very first page of the first chapter of Nepal 2043: The Road to Prosperity are two maps. The first places Nepal right at the epicentre of Asia, and in the second the Kathmandu is at exactly the midpoint between Mumbai and Beijing. With his trademark optimism, author Sujeev Shakya says Nepal is not land-locked but land-linked to three billion people in China and India. We just need those two economic engines to pull us in the same direction. ‘With China and India becoming the two largest economies in the world in the next two decades … Nepal is the most valuable piece of real estate in the world,’ Shakya writes. For one thing, Nepal does not look beyond India and China for tourism — with the right policies it can attract millions of tourists just from those two countries. Nepal is set to graduate from a low- to a middle-income country by 2026 and to a high-income country in 2043 — hence the name of the book. The year 2043 in the Bikram Sambat calendar is also 2100 — a new Nepali century. The book delves into the past, present and future of Nepal and analyses enablers including hydropower, a fundamental transformation of which will drive the 2043 goal. The commoditisation of electricity will be the biggest transformation. Nepal can deploy ‘Cyber Gurkhas’ to attract foreign investors with the management of data centres with climate friendly renewable energy. Access to technology such as precision agriculture, a data-driven approach to farming to improve food production, reduce environmental impact and enhance profitability could be Nepal’s strategy into 2043 and beyond. ‘Earlier, we needed ploughs and strong hands in agriculture. Now, you need a computer and strong fingers,” Shakya writes, citing a neighbour’s son who inspects his crops from drone cameras. A farmer in an Ilam teashop tells the author he asks AI questions in Nepali, and it answers promptly. The biggest enabler of all is Nepal’s young demography with 62% of the population in the active 15-60 age bracket, while 28% are younger than 14. Nepal’s dependency ratio has dropped to the lowest in history with 100 Nepalis having to support 62 dependents. But this demographic dividend window is closing. Nepal’s total fertility rate declined from 2.62% in 1981 to 0.92% in 2021 — below replacement level. We have less than 30 years left to make the best use of the youth, many of whom are currently studying and working abroad. Nepal’s biggest resource, therefore, is its diaspora spread across the world who send home $20 billion a year. Migration is not just a necessity but an aspiration for many Nepalis, and they are an important source of contacts, investment and soft power. This young and educated group has taken advantage of connectivity and digitisation in all arenas of national life. TikTok and Instagram have become e-commerce platforms, or mobile app-riven digital services. Nepal’s software companies exported over $1 billion worth of IT products last year. Next we need a change in the bureaucratic mindset to eliminate paper and manual processes, which would also contribute to reducing corruption. Shakya comes up with many revelations: 81% of Nepalis live in houses they own, much higher than most other South Asian countries which means higher disposable income. Nepal has the highest tax-to-GDP ratio in South Asia. The banking sector is twice the size of Bangladesh despite Nepal having just one-fifth of its population. In 2021, 12.62% of the population had demat accounts in Nepal, while India had only 5.32%. For every five male investors, there are four women in Nepal while it is 10:1 in India. With such figures and prospects, how come Nepal just went through a violent uprising that took the shortest time to topple a democratically-elected government in modern history? One early chapter of 2043 is actually dedicated to how Nepalis have always thrived on chaos. When people faced up to 20 hours of power cuts a day, people worked around the load-shedding schedule, woke up at ungodly hours to cook and stock up on inverters. They did not put up a fight, or even protest. ''Generally, Nepalis are used to taking things lying down, and perhaps this also needs to change,' says Shakya, writing that line before last month’s uprising. ‘On the one hand, some of these issues speak volumes about the average Nepali’s patience and perhaps optimism that things will change in the long run. On the other hand, one is also forced to wonder how much longer they will be able to put up with unfavourable conditions if things don’t change.’ It does seem Nepali had enough with corruption, governance failure and political apathy to the concerns of ordinary people. The final chapter lists the non-negotiables to realise the 2043 Nepal Roadmap: democratic values and freedom of speech, a capitalist welfare state and socio-political transformation to tackle corruption and impunity. The book notes, ‘Countries transitioning to democratic rule experienced a 20% increase in GDP over a 25 year period compared to what they would have achieved under authoritarian regimes. After the end of the Shah rule in 2006, Nepal’s GDP rose from US$10 billion to US$44 billion by 2024.’ The government’s Vision 2030 document projects Nepal’s GDP at US$100 billion, and the Vision 2043 estimates that it will be a US$423 billion economy with a per capita of US$12,100. However, it will need more than optimism and practical action to make these projections real. China and India loom large throughout the book with examples of small city states like Singapore which have taken advantage of their strategic location. Despite the tension between India and China, the two will have to collaborate given the inherent advantages. China has replaced the United States as India’s biggest trading partner. Sujeev Shakya is a great admirer of former Singaporean diplomat and author Kishore Mahbubani, and he has written a blurb for the book. He quotes Mahbubani saying that for the past 2,000 years, apart from the last two hundred, Asian countries have dominated the world, and it is quite natural that the world’s economic centre is returning to Asia. And Nepal is strategically placed to make the most of it because of its location between two of the world’s fastest growing economies. We just have to get our politics right, and have a strategy for equitable growth in the new Nepali century.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251016091052_78b2d1495d59cd492a17693e0e770b65230c7cb749393ac6643f4676b73832ef.jpg" data-media-id="editor_0" data-image-id="20251016091052_78b2d1495d59cd492a17693e0e770b65230c7cb749393ac6643f4676b73832ef" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Sujeev Shakya book details NT"></figure>

Retrofitting Nepal for future shocks

In the aftermath of the GenZ protests last month, as new PM Sushila Karki chose the first members of her Council of Ministers, youth collectives urged that it reflect the country’s diversity by including women, youth and people from various ethnic and socio-cultural backgrounds.&nbsp;
It took another couple of weeks for Karki to include &nbsp;bureaucrat and public health expert Sangeeta Mishra as &nbsp;Health Minister in her next tranche of ministers. Almost immediately, people dug up a video of Mishra calling herself “Nepali, but a native Indian”.
She was telling it like it was: Mishra is a naturalised Nepali citizen. But there was outrage in the ultra-nationalistic cybersphere. Mishra’s name was withdrawn from the list of ministers, with government officials citing an ongoing investigation at the CIAA.&nbsp;
With her Cabinet still incomplete a month after taking office, Prime Minister Karki was preparing to induct GenZ as ministers. A leak in the media floated the names, one of which was of Tashi Lhazom, a climate activist and filmmaker from Humla’s Limi Valley.&nbsp;
Almost immediately, social media erupted with discriminatory, xenophobic and misogynistic epithets against her: that she supported a separatist movement, that she was a foreign agent, that her citizenship was disputed, that she did not ‘look’ or ‘speak’ like a Nepali.&nbsp;
Political figures like Gyanendra Shahi, a prominent voice calling for the restoration of a Hindu monarchy, added fuel to the fire by making bigoted and false remarks about her heritage.
The former Commissioner of the National Human Rights Commission, Mohna Ansari, wrote on social media that it was shameful to question Lhazom’s identity: ‘Ms Tashi Lhazom is as Nepali as you are. Our society’s ugliest face and biggest flaw is doubting our own. Real patriotism embraces diversity — fake nationalism must end.’
Ansari, a human rights lawyer and activist, has also often been subject to Islamophobic and derogatory comments on digital platforms. &nbsp;
In response, the Indigenous GenZ Collective released Lhazom’s Nepali citizenship certificate to debunk the mistruths spreading on digital as well as mainstream media.
What makes a Nepali? What does a Nepali look or sound like? Who is a Nepali?
‘Had my name been Tashi Poudel, Thapa, Bhattarai or Ghimire, this would not have happened,’ Lhazom said in an interview with Kantipur following an avalanche of bigotry against her. ‘They questioned me because I do not look Nepali, or speak Nepali like a Khas. Because it is not my mother tongue.’
It is an indictment of Nepali society that indigenous Nepalis have to present proof, at the slightest inconvenience of mostly the dominant groups, of being a citizen of this nation simply because they might not fit into an imagined idea of Nepali nationhood by virtue of physical appearance, speech, geography, or faith.
And while we celebrate the successes of Nepal-born naturalised foreign citizens (some now hold elected office in the US) we refuse to afford the same respect to naturalised Nepali citizens, and those born in Nepal to excluded groups, nor do we expect them to work in the national interest if they are given responsibility to govern. And women are singled out twice as much for scrutiny.
Then cyber Nepal went into a tizzy when videos appeared of a biker’s group clad in black t-shirts emblazoned with the acronym ‘TOB’ which was interpreted to stand for ‘Tibetan Original Blood’ and linked to the Free Tibet movement.
The accusations snowballed into disinformation, xenophobia, and even calls for violence against Nepalis of Tibetan heritage and the Tibetan community in Nepal.&nbsp;
In the aftermath of the September protest, the hope was that politics and the bureaucracy would finally be rid of orthodox political actors. But first, we as a nation need to collectively examine the biases and bigotry that exist in Nepal’s socio-cultural space.&nbsp;
Otherwise, Nepal’s multiculturalism will be limited to just words in the Constitution and political tokenism.
No one who is in government now or in future can be expected to be completely free of subjective opinions, ideology, affiliation to a cause, or prior activism. And such criticism falls disproportionately on activists, advocates, and members from underserved and underrepresented communities.&nbsp;
One cannot be apolitical and hope to participate in politics, and as we move forward to rebuild the system it must not just reflect diverse communities, but also celebrate diversity of thought and beliefs.&nbsp;
Resorting to ethnocentrism, racism and chauvinism with conspiracy theories and discriminatory dog-whistling about fellow citizens is a disservice to Nepali nationhood. It is Nepal’s diversity that makes us strong.&nbsp;
Shristi Karki

What makes a Nepali?

Chuden Kabimo is in Kathmandu to receive this year’s Madan Puraskar prize for his novel, <a href="https://thuprai.com/book/urmal/?srsltid=AfmBOopuAcN_Emi7s7ptdJNBJhP17OQEkWBwF2OjbkZik99xCWS4sqPn" target="_blank">उरमाल</a> that is set among the tea plantations and their workers in northeast India’s Dooar plains.&nbsp; The award ceremony was postponed due to Nepal's violent GenZ protests, and his trip had to overcome highways and bridges destroyed by this week’s heavy rains in the Darjeeling hills and across the border in Nepal.&nbsp; Kabimo’s previous work, <a href="https://thuprai.com/book/faatsung/?srsltid=AfmBOopwCankD0dycz4oef2BifQlIq1vWwHSawc33IPiBWExo_n8YAb3" target="_blank">फातसुङ</a> was the story of the Gorkhaland Movement in Darjeeling 30 years ago told through fictionlised characters and their friendships, their love for the land, and revolution. Song of the Soil is its English translation by Ajit Baral published in 2021, and there are also Hindi and Bengali translations.&nbsp; The Gorkhaland Movement sought to create a separate state for Nepali-speaking Indians of West Bengal. There is plenty of violence, arson, and young death in the book, and a poignant contemplation on the 8-9 September Gen Z protests in Nepal.&nbsp; The plot is structured as a story, inside of a story, inside of a story, and starts off as the narrator gets the bad news that his childhood friend Ripden was killed in a landslide. He heads back to the site, Malbung, where he was born.&nbsp; He reminisces about his days in school with the rebellious Ripden, who encouraged the narrator to skip school and led him on adventures instead. He remembers villagers who sold their farms for alcohol, and dedicated teachers who helped them dream of better lives.&nbsp; Ripden lives with his uncle. His mother died when he was four, and his father disappeared in the Movement. One day he hears that his father is in fact dead as well, and decides to run away to a village called Lolay. There the pair meet Nasim, who is involved in the Gorkhaland Movement as a child soldier.&nbsp; Chuden Kabimo is of the Lepcha community, a people fiercely proud of their identity, homeland, history, and myths. He weaves together the stories of the characters, detailing their motivation to rebel. ‘I may give up my life, I may give up my soul. But Gorkhaland, I will have anyhow,’ says one leader of the Movement.&nbsp; It is the story of all revolutions where young idealistic people join with the best of intentions, but things betray their initial hopes. The spirit of the revolution can get everyone to protest, even those who do not want to be so involved, but they get killed anyway. Much like what happened outside Parliament last month in Kathmandu.&nbsp; Others think of personal success through the movement, and dream of a day where even the pigs can eat rice and every house has a swimming pool. Others keep themselves going through with alcohol and remembering past, present, or potential lovers.&nbsp; Ajit Baral’s translation has short, crisp sentences that make the 200 pages move along at a fast clip. The sparse language allows the writer to recede to the background as the story unfolds by itself. &nbsp; Kabimo condenses love stories into a chapter or sometimes just a few paragraphs. This works because the story of the revolution must be at the centre, and all else is tangential. Characters are sometimes introduced only to be killed off quickly.&nbsp; Like in all revolutions, there are factions and they are fighting among themselves, against Communists, or against the police. Readers not familiar with Gorkhaland may find it difficult to keep track, but this also parallels the real confusion of a society in turmoil.&nbsp; Kabimo also tends to start his chapters with statements like ‘history is written by those who stumble in life’ which sounds better in Nepali, and something is lost in translation. &nbsp; Read with the recent Nepal protests in mind, there is almost a sense of relief that the fires that spread here burnt themselves out so quickly. But in Song of the Soil, the revolution is never-ending with villages and families living in terror and deprivation.&nbsp; It seems that the longer insurrections last, the more people die, and groups become divided making it easier to subvert the original goal of a revolution.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251012051032_089e7a01ed5afdad35c7a298024e65893b8cf252eb2fce3b919e72c60a3c7a8f.jpg" data-media-id="editor_2" data-image-id="20251012051032_089e7a01ed5afdad35c7a298024e65893b8cf252eb2fce3b919e72c60a3c7a8f" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Song of the soil NT"> </figure>  --- <h2>"I make sure I am always connected to the story"</h2> - Chuden Kabimo, the winner of this year's Madan Puraskar literary prize for the book Urmaal Nepali Times: Your journalism about the Gorkhaland Movement inspired your earlier novel, Faatsung. What was your process in learning about tea plantation workers for Urmaal? Chuden Kabimo: I had been reporting on the second Gorkhaland movement, so it was easy for me to write Faatsung. For Urmaal, I lived with the tea plantation community. I started work six months after Faatsung was published, heading to the Dooars and exploring it. I had gone with the intention of writing a story about child marriage in a community there.&nbsp; I talked to the locals and the workers, and the need to write Urmaal started pulling me. I would often think that I had enough material for my story, but then I would want to add certain elements, which kept me going back over the five years it took to write the book.&nbsp; How does all that information you gather develop into a storyline and characters?&nbsp; When I start the book I don’t know how the plot will start and end. I talk to many people from different backgrounds. Each person tends to introduce me to other people that I should speak to.&nbsp; I listen to their stories. As the stories start to fit together, I get a sense of the plot and that is where my characters come from. For a single character I need to bring together the stories of many people, maybe ten or twelve. It is not possible to base a character on a single individual all the time. I start where I want to, and as I keep writing the story slowly takes shape. I wrote what ended up becoming the last chapter for Urmaal, first.&nbsp; What about your actual writing process? I wake up early in the morning, then I either go cycling or play football. Then I get back and &nbsp;sit at my computer for sometimes two hours. I sometimes write only two lines in the two hours, sometimes I can write five hundred words. I don’t set a word count for myself. I cannot write a lot at once, I am a slow writer, but I strongly believe that you have to write daily.&nbsp; When you do not write daily, especially for a novel, you tend to lose the connection to the story. I just make sure that I am always connected to the story, which helps me always think about it even when I am on the bus or something.&nbsp; What does winning the Madan Puraskar mean to you?&nbsp; I feel that the Madan Puraskar is the biggest prize in Nepali literature, so it is a source of great pride for me.&nbsp; When I wrote my first book, I hadn’t thought of winning any prizes. When I wrote Faatsung I was thinking much more of Kalimpong and Darjeeling. What Faatsung did for me was make me recognised. A lot of people in Nepal liked it too. How to outdo Faatsung was a challenge for me when I wrote Urmaal. After the book was published, it was getting some good reviews but I didn’t expect it to win the Madan Puraskar. I was at home reading in Siliguri when I got the news.&nbsp; For other awards, like the JCB, they had contacted me to tell me that I had been shortlisted or that I won, but to not reveal it to anyone. It was the opposite with the Madan Puraskar. I was notified via Facebook!&nbsp; It was a unique type of happiness. It is also great motivation for me to work on my third novel. Perhaps I will do something about Sikkim, moving away from Gorkhaland.&nbsp; How does it feel being recognised in Nepal? Six years ago, readers in Nepal did not know who I was. I was new to Nepal and Nepal was new to me. I grew up in rural Kalimpong, and we only had a radio for entertainment. On the radio, we used to listen to Nepali programs, which developed an emotional attachment to the country.&nbsp; I came to Kathmandu for the first time for Faatsung, and it was a lot of fun seeing the places that I had heard about on the radio. The journey after that, of the love the readers have shown for the book and now the prize, has been very meaningful.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251012051032_98bbbef41bc3ca68f0e8c84edd40f7e6c5bd012186e09a08b4ed9631fd9a009b.jpg" data-media-id="editor_3" data-image-id="20251012051032_98bbbef41bc3ca68f0e8c84edd40f7e6c5bd012186e09a08b4ed9631fd9a009b" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Urmaal NT"> </figure>

film-making