When I got a DVD for Kagbeni, the first ever Nepali film that I bought, in Baltimore during ANA convention last summer, I didn’t hesitate to pay $10. It was a matter of pride to take a Nepali movie home that supposedly didn’t have stereotype Nepali filmy stories of love, revenge or relationships.
Although my friends, who have grown up watching all these English films with innovative stories and Indian films that have come a long way experimenting on the audience, made a mockery out of some of the scenes in the movie and questioned scenes like the cry of the weird lady in the middle of the film, the film to me had power to transform the Nepali cinema industry. Prashant Rashaily’s screenplay and Bidur Pandey’s cinematography was outstanding although the movie did little too much in showing the panoramic scenes of Kagbeni.
Quest Entertainment’s new camera prototypes and Dolby Digital Surround Sound had worked on the Nepali new generation. The Himalayan Times remarked Kagbeni sets a benchmark for Nepali cinema. Kunda Dixit asserted Nepali movies won’t have to be embarrassed anymore. Now look at the number of High Quality Nepali movies that were in the pipeline- Sano Sansar, Mission Paisa, Mero Euta Sathi Chha, Kathmandu, Goodbye Kathmandu, Acharya and documentaries like Greater Nepal, Das Dhunga and 13246. 
Although the promo trailers of movies like Sano Sansar and Mission Paisa were wonderful reminding of some Korean film and Stephen Chow’s film respectively, the flicks didn’t do much magic for the audience. Simosh Sunuwar who has had awesome Nepali music videos like Mt 8848’s Sathi Saal focused too much in impressive fighting scenes and visual effects, which didn’t suit the Nepali viewers very much. Alok Nembang’s debut film “Sano Sansar” seemed rather long and unconvincing with a regular love story and an obvious ending. Namrata Shrestha’s acting was alright, but with a little better script, the film could have been much better. The dance scene was really good, thanks to the music video director Nembang himself. Although both of these movies had better quality with focus more on the new middle class young generation, the filmmakers should know what exactly they want for this new generation.
The trailer for Mero Euta sathi Chha reminds me of Bollywood flicks that came in the last decade where a rich guy meets a poor girl or vice versa. If this film has a similar ordinary story of family problems, power of love bonds or revenge, this would fail too, no matter it is a HD movie or simple Celluloid movie. Neither copying stories from Bollywood or Hollywood would work, nor the stories about robots or spacecrafts. The audience is done with stories that have Rajesh Hamal screaming and raged and fighting against the evil, glamorous Rekha Thapa half naked for no reason, or love stories with same old plot.There are so many themes that Nepali filmmakers can make stories on. Stories about unemployment, a student fleeing the country in search of better life, a life that vows to change society along with friends, historical films on legends, royal massacre, Kot Parva, mythological stories, an artist who revolutionizes the music industry, some child who finds life through working in a chiya pasal are the things that come to my mind when I think of writing scripts. Nepali film industry doesn’t need big actors, it needs good actors and creative filmmakers. Theaters like Gurukul could be a good resource.
As for the love story Mero Euta Sathi Chha, I have hope that it will have some good astonishment like in those of films based on Nicholas Sparks’ books. However, I have greater expectations from Manoj Pandit’s Greater Nepal and Das Dhunga, Prashant Rasaily’s Acharya and Nabin Subba’s Goodbye Kathmandu. Not to be forgotten are Nepali films by foreign filmmakers- Julie Bridgham's The Sari Soldiers and Sanjay Srinivas' God Lives in the Himalayas.
