Nepal's Film Development Board Accused of Mismanaging Cannes Stall, Favoring Select Films

OnlineKhabar English reports on a brewing controversy surrounding Nepal's participation at the prestigious Cannes Film Festival. The Nepali Film Development Board (FDB) and the Tourism Board's official stall has become the center of criticism from filmmakers who feel their work, particularly those in the official selection, has been sidelined.

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The Cannes stall should have been used as an opportunity to put Nepal on the world film map, but that has not happened.

Director Deepak Rauniyar voiced his strong dissatisfaction, pointing out the absence of posters for 'Elephant in the Fog,' a Nepali film officially selected for the festival, at the FDB's stall. He argued that the stall should have served as a platform to elevate Nepali cinema on the global stage, a potential that he believes has been squandered. His sentiments were echoed by other film professionals, adding weight to the accusations of mismanagement and a lack of proper representation.

Adding fuel to the fire, photos emerged of director Pradeep Shahi and actor Pradeep Khadka prominently displaying posters for their film 'Eklo' at the stall. This has raised serious concerns about conflicts of interest, especially since Dinesh DC, the Executive Chairperson of the FDB, is also involved with 'Eklo.' The FDB's response, a press release stating that filmmakers were invited to submit materials and that they had prioritized 'Elephant in the Fog,' has done little to quell the discontent. The board cited logistical challenges in managing the stall, which was reportedly handled by a Nepal-based UK company, Shy Productions.

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Issuing a public notice and asking filmmakers to submit their own materials was neither practical nor respectful.

From a Nepali perspective, this situation is deeply disappointing. Cannes is a golden opportunity to showcase the burgeoning talent and diverse stories emerging from Nepal. The fact that this platform might have been used for personal or preferential promotion, rather than a unified national effort, is a missed opportunity. We expect our national bodies to act with integrity and transparency, ensuring that all Nepali films, especially those recognized by international festivals, receive due recognition. This controversy underscores the need for better coordination and a more inclusive approach to promoting Nepali cinema abroad, ensuring that the entire industry, not just a select few, benefits from such high-profile international events.

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This was the first time an official stall had been set up in collaboration with the Tourism Board, and that the stall’s local management was being handled by a Nepal-based UK company called Shy Productions.