I came to Kathmandu some 20 years back from a small village in eastern Nepal. I was young and almost naïve back then. Living a life here in the city was different [to] my own village. I felt alienated, estranged and almost confused even though, like all other people who come to city from outside, I had a dream of my own. One Night in Kathmandu is a personal film for me.

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The Nepali titled Manahagar translates to a metropolitan city. Thus, while the English title specifies a place, which is the capital city of Kathmandu (where the film is set of course), the Nepali title is a bit more general in the sense that it can denote any city anywhere. I think the Nepali title is more encompassing, and bit more symbolic but also generic in the sense that the film is trying to speak about or portray, in general, about any city in the world. Probably, in some basic sense, all cities have some similar traits or aspects. Therefore, in some ways, the film is a story of every and all cities.

Kathmandu is the unit of space, but why one night as the specific unit of time?

[I]t is interesting that I consciously realized that the story is told in one night span only when it was pointed out to me by an audience. Of course, I knew it but it never quite occurred to me in a conscious way before an audience asked me this question. This probably also implies that I, at least, subconsciously thought that telling the story in one night was so integral or so natural (part of the storytelling) that it escaped my conscious thinking. But also, personally, I love night and I love life that can be witnessed during the night--it comes alive. Thus, I find night more interesting.

But another way of looking at it is, the different hours of the night runs parallel to the trajectory of the story: when the night starts, the two protagonists of the films are strangers to each other. But as the hours of the night progresses or in other words as the night deepens, their relationship with each other deepens. By the time it is morning, the female protagonist feels that some clarity has come about in her life. Thus, we can draw some parallel between the hours of the night and how the story progresses and ends.    

I did not feel that the unit of time or space constrained myself as a filmmaker. The challenge was to tell the story well within this given unit of time and space.

Could you share insights into the choices for locations/settings in the film.

I wanted to portray the various facets of the city in the film. Thus, the locations were also selected considering this. For example, locations that are bright and busy even during the night (that would show the affluence or arrogance of the city) but also places that showed the darker, seedier side of the city life were also chosen. Some locations were chosen to portray the meditative side of the city. Being in those places felt like the city itself is meditating--after the hustle and bustle during day time. Yet, other locations were chosen to isolate the city and keep it to a distance--from such locations the city looked beautiful but lonely and vulnerable at the same time.  

How did you pick the two main actors?

I actually wanted to work with new actors. However, we could not find suitable ones even after we tried our best. Then we decided to go for the most suitable actors from the already existing actors in the industry. The beauty of the story lied in the contrast, in the interplay of these two contrasting aspects of the characters. In hindsight, I feel, we could have done it better than what is in the film. Also, I think the male character represented the 'practical' side in a person while the female character represented the pure side, one who doesn't want to be corrupted and compromise even in the most difficult circumstances.

Can you say a bit more about the contrast between the two characters at the heart of the film.

[T]he two characters in the film are seemingly contrasting--one is outspoken, approaches people easily, and sees life through practical, worldly lens. The other is quite and stays silent most of the times--and importantly refuses to be corrupted by the ways of the city. I think it is this contradiction that makes the relationships or interactions between them tick and also carry it forward--though it seems the opposite at the first instance. For example, usually I speak less but like to listen, and maybe because of that I generally like person who is outspoken. If I were outspoken, and I meet someone with the same character or habit, then usually we are headed to a challenging or even comical moments. Or there would be many verbal exchanges but no communication, no connection. So in the film, it’s a bit like opposite poles attracting each other.

I think every person (living in the city) has this two sides or two characters within him or her. One side wants success, the glitter and glamour of the city at all costs and is ready even to corrupt one's soul for it. The other side wants to remain pure, uncorrupted even at the cost of being unsuccessful, inconspicuous, lonely. These two sides are at odds with each other and there is a constant struggle, push and pull.

This may or may not be related, but red (in details, the hat, scarves etc) is so recurrent. Whose decision was that and what was the symbol behind it?

That decision was made by me together with the art director. Some of the red colors we used for the female actor was to symbolize or imply that she has a love of life or rather passion for life, even if her character or circumstances of life try to keep it constrained. Perhaps it is this underlying love or passion for live that connects the two characters on a deeper level. So I am trying to tell that though the circumstances and characters of the two protagonists are different, there is something common in them (though seemingly it appears otherwise) deep down, and hence the use of red colors in both the actors. It is interesting that you have observed the use of red color in other places/characters. Even in the darkest of the circumstances, live should be lived and lived fully, with passion and love. It is a celebration of human existence.

Who was the art director and how did you get to work with them?

Bikash Panta was the art director of the film. Additional art direction was also done by Menuka Rai. I shared my vision and ideas about the story, characters and setting. I also worked closely with the Director of Photography, exploring locations, testing their visual elements such as texture, color, tone etc. We did not want to create much but use what was already available. So we chose locations that fitted to my vision so that the things already present in the locations would provide us the setting that we wanted for each scene. Thus, even though the story is set in one night, we have filmed in numerous locations. This was also possible because the characters were moving around the city throughout the night in the story.

What was the biggest take-away you learned while making what is your first ever feature film?

I come from documentary filmmaking background. So making writing and directing a feature length fiction film was a challenge and a learning experience for me. It helped me realize and shape further my working style and pattern, and my strengths and weakness as a filmmaker. I became convinced that I am a director on the set, and I bring out best results when I improvise. Thus, I need to team up with artists and crew who love to explore on the set. Werner Herzog said that the storyboard is the artifice of the cowardice. I would not say that but the storyboard has somewhat limited use for me as well.  

In what ways do you think your background in documentary influenced One Night in Kathmandu?

I learnt the basics of filmmaking from documentary filmmaking. Also, one learns to recognize genuine feelings and expressions--and characters and traits of people through documentary filmmaking and get a general idea of how people react or respond to certain situations. Things you shoot of the same people in the same real setting is quite different each time. This made me realize that filmmaking or at least the shooting is about getting many options or choices, and one is not better or worse than the other. It's just about what you want to choose and how you want to make it. Also, perhaps of my documentary background, I work in a very flexible way, I like to explore, to improvise a lot, and give a lot of space to the actors and even the crew. I don't go to the set with a fixed mindset.

Also, I noticed that the film was actually made in 2020, and was only released in 2023? Why is that?

Towards the end of the film, the female actor had an accident. It appeared a minor accident but it took quite a long time for her to heal. Thus, we had to wait quite a bit before we could complete the shooting. Also, the post production also took longer time than expected, also because some of the work, particularly related to audio and sound, had to be done in India. Then, the Covid pandemic set in where the film could not be screened and Nepali film industry was hit hard, or rather came to a halt.

Independent filmmaking is challenging in Nepal. There is very limited support from the government, whether in terms of making it, marketing, releasing or distributing it. Some independent films do get released in theatres in Nepal but they have to compete with Hollywood and Bollywood movies, and the exhibitors tend to favor these movies. Also, independent filmmakers find it challenging to raise funds for the publicity and marketing of the film. This is a stark contrast when compared with Hollywood and Bollywood movies, who have star casts and huge budget for publicity and marketing.

There is no policy in Nepal to provide positive discrimination to films made at home. Also, the taste of Nepali audience, in general, is for melodrama. Though there are audience for independent films, it is quite limited and not enough to sustain independent filmmaking. However, despite these challenges and constraints, Nepali independent filmmakers are doing a lot of good work currently.

Where is there available funding for filmmakers that want to start, build and complete a project?

There is some funding, but it is very limited, and hence not sufficient enough to make a difference or help filmmakers significantly. It's like a token. The state policy doesn't recognize the importance of film and doesn't provide the kind of robust support it requires--whether before the film is made or after it, for example in marketing and promotion. Also, it has failed to create an enabling environment for Nepali filmmakers. Mostly filmmakers are left on their own. Many Nepali independent filmmakers seek co-production support with funding sources in other countries, and have had varying degree of success in securing such funds.

What advice would you give to aspiring filmmakers who want to create independent films in Nepal and/or elsewhere?

Yes, it is very difficult, especially for independent filmmakers. However, films should definitely be made despite all odds. One has to be ready to go to any length to get the film one wants to make get made. As it is sometimes said, "films are not made but forcefully brought into existence."

Few things can help: One important thing is to support and take support of other filmmakers like oneself or in other words help each other. Take whatever little support is available from anywhere or anyone. Then independent filmmakers also need to learn the art of making films on tight budget, of course, without compromising the quality of the films. Also, one must be able to determine what kind of stories one can tell with the resource at one's disposal. Independent filmmakers cannot afford to tell all kinds of stories due to cost factor. But certain type of stories can be told well even with shoestring budget. They should be able to select such stories. And one must never forget, the story, what you want to say through the film is much more important than the kind or quality of camera or format you use.  

I’m curious about who the (Nepalese or non-Nepalese) filmmakers or other art-form makers that inspire you.

In Nepal, I think we are in the early stage, especially in terms of independent filmmaking. All of us are trying to tell stories, explore, with varying degree of successes. Regarding non-Nepali filmmakers, there are many to name. But to name just a few, I am a big fan of Satyajit Ray. I love the neo-realist films and also some of the French New Wave filmmakers.

What are you currently working on?

[A] documentary film about a form of theatre called Playback. We are in the editing phase of this project--the rough cut has been ready. This form was developed by Jonathan Fox and Jo Salas in the US (though many American would not have heard of this form) and is practiced across the world. The documentary chronicles the birth and evolution of this form, and delves into how Playback can touch the lives of ordinary people and connect them. I am also trying to write a new script for my next film [and] supporting [a] friend for his first feature film.