Kathmandu, May 24 — The Kathmandu International Mountain Film Festival (KIMFF) inaugurated its opening ceremony along with a panel discussion titled ‘Monetization and Marketplace for Nepalese Cinema’ in Kathmandu on Thursday.
At Nepalaya Hall located on Kalika Marga, three prominent figures from Nepal’s burgeoning film sector—Nabin Chauhan, the creator of ‘Oonko Sweater’ who serves as both a director and screenwriter; Anusha Khanal, a documentary producer for Herne Katha and an esteemed filmmaker; and Nischal Basnet, also a distinguished filmmaker—discussed the hurdles and prospects related to generating revenue within Nepali cinema and expanding its audience base. The conversation was led by renowned film critic Reena Moktan.
Chauhan stated that his initial encounter with the film industry has been quite positive, challenging the belief that the market is overly tough. As a newcomer filmmaker, he acknowledged YouTube’s significant role in establishing both a brand and a market footprint. He noted, “YouTube has greatly assisted in developing a brand and demonstrating market influence; however, channeling those YouTube viewers into movie theaters remains a hurdle.”
He emphasized the significance of comprehending the audience’s wishes when producing movies and advocated for collaborative endeavors instead of solitary efforts to bolster the sector. “It’s not just a handful of individuals striving to elevate this industry; we require contributions from everyone involved,” Chauhan stated.
He additionally stressed that filmmakers should remain authentic to their vision and “convey feelings sincerely” when producing movies.
Filmmaker Basnet pointed out that the Nepali film industry is “open and welcoming,” with heavy investments being made in it every year. However, the industry still faces financial difficulties, with even low-budget films now costing over Rs10 million.
He pointed out the possibilities within the digital and diaspora markets, such as platforms like NetTV and YouTube, which can lead to profitability. Nevertheless, he cautioned that producing a film alone isn’t sufficient—filmmakers should also concentrate on their financial strategies and understand audience behavior. “In my early days, I believed that just creating a film would be adequate. Yet, it turns out there are numerous additional elements one needs to take into account,” he remarked.
Basnet also tackled the issue of piracy on OTT platforms, recounting an instance from his work with the movie ‘Behuli from Meghauli.’ In their efforts to fight against piracy, Basnet’s crew was forced to deactivate various functionalities on the MSM video streaming platform, such as playing movies through mobile devices connected to TVs. These restrictions annoyed many viewers who were unhappy at being unable to use all available features even though they had paid for them. He stated, “I believe we cannot completely shift to OTTs just yet due to software glitches and concerns over piracy. However, let’s wait and see how things evolve.” Additionally, he emphasized that it is essential for Nepalese audiences to get accustomed to paying for online content.
Basnet highlighted the importance of prioritizing local audiences initially and enhancing the theater-going culture, noting that the count of functional cinemas has declined from approximately 500 to 200. Additionally, he underscored governmental backing and the appeal of Nepal’s scenic landscapes in luring foreign film producers. “It frustrates me when policymakers view us merely as sources of amusement because movies serve more than just leisure—they affirm life,” Basnet continued. “These productions encapsulate our beliefs, challenges, aspirations, and cultural heritage.”
Khanal, a documentary producer from Herne Katha, stated that YouTube is still undervalued and underused within Nepal’s filmmaking industry. He mentioned, “It’s challenging for people to access YouTube, and whenever someone mentions ‘YouTube,’ others tend to dismiss it.”
When talking about whether Nepali cinema should strive more for outlets such as Netflix and Prime Video, Khanal stressed that Nepal needs to fortify its domestic market and platforms initially, prior to targeting international platforms like Netflix. She stated, “It’s crucial to develop our own market first; only then can we aspire for greater things.”
It became evident from the conversation that despite ongoing issues such as piracy, inadequate infrastructure, and underdeveloped consumer spending habits—the sector holds significant potential for growth if it embraces digital channels, produces superior quality material, and collaborates within the industry.