Populär Vun Nepal

The Tibetan belief of curing diseases through going into a trance by invoking certain spirits/protectors has been practiced and socially accepted for over a millennium. This art is mostly inherited by the healer’s son – sometimes by a daughter, who hereditarily posses this inborn channel which only needs to be opened to be initiated as a healer. With a history of 13 generation of continuous spiritual healers in the family, 78-year-old Pao Wangchuk is frustrated with the fact that his son is incapable of continuing the family legacy.

This experimental video essay explores the space and time of a post-colonial hill station set up by the British as a sanatorium for therapeutic recovery from the heat and humidity of India. Invoking the closing sequences of Ritwik Ghatak’s film, Meghe Dhaka Tara (The Cloud-Capped Star) (1960), the film explores how mountains became a metaphor not just for malaise and affliction, but also the human will to survive in the corridors of a creaky healthcare system. Framed through fissures in the dark, derelict walls of a once glorious cinema hall in Darjeeling, the events within turn, hang in liquid suspension. The same landscape becomes a haven for the tourist-turned-environmental-refugee who crawls up the winding mountainside in summer, fleeing the furnace of the Indian plains. But the haven itself is occupied by giant pile drivers pounding steel into the industrial night.

A man returns to his village from abroad, only to hear about the ghosts that haunt the place.

As the studious Bidya(13) prepares for her further studies, her juvenile brother Basanta(9) distracts her with his antics. But learning, his sister is giving up on her dreams, he struggles to give Bidya the hope she desperately needs.

Nepalese folk songs danced and sung by everyone.

Raajan, a carefree dreamer from Kathmandu, spends his days lost in fantasies, dodging work and chasing one grand ambition: to open a lavish resort with a windfall of money he hopes will magically appear. His childhood friend Divya, who lives in his neighbourhood, understands his quirks and secretly loves him, but Raajan remains oblivious to her feelings, taking her presence for granted. Everything changes when Sara, a charismatic foreign tourist, arrives in Kathmandu. Raajan is instantly smitten, falling head over heels for her charm. While showing Sara the beauty of Nepal, he becomes convinced she holds the key to turning his resort dream into reality, blending his infatuation with opportunism. Meanwhile, Divya, heartbroken by Raajan's obsession with Sara, decides to move on and agrees to marry another man, sparking a poignant love triangle.

This film travels through a multitude of voices attempting to be choicelessly aware of the interdependent nature of our existence in a system that has, for thousands of years, dehumanized Dalit women's bodies and existence. In the film, we live through the experiences of injustice, resilience, and resistance of women from the Dalit community, examining the ever-reproducing nature of an oppressive society by invoking the art of seeing, learning, and listening.

This is the story of a Limbu family. A father loves to play the traditional Chyabrung drum at village ceremonies, his son has problems with school, his wife works hard at home. Losing his beloved drum, the father needs a tree trunk and leather to make a new one.

In 2005, Punam Tamang is nine, living in the Nepalese city of Bhaktapur. She lost her mother when she was five years old and since that time she has been the family caretaker to her small siblings while her father works from dawn till night. Punam tells us her story and she introduces us to her family, neighborhood, teachers, and friends. Four years later, life has changed for Punam, who is now thirteen. What she and her siblings had managed to avoid has now become an inevitability: in 2009, her narrative takes us to the local brick-making factory.

I'm too busy to take care of my family.

A middle class family is thrown into chaos when the youngest daughter expresses her desire to go abroad, secrets & resentment hiding inside the exterior threatens to destroy the family from the inside.

The sudden disappearance of the popular host of a relationship advice radio show leaves a vacuum. Listeners are uncertain about the direction their romantic endeavours should take.

In 1994, the Nepalese film "Truck Driver," belonging to the Romance/Drama genres, was crafted by writer Brazesh Khanal and director Rajkumar Sharma. The leading roles featured Shiv Shrestha, Karishma Manandhar, Shree Krishna Shrestha, Madan Krishna Shrestha, and Hari Bansha Acharya. This cinematic creation not only secured its place among Nepal's highest-grossing films but also showcased the comedic talents of the popular Maha Jodi duo, who were celebrated comedians during that era. The film's songs also achieved widespread acclaim, solidifying its cultural impact in Nepal.

Punte ko Pangro is a story about a child in the countryside of the Kathmandu valley. We follow Punte, a playful boy, who has a toy wheel of his own, but he will do anything to get a bigger one. In his pursuit, he discovers his aspiration and ultimately own potential. The wheel is used as a symbol of supremacy to portray human desire and our passionate struggle to reach higher positions in society.

A young woman struggles to provide for her son while waiting to receive money from her husband. When she hears that a neighbour’s husband has returned from abroad with gifts, she undertakes the long, humbling journey to visit them, in this lyrical, emotional, and richly textured drama.

Lachhamaniya, according to the communal practice, was married at the age of five. She is now twenty years old and has never met her husband after the wedding. She lives at her natal home hoping her husband to come and take her with him. ‘LACHHAMANIYA’ is a story about the psychological conflict arising from the disagreement between the protagonist’s parents and in-laws and the consequences that follow.

A personal film on love, loss, and time. Through fragments of home, old footage, and found sounds, the filmmaker traces his mother’s quiet transformation and the fading world of his childhood—a tender reflection on memory and change.

Co-husband is a portrait of the practice of fraternal polyandry in the communities of the indigenous Humlo people in the Humla district of Nepal. Told from the perspective of the wives and husbands as well as the members of the community who reject this model, the film explores the economic, cultural and emotional dimensions of this custom and the social consequences for those who don’t practice it.