To name noted Nepali women directors remains a difficult task, no doubt there is a visible dearth of female perspectives and stories led by female protagonists, both of which probably could be rectified if more women directors were to work in Nepali cinema—and of course, if the sector itself were more accepting of them.  All 21 of the mainstream commercial films released this year were helmed by men.

Actress-turned-directors such as Jharana Thapa and Deepashree Niraula are trying to break the mould, but they are among the scant few exception. As capable as they may be, part of their foray in directing was contingent on their being industry insiders, established personalities whose entry into another facet of the industry cannot be compared to the struggle faced by the thousands of nameless, fledgling female actors and directors. Not unlike the rest of our society, Nepali cinema is marred by patriarchy, nepotism, and shameless commercialism. Truly, cinema is a broken mirror best reflecting our unfortunate circumstances—a tragedy really but quite funny too and probably perfect for a movie!

To delve into this issue alongside the opportunities and challenges that lie ahead of women in filmmaking, a roundtable discussion, Women in Filmmaking: Opportunities and Challenges, is taking place on August 26 at the premises of the organisers British Council in Kathmandu.

Following the discussion, the event will see the screening of eight short films that were either nominated or won at various categories at the BAFTA (British Academy of Film and Television Arts) awards. The catalogue of films to be screened include A Drowning Man by Mahdi Fleifel, Aamir by Vika Evdokimenko, Wren Boys by Harry Lighton, Work by Aneil Karia, Cowboy Dave by Colin O’Toole, Mamoon by Ben Steer, Have Heart by Will Anderson, Poles Apart by Paloma Baeza.

The event starts at 4 pm.