Rooted in empathy and a survivor-centric approach, Inara by Astitwa Nepal is helping survivors rebuild their lives with dignity and community support.

Legendary music composer, singer, and lyricist Sambhujeet Baskota was decorated with Lifetime Achievement Award.

Targeted with vulgar messages and character assassination, Eleena Chauhan and Samikshya Adhikari are forcing Nepal to confront its digital cruelty.

Born blind, Navina Gyawali was once told the kitchen was too dangerous for her. Now, she runs Tick-Tick Bites, a restaurant in Kathmandu where she trains other visually impaired individuals to cook, earn a living, and gain confidence.

The ‘International Conference on Recovery of Cultural Heritage’ united experts to discuss the repatriation of stolen artefacts.

Drawing on tales from the mountains to the Tarai, artist Roshan Bhandari’s solo exhibition speaks to Nepal’s fading oral traditions.

Shambhu Puri, a Nepali designer and founder of Sam Sui Clothing, reflects on his rise from unpaid gigs to styling major shows and celebrities.

Filmmaker Nani Sahra Walker believes books can be just as transformative as films, sometimes even more so, in catalysing social change and shaping collective consciousness.

While permissive parenting may create a warm and loving environment, lack of structure can also harm children.

‘Superboys of Malegaon’ is a heartfelt tribute to small-town dreamers who make films with passion and limited resources.

Recently featured at KIMFF, ‘Kottukkaali’ shows how casteism can undermine love, autonomy, and truth.

Skin-revealing fashion on social media reflects a growing sense of bodily autonomy, self-expression, and resistance against conservative norms, especially among young people navigating identity and confidence in digital spaces.

‘Wonderland’ is a visually stunning film that explores grief through a near-future simulation service allowing people to reconnect with lost loved ones.

With standout performances and immersive transitions, ‘Lost and Found’ reflects on identity, vulnerability, and the beauty of being seen and heard.

‘Ke Ghar Ke Dera—Ghar No. 2’ is emotionally shallow. Its fragmented narratives and sidelined female characters fail to leave an impact.