‘The Girlfriend’ exposes how romantic relationships can mask control and entitlement as love, showing the gradual erosion of a woman’s autonomy.

Unless our institutions respect artistic freedom, neither Nepali cinema nor our democracy can grow to its full potential.

Showcased at the Nepal Human Rights International Film Festival, ‘Shakti’ follows a single mother and her daughter as they navigate sexual violence, caste prejudice, and institutional indifference in Kathmandu.

It captures the long, punishing journey of migrant workers during the pandemic while exposing the caste, labour and systemic inequalities they live with.

The hyper-nationalistic drama leaves nothing to chance in its messaging to the audience.

Nowadays, Bollywood movies debut in theatres before moving to streaming platforms. This works well for ‘Param Sundari’ as its appeal lies in scenic charm more than emotional depth.

The movie tells a father-children story while weighing the balance between family obligations and personal needs.

What do a rural Italian village, a Nepali hillside home and a Kathmandu living room have in common? At this year’s EU Film Festival, the answer is clear: women fighting to be heard in societies that silence them.

With heartfelt moments and youthful energy, ‘Sharmajee Ki Beti’ highlights how self-acceptance and courage shape young lives.

‘Shaitaan’ highlights human vulnerability, the fragility of trust, and the courage it takes to fight forces beyond your control.

Dharma Productions returns to the familiarity of platforming undeserving nepo kids, sidelining the ‘outsiders’ with underwritten parts.

Karan Tejpal’s ‘Stolen’ is an unsettling thriller about a baby’s kidnapping that spirals into a terrifying journey through mob paranoia, class divides, and human desperation.

‘#Single’ tries to be a lighthearted rom-com but ends up normalising stalking, sexist jokes, and outdated patriarchal ideas in the name of love and comedy.

‘Uppu Kappurambu’ turns the absurd idea of villagers fighting over scarce burial land into a warm, satirical comedy.

With strong performances and raw honesty, the film tackles caste and social injustice, though it relies too heavily on dialogues.

The film’s timing—released while the industry is overwhelmed with high-octane, VFX-driven blockbusters and talentless star kids—worked in its favour.

The iconic train ambush scene—with dacoits falling in slow motion, bullets slicing through dust and light—set a new benchmark for spectacle.

Released on July 18, the film has earned more than INR200 million daily since its opening.

In his latest movie, Abhishek Bachchan portrays a man abandoned by his family who finds hope in the companionship of a young orphan.

In a world of dating fatigue, career pressure, and emotional confusion, the movie is both timely and tender.