Personal cinema, public politics: a conversation with Asha Magrati and Deepak Rauniyar about film-making in Nepal
This interview with actor-producer Asha Magrati and writer-director-producer Deepak Rauniyar situates their partnership in Nepali cinema and the transnational circuits that increasingly shape production and reception. From early collaborations such as Highway (2012) and White Sun (2016) to the more...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/ebhr, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
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European Bulletin of Himalayan Research
2026
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| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | This interview with actor-producer Asha Magrati and writer-director-producer Deepak Rauniyar situates their partnership in Nepali cinema and the transnational circuits that increasingly shape production and reception. From early collaborations such as Highway (2012) and White Sun (2016) to the more recent Pooja, Sir (2024), they explore how caste, Madhesi marginalisation, colourism and linguistic hierarchy inform both narrative and form. In this wide-ranging discussion, Magrati and Rauniyar discuss ‘personal cinema’ as method and unpack directorial choices around genre, performance, multilingual dialogue, translation and colour grading, emphasising how power lives in speech, subtitling and the rendering of skin. The conversation also traces the political economy of film-making in Nepal – censorship and script approval, self-censorship, financing constraints, distribution gatekeeping and fragile infrastructure – offering a powerful account of aesthetic labour, negotiation and endurance. |
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