KATHMANDU: Nepali films have recently gained recognition at international film festivals. Last year, the film ‘Shambala’ drew significant attention after being selected for the international competition at the 2024 Berlin Film Festival.
However, domestic box office figures for films released in 2081 BS tell a different story, showing that such critically acclaimed films have struggled in Nepal’s commercial market.
On June 30, the Film Development Board released a list of the 25 highest-grossing Nepali films of the past 25 years. Notably, none of the artistically crafted films that represented Nepal at international festivals made the list—highlighting the gap between international acclaim and domestic commercial success.
When asked why such films fail to attract domestic audiences, film director Subarna Thapa pointed to entrenched audience expectations. “It’s often said that festival films are made for foreigners, not for us. But we make films for everyone,” Thapa said.
“Just because our style may differ from mainstream cinema doesn’t mean it’s inaccessible. We need to stop discouraging audiences from engaging with artistic films.”
Thapa urged the Film Development Board to support films that represent Nepal internationally, highlight its cultural landscape, and promote Nepali art and identity—alongside those that perform well commercially.
“No commercially successful film has represented Nepal at major international festivals,” he said.
“We’ve taken Nepali culture and stories abroad, and our films are becoming more artistic than many from other countries. This deserves encouragement—from both the state and domestic audiences.” Thapa’s films Sungabha and Radha have both screened at international festivals.
Film director and critic Dipendra Lama echoed the view that commercial and artistic success are not always aligned. “Artistic merit and box office earnings are different dimensions,” Lama said.
“Even in countries like India and the U.S., festival-acclaimed films often don’t do well commercially. Their markets are simply bigger, which makes their earnings seem higher, but those films still don’t top box office charts.”
“Similarly, box office hits rarely appear on lists of critically acclaimed films,” he added. “Still, the state should promote artistic and festival-oriented films. With continued support, these films can eventually succeed in the domestic market as well.”
Lama noted that the commercial failure of artistic films reflects a mismatch with mainstream audience preferences. “When I was a film critic, I promoted such films, but now as a director, I haven’t made any myself. That’s also part of the problem.”
He added, “It’s natural that the tastes of festival audiences and domestic viewers don’t always align. We’re competing with the best films globally, so not everyone may appreciate them. But if we consistently produce these kinds of films, their domestic audience will grow over time.”
Actress Keki Adhikari said she supports the international success of Nepali films. “I’m someone who eagerly waits for these films. But there seem to be very few like me. Sometimes the films being discussed aren’t even screening in local theaters. That’s one reason why festival-acclaimed films underperform at home.”
She added, “I was both an actress and a producer in a film. I wanted the issues we raised to reach international audiences. But as a producer, I realized that success is tied to actual screenings, and we faced many hurdles. In the end, we didn’t submit the film to festivals, nor did we prioritize it.”
While that particular film did not reach international festivals, it performed well at the domestic box office. According to the Film Development Board, it earned around Rs 100 million.
Binod Poudel, producer of ‘Purna Bahadur Ko Sarangi’—the highest-grossing Nepali film in recent times—emphasized the need for both types of cinema. “We need to make both ‘arthouse’ and ‘commercial’ films. A strong domestic market and a visible international presence are equally important. Now, we need greater support from the state.”
Reflecting on the challenges he faced during the release of his first film, Poudel said cinema hall operators must also take responsibility.
“When I used to distribute films in Australia, a film would run for at least a week. There was stability, and audiences could plan their time accordingly. Here, you never know when a screening will be pulled. If we had more stability, we could have deeper conversations about our cinema at home.”
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