The slogan of the 'Nepal International Film Festival' (NIF), which has been organized for 9 years, is very sweet - a celebration of stories from all over the world, Nepal International Film Festival.

Ironically, despite singing the slogan of celebrating stories from all over the world, this festival has been failing to show the world's strong films every year. Despite gathering foreign language films in the name of international films, this festival has not yet been able to attract the films that have established themselves as the best in the world.

The festival does not seem to have attracted not only international but also national films. For example, in the 9th edition, 'Gunyocholo: The Dress' directed by director Samundra Bhatt won the 'National Film Award'. Director Bhatt won the Best Director award for this film, while Nazir Hussain's Polta won the Best Actor award for the actor.

Actress Suraksha Panta was declared the Best Actress for 'Koshedhunga'. This does not mean that these films were less competitive for this genre. However, after being called national, other Nepali films could also be included in this genre. For example, the festival does not seem to have attracted Naveen Subba's 'Gaun Vaiki Bato'. 'Gaun Vaiki Bato' is only representative. In particular, a festival that celebrates stories from around the world should 'celebrate' domestic films in the same way. Where should these filmmakers go to put their films in the festival?

Why was Subba's film, which premiered in Venice and was also included in the 'Bhaktapur Film Festival' held in Bhaktapur for the first time, not attracted to NIF? The fact that it is not possible to attract even national films that have toured world-renowned film festivals to the festival is also a question on the very existence of NIF. After all, why have films that have performed well at the box office and received good reviews from critics still not trusted by NIF? Or has NIF lost that dignity? A review seems necessary. This time, Deepak Rauniyar's 'Rajaganj: Pooja Sir' won the international award. It is not that national films cannot compete in the international category. But, since the powerful international films shown in Berlin, Cannes, and Venice could not be brought to the festival, whose fault will the result be? Therefore, it seems that NIF will now have to work hard not only in terms of titles but also in collecting international films. For example, 'Rajaganj' competed with the powerful films of the world in Venice. However, the results show that 'Rajaganj' has to compete with weak films on the domestic stage. In particular, in this category, it should have been made to compete by gathering films with powerful voices from the world. Is this the commentary that the hashtag 'Celebrating Narratives' is trying to capture? When will this genre, which has not even attracted national films, attract the attention of international filmmakers? It has become a matter of expectation.

Let's leave the international and return to the national. In fact, the festival is a celebration of films. It is a festival of different genres, talents and commentaries associated with films. However, it is still difficult to see a gathering of national artists in this festival. The gathering of stars other than artists who are sure to win awards is not seen in the festival. Such a festival should also attract Nepali stars. There are a lot of stars walking the red carpet at world-renowned festivals. Last year, famous stars from Oscar winner Bongjohn Ho to Kylie Jenner, Robert Pattinson, Timothy Dalton, Tilda Swinton and others walked the red carpet at the Berlin International Film Festival. This year too, many big stars were seen on the red carpet at the Berlinale. However, there seems to be a lack of that same red carpet to attract famous stars at Nepali film festivals.

In fact, there is a drought of vision here more than the red carpet. From Dayahang Rai to Miruna Magar, Anmol KC, Swastima Khadka and Bipin Karki, there is a lack of vision to see them all rushing to come to NIF. In fact, the presence of these artists is also a celebration for the festival.

This year, Indian director Ramesh Sippy became the central attraction of NIF. With his presence, 'Sholay' was the talk of the town at NIF. He arrived in Kathmandu from India for the festival. I had a long discussion with actor Rajesh Hamal about Sholay. How did 'Sholay' become iconic in the Indian film industry, wherever Ramesh goes, there is always a discussion. But, the question here is not only about his achievements and filmmaking. What did the participation of the Sholay director and his expertise and discussions give to Nepali film? Will his arrival become a bridge to connect Nepali film with the film industry of neighboring India? Or will this participation truly find an alternative to collaboration between Nepal and Indian film?

Surface debate - Lack of sensitivity

NIF organizes debates on different topics every year. This year too, it organized discussions on very important topics. The unwritten story of the first color film Kumari was a really necessary discussion. The cinema dialogue between Hamal and Sippy was special for filmmakers. Other topics were equally interesting and intriguing. But, it seemed like those debates were held just for the sake of it. What was the end of that? They did not create a debate in the film industry in any real sense. Such debates held in small groups do not touch the actual film production, exhibition and distribution aspects, which raises questions about the validity of those debates. In fact, debates should show the way to new options and solutions. The wave of debates held in a room should be heard in the relevant sectors and bodies. However, it seems like our debates were held to lengthen the program list. Why has work not been done on the Film Act for 56 years? If the strictness of censorship and the existing problems of the film industry were addressed, such debates would have attracted the attention of filmmakers. But, here neither the debate attracted attention nor did the debate create a debate! Looking at this year's NIF debate, it is clear that the film industry debate is on one side - NIF is on the other.

However, it seems that NIF is trying to make itself bigger by collaborating with Russian culture from this year. Russian Film Days under NIF was inaugurated at this festival. This kind of collaboration on the occasion of 70 years of Nepal-Russia relations is a positive aspect that the festival has started. Continuing this collaboration is also a challenge for NIF.

Not only Russians, but this year NIF started 'Sizang Panorama' in collaboration with China. Although this program was started as a special exhibition outside the competition, festival director KP Pathak seems to be unaware of it. Last year, when the Kathmandu International Film Festival 'KIMF' included 'Sizang Panorama' as an important program of the festival, many filmmakers opposed it. Especially Tibetans protested saying that this program should be removed from the festival. They ran a signature campaign.