With Hari Humagain’s cinematography background, ‘Sarauto’ is a visually appealing film--but a director’s job is a lot more than putting together pretty clips.

‘Cha Cha Hui’ is a film about perverts chasing their perversions with an especially perverted item song.

The 12th edition of the film festival will showcase 63 films, selected from more than 2,500 submissions from all over South Asia.

The plot is still the same: a time-travelling protector must save an ordinary human from a killing machine sent from the future. But there’s still something missing with Dark Fate.

‘Poi Paryo Kale’ attempts to show that skin colour doesn’t matter, but then puts all of its fair-skinned actors in makeup to make them look darker.

Deepak Raj Giri is the star, the film tackles a social issue, and there are laughs galore--that’s all you need to know about Cha Maya Chapakkai.

Despite fears about Joker not being released in Nepal, the film finally made its way to theatres, serving as a lesson to both filmmakers and policymakers.

The film is little more than a vehicle for superstars Hrithik Roshan and Tiger Shroff to showcase their fighting and dancing abilities, and it doesn’t want to be anything else.

Priyanka Karki’s web series is a lazy and unjust attempt at representing queer relationships.

For Ram Babu Gurung, third time is still not a charm.

Sunny Leone is the best thing about this film, and that’s not saying much.

A film about the trans community should do its subject justice, but Maruni seems to pity its lead character.

As with most Nepali films, the film’s writing is weak--making it unrealistic at times. The filmmakers’ biggest sin, however, is using rape as a mere plot device.

There are problems everywhere in Bikash Raj Acharya’s latest movie. The biggest being the very foundation of the film--its screenplay.

The latest Nepali film proves that filmmakers still underestimate their audience’s intelligence. And judging from the audience’s reaction in the cinema hall, we’ve had enough.

The director baits the audience into judging the characters but they probably end up judging the movie.

Ghar is filled with unlikable characters and loud jumpy scares, exaggerating an already gimmicky fright film.

The storytelling is inconsistent and the acting is too subdued or over the top.

In his first film, Anmol Gurung has directed the ubiquitous Dayahang Rai in such a way that he looks and feels like a different character. 

In a region where audiences are prone to emulating on-screen protagonists, films must be careful about the kind of message they’re sending