Kathmandu. The year 2082 has brought the direction, challenges and possibilities of Nepali films to the surface at once. In terms of viewership, earnings, genre, investment, this year looked like a year of transition. The audience is with us, but it seems that there is work to be done to draw them to the hall.

During this period, films like ‘Paraan’, ‘Aabat Aama’, ‘Jerry on Top’ and ‘Unko Sweeter’ did more than 10 crores. The star cast, publicity and release scale were strong in this film. Not only investment, but also significant profit. ‘Zaari 2’, ‘Balidan’, ‘Mohar’ and ‘Hari Bahadur Ko Jotaka’ established themselves as mid-range hits with a business of 4 to 6 crores.

In 2082, domestic films earned 1.8 billion rupees, while international films did more than 1.11 billion rupees. In terms of viewership, Nepali films were ahead. About 37 lakh more tickets have been sold in Nepali films. About 33 million viewers have reached the international film. Together, the total number of viewers has exceeded 71 million.

This gives an important indication – the audience is coming to theaters for Nepali films, but they are spending on international films. Now the preferences of the audience have changed – they are not only looking for a story, but an experience. Experience with large scale, visual, sound and overall presentation.

If we compare with the year 2081, the picture becomes clearer. Last year, the earnings of Nepali films reached 1.80 billion rupees, which decreased to 1.8 billion rupees in 2082. Although there is a drop of about 40 percent, the overall income is over 1 billion. Because, in the year 2081, ‘Poorna Bahadur’s fiddle’ alone earned nearly 500 million Nehru.

Now that space seems to be occupied by international films to some extent. The main reason for the decline is not only the weakness of content, but also the gap between scale and presentation. International films are being presented as ‘Event Cinema’. Films like ‘Kantara’, ‘Dhurandhar’, ‘Avatar’ not only drew the audience to the halls but also made them ready to pay high ticket prices. Although Nepali films are strong in story, they are lagging behind in marketing, presentation and release strategy.

The market of 2082 also gives another indication – the current industry is becoming ‘blockbuster-driven’. Only a few films have earned big while many films are limited to low collections. While films like ‘Paran’, ‘Aabat Aama’, ‘Jerry on Top’ have grossed more than 10 crores, many films have not even touched 10 crores. This means that the space of the average film in the market is getting smaller.

There is a clear trend in terms of investment. Medium budget films are now seen as safe. Such films have not only recovered the cost but also given some profit. High budget films have made profits possible with huge risks. The market seems tough for small budget films. Many films are unable to reach the audience.

This has forced investors to change their thinking. In the year 2081, where there was enthusiasm to invest heavily, in the year 2082, there is an emphasis on content and a target market strategy. It has started to feel that the focus is on planning and presentation, not on the investment amount.

A clear trend is also seen in terms of gender. A lot of money has been made by action and franchise films. Audiences are attracted to large scale and franchise stories. Comedies and family films have become safe genres that give stable income in medium budget. Although the ‘romantic drama’ is popular among the youth, its success seems to depend on the songs, performances and emotional depth.

Films based on folk-culture and mythology have shown new possibilities and if presented in the right way, such films can make a big impact.

Now the path is clear for Nepali films – either make an ‘event film’ on a large scale, or strengthen a comedy-family film that clearly entertains, or present a strong story with a modern presentation.

The audience’s taste has clearly changed. Now the audience does not go to the hall to see the star. The star gives the opening, but only the content sustains the film. Social media and word-of-mouth publicity have played a major role in today’s business. It seems that the film which received a good response has gradually increased its business.

Overall, the film market of 2082 has given a clear message to the Nepali industry. There is an audience, but you have to make a film of a level that can attract them and make them spend. Not just a story, creating a whole experience is the need of the moment.

Looking at the data, now the path is clear for Nepali films – either make an ‘event film’ on a large scale, or strengthen the comedy-family film that gives clear entertainment, or present a strong story with a modern presentation.

The year 2081 showed that Nepali films can win the market. 2082 has taught us that quality, scale and strategy are essential to maintain that victory. Now the competition is not between films, but between experiences. The film which can give that experience to the audience will win the market.

Year 2083: Changing tastes and pressures

The year 2083 is sure to be important for Nepali films. The audience’s taste, the increasing influence of international films and the changing strategy of investment have already indicated the audience psychology and the market for the coming years. Question- Can Nepali films understand and adopt this sign in time?

Let’s talk about audience interest first. According to the latest statistics, the audience no longer goes to the theater just to watch the story, they go to experience it. Films that feel different when viewed on the big screen – films with visuals, sound, scale and energy have become a priority these days. This indicates that even in 2083, the trend of ‘event film’ will be stronger.

This does not mean that there is no place for small films. Comedy and family entertainment has always been a safe genre in the Nepali market. Films with relatable stories, light humor and family feeling are likely to do steady business in the coming year as well. The demand for such films may increase especially during festivals.

In the case of romantic films, the expectations of the audience have changed. An old fashioned love story is no longer enough. Without modern relationships, realistic dialogues and strong music, a film like this seems hard to make an impact. It seems that presentation and tone will be very important in a film targeted at the youth.

The area with the greatest potential for 2083 is folklore and mythology. It has been proven that local stories can have global impact in the international market. This opportunity is even greater for a country with a diverse cultural background like Nepal. If such stories can be presented with modern presentation and technical quality, Nepali films can compete at the international level.

The influence of international films seems to be even deeper in 2083. With big budget, technical excellence and brand power, such films are likely to further strengthen their presence in the Nepali market. The competition for screen distribution and show time in multiplex halls will be more intense. This will give more challenges to Nepali films – especially in release strategy and marketing.

This impact is not only a challenge, but also a learning opportunity. The presentation, pace and dialogue with the audience shown by international films can be a guide for Nepali films. Now it seems that Nepali films should focus on quality and experience rather than thinking that it is a small market.

In terms of investment, a clear strategy will be seen in 2083. Producers now seem forced to choose one of two paths – either make a safe, content-driven film on a medium budget, or make an ‘event film’ with risks on a grand scale. There is less and less space in the market for films made in the vague middle model.

Audience behavior will also be more clear in 2083. Now they don’t watch movies by looking at stars. There is a growing tendency to make decisions based on social media, trailers, songs and initial reactions. Word-of-mouth publicity will become more decisive. A film with good response will last for a long time, a film with poor response will disappear soon.

Overall, 2083 seems to be a year of quality and strategy for Nepali films. There is an audience, but the old ways are no longer enough to attract them. Films that can give a great experience, are based on a clear genre and connect with the audience will be successful. Ultimately, next year’s market conveys a simple but profound message – the competition will no longer be between films, but between experiences. If the film can give that experience, that film will win the 2083 market.