It may seem like a ridiculous and awkward question, 'Is Nepali cinema leaping?'
Because in Nepali cinema at this time, Vrindavan is like a lost deer. Confused, confused, uncertain and unstable. Against such a backdrop, the question of 'jumping' seems to be mocking, as if a paralyzed person is expected to win a marathon.
Now let's look at the current scenario of Nepali cinema.
Cinema houses are in a state of disrepair. How many doors are being locked, how many debts are being lifted. Movies stuck in the mouth of the screen have disturbed the producer's sleep. How many are looking for an alternative way, how many are playing games. Millions of workers, like bees, are trying to catch reflectors, lift trolleys, adjust lights, and clapboards.
Deepak Raj Giri has stopped writing the script, Pradip Bhattarai has kept the story in search, Uddhav Poudel is tearing down the moving halls.
This drawing indicates that Nepali cinema has fainted. When does it wake up now? When does it hurt When does it move? When does it run The questions themselves are convoluted.
In Nepali cinema, halls had to be run to get back to their rhythm. The spectators had to come to walk the hall. Fast movies had to be made for the audience to come. In other words, this is the starting point of the venture, fast cinema.
Hall operators and distributors are sceptical of such Nepali cinema, which will prevent the parts of the hall from rusting.
Roshan Adiga, CEO of QFX, says, “We need cinema to run the hall. No matter what happened in the cinema. He had to be able to attract the audience. There is no question of opening the hall and repeating it in the old cinema. '
The power of 'whatever' cinema is not enough to lead the youngsters who are lying on the bed and enjoying the OTT and the roaring crowd from Nepali cinema to the hall. Of course, there are some films stuck in the mouth of the exhibition, Chapali Height-3, Prem Geet-3, I sing such a song-2, Yesterday's talk today, Lakka Jawan, Lappanchappan 2, Krishnalila, forgetting memories The list of films in cinematography and post-production is even longer.
Tomorrow, Corona's panic will subside. The audience will be in a fun mood. And, soon these films will be released. But, will the gravity of the film take the audience to the hall? It is difficult to predict right now.
However, the audience will not be reluctant to come to the hall if a fast movie comes from Hollywood-Bollywood. The parts of the hall will move gradually. And, the trend of watching movies in the hall will be repeated. Nepali cinema will also catch its rhythm by erasing an annoying emptiness.
Some such movies are also being made, which will take Nepali cinema from this stage to a new Goreto and make it dynamic. That global platform could be the OTT platform.
From Navin Subba to Meen Bham, they will unveil that golden curtain of possibility.
It is rumoured that Meen Bham is out hunting for another movie. Earlier, he travelled around the country and abroad with 'Kalopothi'. Even if only partially, the taste of Nepali cinema spread to the global stage. Now he is making a 'cold year' and it is expected to take Nepali cinema to a new height.
The main story is the meeting between the two characters who set out on a mountain journey to make their melodrama and their spiritual and spiritual journey. Pema, who had set out to find her missing husband, and Lama, who had gone in search of her brother, met at Dobato and their next journey began. Catching this turn of the story, Meen is scraping, erasing and scraping the striptease.
He has also received some international funds for the production of this movie. Meen's 'Cold Year' can be sure to give a new direction to Nepali cinema.
Veteran filmmaker Navin Subba is also not sitting idly by now. They are running with the blueprint of an ambitious movie. Let's say that Navin Subba is a filmmaker who brought Nepali cinema to the international stage for the first time. That was the movie, Numaphung.
Navin Subba is also an investigator and visionary in himself, who understands the dimensions of cinema in such a wide way, examines the components of society and culture in such a subtle way, and adjusts the human senses and art in such a mature way. Overall, he is a university of Nepali cinema.
The same Navin Subba is making a movie. According to him, on the surface of this story, there is a rural road in the name of development and there are ups and downs in the relationship between the two brothers. By making the relationship between the Rai brothers the backbone, he will explore the inner layers of Nepali society, the inner layers of culture, myth and consciousness.
Anup Baral, who can paint a rainbow from theatre to canvas, is an art seeker. Cinema is an integral part of his life.
Anup Baral has been making a movie for a long time. It's a movie, misery. It has been filmed in the rural areas of Bhojpur and taken to post-production. Using 'sorrow' as an image, he will present the contradictions of society, culture and psychology.
Manoj Babu Pant, a scholar of Nepali cinema, has also conceived his cinema. That is why he is coming to Pokhara and Kathmandu. He is running with a blueprint to make a short film first and then stretch it as a feature film.
'Bulbul' director Binod Poudel is also carrying an ambitious movie plan. He has two different stories. One focuses on the refugee issue while the other focuses on the cheerful young character.
On the whole, corona-infected Nepali cinema is becoming silently within the awakening cinema. It will bring Nepali cinema to the global stage and draw the attention of connoisseurs.
