The biggest and the most unforgivable sin of the ‘A Mero Hajur 4’ team is how they handle representation.

The already superhit movie has all the tropes of romance movies.

Even with mediocre direction and sub-par acting, ‘Chapali Height 3’ feels more refined than ‘Crime Patrol’ and ‘Crime Files’.

The portrayal of Nepalis as poor, hungry, Mount Everest-climbing, uneducated people is not a result of what the people chose to share with the world but because that’s what filmmakers decided was worth telling.

Kadakh is director Rajat Kapoor’s rendition of the 1948 Alfred Hitchcock-directed Rope with firecrackers and goddess Laxmi references.

Director Nabwana IGG’s writing, directing and sequencing doesn’t adhere to traditional storytelling notions--and that is perhaps its biggest feat.

Netflix’s Mrs. Serial Killer is a terrible film, but you don’t have to feel guilty about watching it. At times like this, when we’re all stressed, hate-watching is--in some ways--cathartic.

The Post’s in-house film critic on what the ongoing pandemic could mean for the Nepali film industry which is already fraught with problems.

For a debut film, Bishal Sapkota has shown potential and audacity. The film is far from perfect, but it does have a few moments of brilliance.

The Post’s film critic writes an open letter to actress Paramita RL Rana after watching her latest film ‘The Karma’.

While it's not without flaws, the commendable work from director Ashwiny Iyer Tiwari challenges a woman's prescribed place in society.

Tanhaji is a historical epic that shoehorns religion into its tale of the battle between two macho males.

‘Good Newwz’ is a new entry in a series of films in Bollywood that deals with the issue of sex in a mature way, but couldn’t stay away from stereotypes.

Salman Khan is a superstar in the truest meaning of the word. But it's time he reevaluates his ideas on society and on cinema.

While the industry’s output is increasing, the quality is often questionable.