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100 Crores for Nepali Box Office!
In the current context, this expectation seems like a distant and seemingly impossible thought. But it is not impossible. In today’s modern society, the thinking, courage, and efforts of a few optimistic, daring individuals have made what once seemed impossible possible.
For example, the idea of flying from one place to another like a bird was once a mere fantasy. However, many tried to make it a reality, and ultimately, the Wright brothers made it possible. Now, this dream has reached even space. Just like the fantasy of flying like a bird came true, the idea of a 100 Crore Nepali box office might seem like a beautiful fantasy at the moment, but with the right planning and efforts, it may not remain a distant dream.
In this article, we will explore the origin and current commercial journey of Nepali cinema and discuss the actions and plans necessary to achieve a 100 Crore box office in the future. We will also try to understand the thoughts of the Nepal government and those involved in the business of cinema on this matter. What do they think, and why do they think that way? If they do not think it is possible, what are the reasons behind it? We will try to answer these questions in this article.
History of Movie Theaters in Nepal
The history of movie screening in Nepal dates back before the first Nepali movie was made. Before the production of Nepali films, cinema was already being shown.
In 1943, Prime Minister Juddha Shamsher built a cinema hall within the palace complex, and even earlier, in 1920, it is recorded that the Rana family and the royal family watched films by setting up a screen in the palace courtyard.
However, it was under Prime Minister Dev Shamsher that ordinary citizens first got to watch movies. During his wife’s Sindoor-Yatra in 1958, films were shown to the general public at Tundikhel, as reported in the Gorakhapatra.
Later, in 2002, when Padma Shamsher became the Prime Minister, he arranged for some films to be shown to students in his private theater.
In 2006, Mohan Shamsher became the Prime Minister, and during his tenure, Nepal’s first regular movie theater for the public was opened. The General Service Hall in Vishal Bazaar, inaugurated on 26th Mangsir 2006, became one of the first public cinema halls. The hall was managed under the Municipality and its earnings were directed to the municipality.
The inauguration of this hall was reported in the Gorakhapatra the following day with a headline reading “Inauguration of Cinema in Kathmandu.” It mentioned that the hall was beautifully decorated with colorful flags and had a prominent sign saying “Shri 3 Maharaj’s Victory” at the entrance. The movie Ram Vivah was the first to be screened, marking the beginning of regular cinema screenings in Nepal.
From 2007 onwards, cinema halls opened in Kathmandu, and by 2014, eight halls had opened in the valley. The opening of these halls led to a rise in the number of cinema halls across Nepal. In 2011, the second cinema hall, Shri Cinema, opened, and the opening of this hall encouraged the opening of 54 more cinema halls across the country.
Though cinema halls had started opening, Nepali film production had not yet started. It was in 2021 that Aama, directed by Hira Singh Khatri, became the first Nepali film to be produced and screened in the public, fulfilling the desire of King Mahendra to promote the Panchayat system through cinema. Subsequently, films such as Parivartan, Hijo Aaja Ra Bhole, which were made to support the Panchayat regime, were released.
The journey of Nepali cinema, which began in 2046 (1989), saw the release of 40 films for Nepali audiences in just over two and a half decades.
Since 2046, the government has encouraged the growth of high-vision halls and other large theaters, mainly by offering tax rebates, which contributed to an expansion of these halls. According to the Nepal Film Producers Association, at one point, the number of cinema halls reached around 400.
However, over time, especially after the start of the Maoist insurgency, Nepali cinema started to decline. On one hand, the Maoist conflict and on the other, the direct imitation of Bollywood films, led to a decline in the quality of Nepali films. Commercial successes like Prakash Thapa’s “Sindur” or the unprecedented success of “Kusume Rumal” were milestones for Nepali cinema’s box office. The entry of Rajesh
Hamal and the stardom he brought to Nepali cinema was also a significant factor in making the Nepali box office a success.
But times changed, and with globalization and increased cinema literacy, Nepali cinema’s box office began to dwindle from the late 60s. By 2068 (2011), Nepali films started to fail consecutively at the box office, sparking discussions of a crisis in Nepali cinema. Amid these discussions, a debut director’s film made a significant impact on Nepali cinema. The film was Nischal Basnet’s “Loot,” which exposed the flaws in Nepali film production style and brought innovation to both its directorial and storytelling approach.
Since then, Nepali cinema has progressed, with box office revenues increasing from single-digit crores to double-digit crores.
Despite this progress, Nepali cinema is still struggling. Why?
In the last decade of the Indian film industry, crossing 100 crore in revenue became a benchmark for success. This benchmark is now being challenged, especially with regional films embracing “pan-India” releases, which have redefined the meaning of revenue from a single 100 crore to multiple 100 crore earnings.
Investment standards have also adapted accordingly.
The reason for mentioning the Indian box office here is to relate to a hypothesis in this article.
Therefore, the question is raised again: Can Nepali cinema make 100 crores at the box office?
While there is no definitive answer to this question yet, it is not impossible either.
For this, we can base our analysis on the earnings of Nepali films in our local box office. According to official box office data, the highest-grossing film at present is “Kabaddi 4,” which has reportedly earned around 24.18 crores in Nepal’s domestic market. This film achieved this number after approximately 70 days in theaters.
In this context, how feasible is 100 crores?
When asked, a distributor remained optimistic.
“If the film gets the right release and is made with some repeat value, it could reach 35-40 crores in the current situation,” they said.
According to data from the Nepal Film Producers Association, there are currently 159 screens across Nepal. If any film gets an ideal release, it could potentially collect around 3.5 crore rupees in a day when all cinema seats across the country are filled. However, some theaters in the Terai belt, where Nepali films have lower popularity due to linguistic reasons, are excluded from this calculation. With expansion in this region, the single-day collection could approach 4 crores.
Looking at statistics from Big Movies in Kamalpokhari, with three screens and a total of 886 seats, five shows of a film lasting about 2 hours could generate almost 13 lakh rupees on a holiday.
Similarly, QFX in Sundhara, with three screens and a capacity of 1,000, can earn 24 lakh rupees in gross collection if the theater is fully booked.
Regarding the current trend in Nepali box office earnings, films with high hype can make 70 lakh rupees on a Friday, and over 1 crore on Saturdays or holidays. On regular days (Sunday through Thursday), their earnings are about 40% of what they make on Saturdays.
In this scenario, distributors like Prachanda Man Shrestha agree that films with repeat value can make 35-40 crores in gross earnings.
As for the question of 100 crores, he believes that the Nepali cinema market is still expanding, and while it may not be possible right now, it is not impossible.
He argues that policy and creative improvements are necessary for this goal to be achieved.
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A 2019 study on cinema revenue estimated that the global box office earnings amounted to 42.2 billion US dollars. Including home video sales, the revenue for 2018 reached 136 billion US dollars.
Similarly, Nepali cinema invests around 60-70 crores annually in film production, with business earnings approximately around 1 billion rupees.
Looking at these statistics, the Nepali film industry holds potential. If there is government support for quality films and cinemas, as per the demands of industry professionals, it’s not too far-fetched to expect a single film to earn 100 crore rupees. Nepali film producers have also requested tax exemptions. Additionally, since film production is an expensive process, establishing and conceptualizing supporting industries for film development has become indispensable.
The government must create solid plans to strengthen Nepali cinema within the country. If the government focuses on strengthening Nepali cinema, similar to how Nepal has advanced in information technology exports, Nepali films could follow the same trajectory. With the growing digital era and the open international market for quality films, the future looks promising for Nepali cinema. Nepali filmmakers must focus on producing high-quality films to tap into these opportunities.
Recently, the trend of copying whatever is popular has caused a decline in Nepali cinema’s commercial success. However, if films with a unique perspective and global appeal are made, the 100 crore mark for Nepali box office revenue is not just a dream.
For example, we can take the 2013 Pakistani film “War,” directed by Bilal Lashari. Prior to its release, the Pakistani cinema industry was almost non-existent, dominated by Bollywood films. But this film surprised everyone by achieving record-breaking business. The success of “War” revived the Pakistani film industry. Later films like “The Legend of Maula Jatt” also set box office records, further energizing the industry.
Similarly, regional cinema in India has recently expanded beyond its regional boundaries. Before the release of “KGF,” Kannada cinema was considered a small regional industry. But after the success of “Ugram” and the massive success of “Baahubali,” director Prashanth Neel gained confidence and created the large-scale “KGF.” The result is well-known.
Nepali cinema can also take such a leap, but it requires courage and risk-taking from filmmakers. In the 1970s, we had promising directors, but they focused more on replicating their first successes, which kept the industry stagnant. They need to step out of their “comfort zone.”
We must look for new markets. First, we need to identify potential markets within the country. Not all districts have cinemas yet, which clearly shows how far we are in expanding our market. Additionally, many cities across Nepal are growing, where the potential for cinemas is increasing. Identifying these areas and creating an investment-friendly environment through research and collaboration with stakeholders is crucial.
To promote the habit of watching films, it is essential to bring films in various languages to formal screenings, not just informal shows. This will not only develop the habit of watching films in cinemas but also support the growth of cinema business.
For Nepal, along with Nepali, films in languages like Bhojpuri, Maithili, Tharu, Gurung, and Rai can be key to expanding the market.
International studies show that the success of a cinema hall depends on the population and purchasing power of the area. So far, the government has not focused on identifying these markets or encouraged investment in them. Investors are making decisions based on their own calculations.
Currently, there are about 15 districts in Nepal without cinemas, and some districts close to the capital, such as Sindhuli and Dhading, also lack cinemas. Similarly, Rukum and Rolpa are without cinemas. Dhangadi, once known for having 10 cinemas, now operates only one. Even in Kavre, a neighboring district of Kathmandu, despite a strong population and purchasing power, there is no cinema hall.
Studies show that a cinema hall should be located within 11 kilometers of an area with at least 75,000 people, and the purchasing power should match. In some places, population may not be the sole factor—Laljhung’s Beeshisahar, for example, has around 30,000 people, but due to a large diaspora background, cinemas there perform well.
This kind of study helps us understand where our market is and how big it is.
Along with Nepal, the Nepali diaspora is also a potential market for Nepali cinema. In India, there are several areas with a significant Nepali-speaking population. If Nepali films are released in these areas, similar to Bollywood films, it could significantly boost the Nepali box office earnings. Additionally, there are markets in the Middle East, the US, and Australia, where Nepali films have recently made a considerable impact.
For instance, the Nepali film “Jari” earned a share of 1 crore rupees just from the UAE. Similarly, “Kabaddi 4” earned 2 crore rupees for its producers, showing that Nepali cinema can perform well abroad.
Films that succeed commercially are showing us where our markets are. By securing these markets and exploring new ones, Nepali cinema will one day make the dream of earning 100 crore a reality.
Therefore, the government must revise its policy on cinema and prioritize making it a strong industry. Creating an environment that supports this growth is essential, and filmmakers, too, must take the risk of producing films that will attract new markets.
Written By Ashesh Adhikari
(This article was published in the “Chalachitra Manch” on the occasion of the 24th anniversary of the Film Development Board.)
