BBC Discussion on the State of Nepali Movie Industry

BBC Nepali Service's Mr. Narayan Shrestha moderates a discussion with Mr. Nir Shah (actor), Mr. Amar Gurung (Chairman of Nepal Film Development Board) and Ms. Rekha Thapa (Actress-Producer) on October 24, 2010.

This is very interesting, informative and entertaining discussion.

The most interesting quote is Mr. Nir Shah's comment that he cannot watch his own movies because they are "not watchable" i.e. they are bad. When asked why he still acts, he says that's because its his profession (comments @ 20 minutes).

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Kollywood turnover crosses Rs 350m
myrepublica, 5-Sep-10
ASHOK THAPA

With the restoration of peace and efforts of new production houses to cater to the taste of a new segment of viewers, the Nepali film industry witnessed a robust expansion in its market, generating handsome returns in Fiscal Year 2009/10.

According to Rajkumar Rai, the chairman of Nepal Motion Picture Producers´ Association (NMPPA), the industry drew investments of Rs 295 million during the year. Rai also estimated that the Nepali film industry made a profit of Rs 59 million during the year.

The year was also marked by Nepali filmmakers unveiling projects with aggressive budgets that aimed at entertaining viewers with ´new´ technologies going digital in filming and sound.

Movies like “Mero Euta Saathi Chha”, “Kahan Bhetiela”, “Hifajat” and “Chhodi Gaye Paap Lagla” were produced with investments of around Rs 8 million each, whereas a big budget film in the past meant investment of only around Rs 6 million.

Thanks to it, popular actors and actresses witnessed unexpected rise in their remunerations as well.

Actors like Biraj Bhatta and Aryan Sigdel, Jharana Thapa, Rekha Thapa and Sanchita Luitel, among others, enjoyed even up to 200 percent rises in their signing amount, a film industry insider who requested anonymity told myrepublica.com. In previous years, they used to get between Rs 150,000 and Rs 200,000 per film.

This is an encouraging turnaround and reflects a revival of confidence in the industry, something which was lost during the later years of conflict, commented industry analysts.

Records of NMPPA show that 59 motion pictures passed the censor test during the year. Of them, 20 films enjoyed business throughout the country, while another 23 were released only within the Kathmandu Valley.

That is not all. The Film Development Board registered 229 films, including 84 celluloid, 80 digital, and 65 short movies. A majority of them are yet to make their way to theaters.

“Compare this eagerness to produce movies with the previous year, and you will know how the situation has turned in the industry,” said NMPPA Vice President and Spokesperson Pradeep Uday.

In Fiscal Year 2008/09, producers registered just 187 movies, including 102 celluloid and digital and 85 short movies.

Uday credits this robust rise in investment to the entry of ´new, energetic and professional´ filmmakers, expansion of the market and economic returns making promises to deliver.

Producers told myrepublica.com that films with high budget not only took the standard of Nepali movie to a new level, but also enjoyed good returns. It was not just the big productions that made money this time, small-budget movies like “Kahan Chhau Kahah” and “Batuli” also reaped in high profits. Their producers declined to disclose returns though.

Rai said that most of the films with innovative concepts pertaining to youths and social issues made exceptional turnover. “Issues like love and friendship portrayed in films like ´Mero Euta Sathi Chha´ even added new segment of viewers to the industry,” he said.

Although filmmakers did not cite any figures, they were unanimous that the volume of viewers of Nepali movies itself had grown magically with the production of youth-appealing movies like ´Mero Euta Sathi Chha´.

Otherwise, total viewers of Nepali movies were estimated to stand just at around 2 percent of the country´s population, and a large segment of elites, particularly in Kathmandu, were never attracted to it.

As usual, the social love story of “Kahan Bhetiela” and the action and thrills of “Hifajat” too appealed to audiences in every nook and corner of the country.

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