The Institute for Integrated Development Studies (IIDS) hosted its 10th Movie on the House (MOTH) series with the screening of Four Nights, Chaukathi (Threshold), and Windhorse on 17th March 2025. This special International Women’s Month edition was presented in collaboration with Decade of Diaspora and The Magnificent 100+. The screenings were followed by a thought-provoking panel discussion moderated by Ms. Dilasha Joshi, Senior Program and Research Assistant at IIDS. The panel featured acclaimed filmmaker Mr. Deepak Rauniyar, whose works have garnered global acclaim for redefining Nepali cinema.
WHAT STORIES DID WE WATCH?
The event featured three of Rauniyar’s short films, each delving into deeply personal and political narratives:
- Four Nights explores human vulnerability in the face of loss and longing.
- Chaukathi (Threshold) captures intimate moments of transition, especially for women in rural Nepal.
- Windhorse reflects on life’s fragility and the quiet strength of everyday people.
These screenings highlighted the power of cinema to tell nuanced stories about gender, identity, and empowerment—stories that resonate across borders and communities.
STORYTELLING BEYOND TROPES
In the panel discussion, Rauniyar reflected on his filmmaking journey, sharing how he consciously departed from stereotypical Nepali cinema tropes. From Highway to White Sun and now Rajagunj (Pooja Sir)—which premiered at the 81st Venice International Film Festival—his films center everyday people and ordinary moments, transforming them into powerful narratives.
Rauniyar humorously described a director’s role as “part artist, part manager,” emphasizing the importance of balancing creativity with the practical realities of filmmaking in Nepal. He also credited his creative partner and wife, Ms. Asha Magarati, for bringing unique perspectives that strengthen their stories’ focus on empowerment and equality.
AUTHENTICITY AND REPRESENTATION
When asked about portraying narratives outside his lived experience, such as the aftermath of Nepal’s civil war in White Sun, Rauniyar stressed the need for careful research and empathy. He highlighted how collaboration and listening to real stories ensure authenticity, particularly when amplifying marginalized voices.
His strong female characters, such as Durga in White Sun and Inspector Pooja in Rajagunj, reflect a conscious effort to move away from tokenism toward genuine representation that empowers audiences—especially women and marginalized communities.
GENDER, IDENTITY, AND EMPOWERMENT: DIASPORA PERSPECTIVES AND STORYTELLING FOR SOCIAL CHANGE
The panel discussion explored how cinema can challenge entrenched gender norms and offer empowering narratives that resonate across borders. Rauniyar reflected on how his films intentionally break away from token female characters, instead creating complex women like Durga in White Sun and Inspector Pooja in Rajagunj (Pooja Sir). These characters embody strength, vulnerability, and agency, inspiring audiences—particularly women and marginalized communities—to see themselves reflected authentically on screen.
The conversation also touched on the broader role of the diaspora in shaping these narratives. As a Nepali filmmaker working internationally, Rauniyar spoke about the importance of grounding stories in local realities while ensuring they resonate with global audiences. He emphasized that diaspora artists can bridge cultural gaps and bring fresh perspectives on identity and social justice.
This segment underscored cinema’s ability to serve as both a mirror and a catalyst—reflecting societal struggles while encouraging dialogue on empowerment, equality, and collective change. Rauniyar’s insights highlighted how stories rooted in specific cultural contexts can still speak universal truths about resilience, freedom, and the human condition.
ART, POLITICS, AND CENSORSHIP
The discussion also addressed the challenges Nepali filmmakers face under growing creative constraints. With the recent social media bill raising concerns over freedom of expression, Rauniyar acknowledged the precarious space for politically charged cinema in Nepal. He reflected on how Rajagunj faced scrutiny, questioning whether Nepali cinema is truly free to challenge entrenched norms and authority.
ADVICE FOR ASPIRING STORYTELLERS
For young Nepali directors, writers, and actors, Rauniyar encouraged perseverance and courage:
“Tell stories that matter, even if they’re small and personal. That’s how you create art that connects deeply and lasts longer than any trend.”
He also stressed the need to cultivate managerial skills alongside creative ones, given the resource constraints in Nepal’s growing industry.
Prepared by: Ms. Sneha Ghimire, Senior Program and Research Assistant.