In the Nepali film fraternity, it is often heard that after a movie is released, the makers have to face unhealthy competition and problems from distributors and cinema halls. Many times, cinema halls are accused of not providing equal screening slots to all films, and similarly, distributors are often blamed for not delivering the earned money to the filmmakers on time.
However, Chauhan, a newcomer to the Nepali film industry who debuted as a director in 2025 with the movie Oon ko Sweater, says that he has not faced any such problems so far. He expresses satisfaction with the current state of the Nepali film market.
“I had heard earlier that the Nepali film market is plagued with unhealthy competition, but based on my experience so far, I have not encountered any such issues,” says Chauhan. “The fraternity has welcomed me warmly.”
On the other hand, actor and filmmaker Nischal Basnet, who entered the Nepali film scene in 2012 with his directorial debut Loot, advises Chauhan to be more cautious, especially when it comes to the financial aspects after the film’s release.
He points out that while the industry initially welcomes filmmakers warmly, problems often arise during the closing phase, when financial matters need to be settled.
“Often, my films have faced financial embezzlement from the authorities,” he says.
Quality drives revenue
The above-mentioned conversation took place during a panel discussion titled Monetisation and Markets for Nepali Cinema, organized by the Kathmandu International Mountain Film Festival (kimff) on May 23. The session was moderated by journalist Reena Moktan, and the panel featured filmmakers Nischal Basnet and Nabin Chauhan, alongside Anusha Khanal, a Curator in Charge at Herne Katha, a web documentary series.
With investment in filmmaking in Nepal increasing, the pressure to earn a return on that investment is also growing proportionally. According to Nischal Basnet, it has become difficult to produce a film with an investment of less than Rs 10 million. In this context, the panel discussion also focused on the various ways films can generate income.
The first and most important factor, according to both filmmakers, is that the film must be “good enough.”
“A film earns well whenever it is good,” says Basnet.
Reaching global diaspora
He further emphasizes that the domestic market should always be the top priority. “Only 1 or 2 percent of the total population watching a film is enough to make it a hit,” he says, highlighting the untapped potential within the local audience.
According to Basnet, the most effective publicity tool in Nepal is word of mouth. If a movie is good, positive word of mouth spreads naturally, attracting a large number of viewers.
Basnet also emphasized that it is high time Nepali filmmakers explored the digital and international markets as additional revenue sources. He stressed that film earnings should no longer rely solely on cinema halls.
The discussion also explored the market for documentaries on YouTube.
According to Anusha Khanal, a documentary producer at Herne Katha, YouTube is a vast platform, and the access it offers is a major advantage.
She noted that Herne Katha has an international viewership of 38 percent. However, she pointed out a key challenge: the revenue generated from domestic viewers is significantly lower than that from international viewers. She also informed that Herne Katha has viewers form 115 countries.
Echoing Khanal’s point about the broader access YouTube provides for content, Chauhan—who also owns Artmandu, a production house and YouTube channel known for its music videos—says that their experience in YouTube has made their filmmaking journey easier, not just technically but also in terms of marketing
Speaking about making Nepali films more visible to a broader audience, Chauhan says, “There are many Nepali-speaking people beyond Nepal—we should reach out to them as well.”
Sustainable industry future
When it comes to the presence of Nepali films, they are primarily found either in cinema halls or on YouTube, with limited availability on a few domestic OTT platforms. However, their presence on OTT platforms remains very weak. So far, Nepali films have not been featured on major international OTT platforms like Netflix or Amazon Prime. Even on domestic platforms, their presence is not significant.
Basnet, who has experience releasing a film on a domestic OTT platform, expressed dissatisfaction with its performance. He notes that many people in Nepal still do not have the habit of paying to watch films, which is why OTT platforms have not yet proven to be a viable medium for Nepali cinema.
Similarly, Khanal shared that Herne Katha had discussions with some OTT platforms but ultimately concluded that they were not beneficial—echoing Basnet’s concerns.
“Rather than any other medium, people spend most of their time on social media platforms like Facebook, TikTok, and Instagram. So, there is a possibility that we can generate income by releasing our films on these platforms,” says Basnet.
“The government should collaborate with these social media platforms and simplify the monetisation process,” he says.
Regarding the prospect of getting Nepali films featured on major OTT platforms like Netflix and Amazon, Chauhan says, “We should keep trying to make good films and never stop being creative. I believe that if we continue doing so, one day they will be compelled to feature our films.”
While concerns about distribution, monetisation, and audience behavior persist, filmmakers like Chauhan and Basnet show that both optimism and caution have their place.
The road ahead may not be easy, but with creativity, persistence, and evolving strategies, the industry can carve out a more sustainable and equitable future, say all the panelists.
