KATHMANDU: The release of the film ‘Rajaganj’, directed by Deepak Rauniyar, has generated significant controversy due to its censorship by the Central Film Censor Board under the Ministry of Communications and Information Technology.
The film includes a controversial statement made by Prime Minister KP Oli (then PM), in which he referred to the Madhesh party as a “rotten mango.” The Censor Board has objected to this portrayal.
According to Rauniyar, the director of ‘Rajaganj’, several words in the film have been censored.
“The Board is under pressure to remove words like ‘India’ and ‘Prime Minister’ from the film,” he told Khabarhub.
He compared the current censorship to the era of the former King Gyanendra’s coup, when the military used to censor newspapers by leaving blank spaces where certain news was withheld. Rauniyar noted that scenes removed by the Censor Board now appear as blank spaces in the film, symbolizing his rebellion against the censorship.
Rauniyar expressed frustration, saying, “Such activities in a republic are a hindrance to creativity.” The issue of censorship, particularly by the Censor Board, has sparked outrage among filmmakers.
The filmmakers argue that the existence of a censor board that limits their creativity in a democratic society is unimaginable. They point out that censorship practices are rare in developed countries and call for Nepal to reconsider its approach.
While filmmakers had previously remained silent about censorship, the incident with Rajaganj has brought their anger to the forefront.
In response, filmmakers held a press conference at the Mandala Theater in Thapagaun to protest the arbitrary use of censorship scissors.
The press conference was attended by several prominent figures from the Nepali film industry, including directors Navin Subba, Deepak Rauniyar, Manoj Pandit, Ganeshdev Pandey, and Dipendra Lama, as well as artists Deepak Raj Giri, producer Ashok Sharma, and actors Dayahang Rai and Rima Bishwakarma.
They collectively criticized the Censor Board’s actions, arguing that the arbitrary removal of scenes and dialogue is obstructing their creative expression.
Filmmakers also questioned the qualifications of the Censor Board employees.
Director Ganeshdev Pandey shared an experience where a scene in his film ‘Manjari’ was censored because the Censor Board employee claimed to have a heart condition and could not watch the scene.
Actor Dayahang Rai expressed surprise at the fact that even the name of a country was censored in his film, while Deepak Raj Giri described how he was pressured to remove a dialogue from ‘Chhakka Panja-4’ after the film had already passed the initial censorship and was released.
The filmmakers argue that this widespread censorship stems from the lack of film knowledge among Censor Board employees.
Producer Ashok Sharma stated, “There are wrong people in the Censor Board. People who understand films should be there, not those who lack basic knowledge of filmmaking.”
Similarly, Deepak Raj Giri criticized the appointment of individuals with no formal education or understanding of film, likening it to having an unqualified judge for a major dance competition.
The filmmakers’ protest highlights the ongoing frustrations with the Censor Board’s role in shaping the content of Nepali cinema and its impact on creative freedom.
As the debate continues, it raises questions about the balance between regulation and artistic expression in the film industry.
Filmmakers are expressing dissatisfaction over the censorship practices of the Central Film Censor Board, arguing that they have been forced to compromise their creative freedom due to the fear of censorship.
They highlight instances where their films are labeled as suitable for all audiences, despite containing content that may not be appropriate for children.
One filmmaker says, “My film is not suitable for children and should be watched under parental supervision, but it has been given a ‘U’ certificate, meaning it’s classified as suitable for everyone. Yet, important dialogues that should be in the film have been cut.”
‘Censor Board Is Not Necessary’
The primary frustration among filmmakers is the limitation on their creativity caused by the censor board’s interventions.
Director Ganeshdev Pandey explains, “When I write a film, I have to do so with the constant fear that the censor board will use scissors to cut the words that a society or community may speak.”
Director Manoj Pandit said, “We have prepared an internal movement against the terror of censorship. A movement committee has been formed, and we will fight 2082 as a year of resistance against film censorship in Nepal.”
Artist Deepak Raj Giri echoes this sentiment, stating, “I often work on films with political themes. When creating, I always have to worry that the censor board will interfere. This fear restricts my creative expression.”
The filmmakers argue that the existence of a censor board that limits their creativity in a democratic society is unimaginable. They point out that censorship practices are rare in developed countries and call for Nepal to reconsider its approach.
Director Nabin Subba adds, “When we take our films abroad, filmmakers there are astonished and even ashamed that films are censored in our country. In developed countries, censorship is seen as a restriction on creativity.”
He advocates for a grading system, similar to what is used in many developed countries, where films are rated according to the appropriate age group rather than being subjected to censorship cuts.
A Call for Change
Director Rauniyar also criticizes the censorship practices, stating, “It’s not the censor’s scissors that should be used. Instead, films should receive certificates indicating which age group they are suitable for.”
Deepak Raj Giri, who considers himself anti-censorship, insists, “Scissors should never be used on the scenes and dialogues of films. If you use scissors, the creation dies. Instead, films should be graded according to the appropriate age group.”
Announcing a Movement
While filmmakers have previously expressed dissatisfaction with the Censor Board, they had not united in their stance until now.
This incident has brought them together, and they have announced a movement against the Censor Board in the coming year, 2082.
Director Manoj Pandit said, “We have prepared an internal movement against the terror of censorship. A movement committee has been formed, and we will fight 2082 as a year of resistance against film censorship in Nepal.”
Director Subba added, “Our movement will be creative. The main demand is that the use of censor scissors in films should be banned.”
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