What Nepali cinema has changed—and what it hasn’t

The Film Development Board's 'Old Is Gold' exhibition in Nepal presents ten digitized classic films, inviting audiences to revisit cinematic history and observe societal evolution. Films like 'Aama' and 'Sindoor' offer more than just entertainment; they serve as time capsules, preserving fragments of everyday life, forgotten fashions, and past social values.

Dinesh DC, chairperson of the Film Development Board, views the exhibition as a vital way for institutions to honor their anniversary by reintroducing preserved history to the public. He emphasizes that the goal is not a dry history lesson but an engaging experience that sparks curiosity about Nepal's past. The technical advancements in filmmaking are evident, with modern cinema boasting quicker cuts and multiple camera angles compared to the often static shots and abrupt scene transitions of older films.

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An anniversary should not only mean cutting a cake and exchanging greetings. A good way for an institution to mark its anniversary is also by bringing the history it has preserved back before the public.

Audiences, particularly younger ones, responded enthusiastically to the musical numbers, which sometimes interrupted the narrative but generated strong reactions. Sumit, 37, brought his children to introduce them to older Nepali cinema, noting their enjoyment of the songs. This aligns with DC's aim to attract young people through enjoyment, encouraging them to question and understand the past.

Fashion provides an obvious marker of change, with women in older films often depicted in traditional attire, contrasting with contemporary styles influenced by global trends. Some romantic conventions now appear exaggerated, eliciting laughter from the audience during scenes of prolonged glances. However, these films were instrumental in establishing conventions that later Nepali cinema would adopt. Strikingly, the representation of women reveals continuities, such as in 'Aama,' where a wife endures abuse, reflecting the limited choices available to women in the depicted social context.

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I don’t want to call young people into the hall to give them a history lesson. I want them to come, watch the films, enjoy them and start asking themselves questions about what Nepal was like at the time.