‘Saanghuro’ doesn’t shirk from showing poverty in all its endless despair.

A gender-fluid boy, a kidnapping case, one-dimensional villains and Bipin Karki as a trans woman—this film chews more than it can swallow.

It is a coherent, well-meaning movie that doesn’t let cliches and inherent preachiness take away from its stellar plot and performances.

Mohan Rai’s ‘Mahanagar’ gracefully pulls off the conversational, dialogue-driven style of filmmaking.

It is warm, honest, and interesting—three adjectives I thought I’d never get to use for a Nepali movie.

Written and directed by veteran actor Saroj Khanal, the film follows the life of a single mother and her daughter.

The film, written and directed by Anvita Dutt, follows the tragic life of a singer, Qala Manjushree.

Tripathi won the ‘best actor’ award at the Houston film festival for his portrayal of a troubled postman in ‘Halkara.’ But he’s just getting started.

The 2015 film boasts of remarkable visual aesthetics, but struggles to strike a balance between historical accuracy and engaging storytelling.

The story follows the life of Mima, a Japanese pop idol, whose transition to a film actress results in a series of surreal occurrences.

Released in 2010, this coming-of-age story swept the Indian film industry, garnering praise from critics and spectators alike.

Konkona Sen Sharma’s latest short movie under anthology ‘Lust Stories 2’ explores the sexual fantasies of two women of different strata.

The romantic thriller featuring Shilpa Maskey attempts to deal with all things taboo: from infidelity to necrophilia.

Sujit Bidari’s short film explores the emotions of a married woman who falls in love with a voice on the radio.

The 2016 modern Marathi classic ‘Sairat’ is a nuanced, honest portrayal of an inter-caste love story.

Director Nancy Svendsen and Dawa Futi Sherpa, daughter of Nepal’s first female climber Pasang Lhamu Sherpa, talk about ‘Pasang’—the documentary that changed how people viewed alpinist’s life.

Released in 2013, the film steered away from the didactic tendencies of social dramas to reveal the complexities of the ‘sati’ tradition and its effect on women.

Sorry folks, putting a female character through the worst possible circumstances to say, ‘Oh no! Bad things happen to women,’ isn’t good storytelling.

Khyentse Norbu’s most recent film takes place against the magnificent backdrop of Newa architecture, blending the cultural with the surreal.

What truly sets Bikram Sapkota’s ‘Halkara’ apart is its masterful handling of the sensitive topic of labour migration without succumbing to melodrama.