Whenever I watch a Nepali movie, even with little expectation, I am left disappointed. The new release, ‘Aktor: Take One’, was no exception. The film follows an overused storyline—a struggling actor who dreams of becoming not just successful but a “superstar”. The word “superstar” is repeated multiple times in this movie, as if merely saying it could manifest it into reality.

The film revolves around Kushal Khadka (Pradip Khadka), a struggling theatre actor who believes theatre is too small a stage for his grand dreams. He aspires to be a superstar and constantly declares himself as one—even when he has achieved nothing. He is in a relationship with Prakriti (Anna Sharma), who exists in the movie solely as “the girlfriend of a wannabe superstar”. Both are theatre actors, but while Prakriti remains committed to the stage, Kushal grows restless and dismissive of theatre.

The movie also gives glimpses into Kushal’s background. He is raised by a single mother who struggles to make ends meet by working in a beauty salon. Their financial condition is dire, yet Kushal insists he only wears branded clothes and accessories. This contradiction raises an evident question: How is he affording such luxuries? The film hints vaguely about his father’s absence but never provides a concrete backstory.

Finally, our self-proclaimed superstar gets his big break. He lands his debut film after delivering an unconvincing, overly dramatic dialogue in an audition that somehow impresses the filmmakers. His dream of stardom is coming true, and he is ecstatic. A song follows, showing his “success”: he buys a new car, picks up his mother, searches for an apartment, starts paying for meals, and even tips the waiter—previously, Prakriti always covered the bill.

At this point, the film attempts to introduce suspense. We see the director of Kushal’s debut movie involved in a shady phone call, hinting at something sinister. The revelation? The film is merely a front for a gold smuggling operation. Under the guise of shooting scenes, the team smuggles real gold through the airport. Predictably, the operation is busted by Nepal Police, and the director is arrested.

However, the director manipulates Kushal, persuading him to help in exchange for ensuring the completion of his film. This leads to another mission: Kushal must get close to Prerana (Divya Rayamajhi), the daughter of the movie’s financer (Raj Ballav Koirala) and go inside his house. He travels to Pokhara, entering her life by pretending to be a mute and deaf musician with another name, Riyosh (a tired and problematic trope), conveniently charming her into falling for him.

Prerana, a naive, soft-hearted philanthropist, is smitten—just as planned. The film follows a predictable story of deception, romance, a love triangle and inevitable chaos. Later, it is revealed that both Prakriti and Prerana are the actual step-sisters, adding more chaos and drama to the movie.

Prerana and Kushal’s paths cross again in Kathmandu, where Prerana visits her father, whom she doesn't like because he is a “bad guy”. Kushal struggles to balance his relationships with Prakriti and Prerana, adding an unnecessary love triangle.

Amidst the chaos, Kushal gets hit by one of the financer’s men. Instead of being taken to the hospital, he is brought to the financer’s home—the place he had planned to infiltrate as part of the director’s scheme. There, he is locked in the attic until he recovers and is threatened not to report the incident to the police.

The film builds towards its climax as the jailed director is released after paying compensation. He and Kushal then conspire to retrieve the smuggled gold from the financer’s house. The heist is executed, but the director deceives Kushal, running away with the gold. However, in a laughably unrealistic twist, Kushal outsmarts him. He had already melted all the gold bricks, moulded them into thin sheets, and hidden them in his plastered leg—wrapped in bandages. This scene defies logic, leaving the audience bewildered rather than impressed.

The movie opens and closes in a parallel timeline, with a director (Nischal Basnet) listening to a script. By the end, it is revealed that this script is based on Kushal’s real-life story, which he is now attempting to turn into his film. Basnet agrees to direct the movie, and they announce it in a press conference. This revelation reaches the financer, exposing the entire truth, while Prakriti discovers that her boyfriend is simultaneously dating her stepsister.

The movie ends on a cliffhanger, setting up a sequel that will presumably explore unresolved plot points: Kushal’s father’s past, the consequences of the stolen gold, the progression of his debut film, and his tangled relationships.

The movie had potential but blew it with a lack of proper execution. The performances are a mixed bag. Koirala and the director deliver the most natural and engaging performances, standing out among the cast. Rayamajhi, in her debut role, fares decently. Sharma’s performance, however, is underwhelming—her dialogue delivery feels forced, and her character lacks depth.

The female leads are kept to secondary roles, serving only as romantic interests or plot devices for the male protagonist. Nepali cinema desperately needs to develop stronger, independent female characters rather than defining them by their relationships with men.

The film’s background music feels outdated and dramatic, particularly during romantic scenes. Several songs are played back-to-back, making the movie feel like a Bollywood imitation. Given the quality of independent Nepali music today, it’s baffling that the film industry continues to produce subpar movie soundtracks.

While ‘Aktor’ has moments of intrigue and humour, it ultimately offers nothing new. The storyline is predictable, borrowing heavily from clichéd Bollywood tropes. The narrative might have been wrapped up in one movie, yet it is stretched to justify a sequel. Despite a few well-executed twists, much of the movie feels tedious and bland.

That said, fans of typical commercial cinema may still enjoy ‘Aktor’. But for those seeking originality and depth, it falls short. Nepali cinema has made strides in recent times, but if it wants to evolve truly, it must prioritise fresh storytelling and well-developed characters over repetitive plots. ‘Aktor’ had the opportunity to do something different but instead played it safe—ultimately, that is its biggest failure.

Aktor: Take One

Director: Rajan Bhusal

Starring: Pradeep Khadka, Rajballav Koirala, Anna Sharma, Divya Rayamajhi

Duration: 135 minutes

Language: Nepali

Available: Nearby Cinemas

Year: 2025