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Director Sujit Bidari of Aina Jhyal Ko Putali stated that it is challenging to establish tuning between the new and old generations in the film industry.
Speaking on the second day of Kathmandu Utsav, he said, “Because of ego, the new generation does not respect the old generation. And when the older generation does not receive respect, they do not feel the need to appreciate the new ones. This has made it difficult for the two generations to align.”
He argued that this ego is more prevalent among new directors who come from film schools.
In an interaction session titled The New Generation in Direction, Sujit was joined by directors Krisha Chaulagain and Anil Budhamagar. Moderated by writer Prabhakar Gautam, the three speakers shared their experiences of directing films for the first time.
Anil Budhamagar’s debut film Gharjwai was a box office hit. Supporting Bidari’s views, Anil, who made his big-screen debut this year, said, “I had previously worked on short films and documentaries, but while directing a feature film, my ego disappeared.”
Krisha Chaulagain, who has been active as a producer for nearly two decades, is now directing her second film, Peetambar, set to release on Chaitra 29 (March-April). When moderator Gautam asked her whether it was easier to be a producer or a director, she laughed and said, “Becoming a director is much more difficult than being a producer. At 15, I produced a multi-starrer movie. Since I was investing money, everything felt like it belonged to me. But as a director, you have to balance everything from creativity to management, which creates a lot of mental pressure. Now I realize I have been pushing directors since I was 18.”
While acknowledging the positive arrival of the new generation, she advised aspiring filmmakers to do thorough research before entering the field. “A script is written in a personal style, and shooting is done accordingly, but when the film is released, it is judged based on its commercial performance. Businessmen prioritize profits over emotions, which creates a misalignment. Those who are emotionally driven often feel disheartened. Without bargaining power, the first-time filmmaker suffers. Many enter this field without adequate research, make one film, and then disappear. The possibility of filmmakers abandoning the industry is high,” said Bidari.
The year 2081 (2024-25) has seen a surge of new-generation directors. Debutant filmmakers have delivered box-office successes like Bokshi Ko Ghar, Purnabahadur Ko Sarangi, and Behuli From Meghauli. While acknowledging their success, Bidari also offered some advice.
“As artists, we write scripts with emotion and shoot with the same sentiment. However, when it comes time for release, films are treated as a business. Businesspeople prioritize profits over emotions. This is where the misalignment happens,” he said. “Without bargaining power, first-time filmmakers suffer.”
He expressed concern that many filmmakers vanish after their first film due to a lack of sufficient research and preparation. He suggested that newcomers should enter the industry only after thorough study.
Currently, films of various genres are being produced and are resonating with audiences, with the new generation of filmmakers leading the way.
“With the rise in new directors, where are the female directors?”
Responding to moderator Gautam’s question, director Chaulagain said, “No matter how much we try to avoid discussions on gender, this issue arises in the film industry as well. Women have to dedicate significant time to acting and other roles, but directing demands much more time and commitment, which is why there are fewer female directors.”
In recent years, films like Jaari, Gaun Aayeko Bato, and Gharjwai have been praised by audiences and critics for drawing inspiration from the directors’ personal experiences and cultural backgrounds.
Gharjwai is based on the geography and culture of the Magar community. Director Budhamagar shared that he found it easier to tell stories from his own community rather than others.
“It takes years to tell someone else’s story. In the social genre, I see countless stories within my own community. Instead of searching for new stories, I prefer telling the ones closest to me,” he said.
However, he expressed dissatisfaction with the tendency to label his films as community-based rather than just films.
“I don’t understand why films in Nepal are categorized as community-based or Nepali films. What defines a Nepali film? What defines a community-based film? If a Chhetri-Bahun filmmaker makes a film about their culture, isn’t that also a community-based film? But people don’t categorize it that way; they only use that label for other communities,” he said.
While director Budhamagar advocated for realistic and culturally grounded films, Bidari pointed out that despite growing diversity in Nepali cinema, social realism still dominates. He also noted that filmmakers are not experimenting with different genres as much as they should.
He emphasized the need to tell social stories in unique genres and styles.
Director Chaulagain also stressed that the film industry can only thrive through technical advancements, new subjects, and innovative storytelling methods rather than just focusing on social themes.
Having collaborated with South Indian technicians on her upcoming film, she highlighted the importance of such partnerships in enhancing Nepali cinema’s technical quality and expanding its market.
