When Purna Bahadur Ko Sarangi hit theaters on October 31, few expected this film with no established actors to become an all-time blockbuster in the Nepali box office. Telling the story of the Gandharva community, entrenched class divisions, and father-son relationship, the film deeply resonated with Nepali audiences, surpassing all expectations and achieving groundbreaking success.

Running successfully in theaters across the country, the movie has already collected an unprecedented Rs 400 million in the domestic box office. The movie is showing no signs of slowing down despite the arrival of new films in successive weeks since its release.

The film, which was released on just 56 screens on the day of Laxmi Puja, had a weak opening in the first two days. However, starting from the third day, viral TikTok videos of audiences moved to tears while watching the film took social media by storm. This surge in popularity drew massive crowds, and boosted occupancy rates and show counts. Screenings rapidly expanded from 200 to 300, then to 400, with showtimes ranging from 4:45 am to midnight selling out almost instantly. Purna Bahadur Ko Sarangi has emerged as the biggest Nepali blockbuster of all time, both domestically and internationally. It has broken records for daily earnings, show counts, and ticket sales, setting new benchmarks in Nepali cinema.

What makes the success of Purna Bahadur Ko Sarangi unprecedented is that it was released together with two big ticket Bollywood projects —Singham Again and Bhool Bhulaiyaa 3, while two big Nepali releases — Chhakka Panja 5 and 12 Gaun — were working wonders in the box office. As the film’s popularity surged, theater owners were compelled to cut screenings of Bollywood films. The impact was so profound that Nepali distributors, who usually screen Indian films in Nepali theaters, opted not to release the South Indian film Kanguwa during this period. The wave of Purna Bahadur Ko Sarangi was so dominant that even Bollywood struggled to secure a foothold in the market.

This Dashain-Tihar festive season has revealed new trends in the distribution and success of domestic films. Nepali movies like Purna Bahadur Ko Sarangi, Chhakka Panja 5, and 12 Gaun performed exceptionally well in areas traditionally dominated by Hindi films. For the first time, Nepali films have achieved widespread success nationwide at the domestic box office. Distributors and critics say that these films have penetrated new markets such as Nepalgunj, Dhangadhi, Biratnagar, Janakpur, Birgunj, Rajbiraj and Lahan. Historically dominated by Hindi and Bhojpuri cinema, these regions have now emerged as lucrative territories for Nepali films.

Festive Factor

The month-long Dashain-Tihar festival period has long been the coveted window for Nepali filmmakers, a time when the festive atmosphere draws larger audiences and filmmakers strategically launch their most anticipated projects. This year’s festive season, however, brought unexpected results.

Bollywood films have historically dominated the Tihar period. This year, however, Purna Bahadur Ko Sarangi seized the spotlight. Three other releases—Behuli from Meghauli, Chhakka Panja 5, and 12 Gaun—also competed for audience attention in this festive season. All of them achieved box office success, with Chhakka Panja 5 and 12 Gaun emerging as blockbusters.

12 Gaun, directed by Biraj Bhatta, set a new benchmark by grossing Rs 240-250 million, becoming the highest-grossing action film. Chhakka Panja 5, the fifth installment of the popular Chhakka Panja franchise of Deepak Raj Giri and Deepashree Niraula, collected Rs 200 million. Behuli from Meghauli and Jwai Saab grossed approximately Rs 40 million and Rs 20 million, respectively.

A Strong Year for Nepali Cinema

While these recent releases stole the limelight, the year 2081 BS so far has been memorable in terms of business for the Nepali film industry. The success story began in Baisakh with the releases of Manasara and Boksi Ko Ghar. Directed by Sulakshan Bharti, Boksi Ko Ghar earned over Rs 100 million, while Upendra Subba’s Manasara grossed around Rs 45 million. In Jestha, Gaun Aayeko Baato, directed by Nabin Subba, brought in Rs 30 million, while Dinesh Raut’s Pujaar Sarki amassed Rs 100 million.

Likewise, Gharjwai, released in late Asadh, earned Rs 40 million, and Min Bahadur Bham’s critically acclaimed art film Shambhala, which premiered in Bhadra, collected Rs 40 million. Khusma and Behuli from Meghauli also achieved impressive earnings of Rs 60 million and Rs 40 million, respectively.

The Sustainability of Nepali Cinema's Boom

Nepali cinema is experiencing a significant upswing, but the critical question is: how can this growth be sustained? Filmmakers agree that consistency in quality and authenticity in storytelling are essential to ensuring that Nepali cinema does not fade but continues to thrive.

Industry people say adaptability is the key to sustainability of this boom. As audience tastes evolve, the Nepali film industry must embrace new genres, explore untold stories and maintain a commitment to quality over quantity. Balancing creative expression with financial stability will be key to fostering sustainable growth, they say.

After years of struggle, the recent success has generated optimism within the industry. However, some caution that this might be a temporary phenomenon. A successful season, such as Dashain-Tihar, does not guarantee a sustained boom. To make real progress, the industry must prioritise strong content over mere timing. Producers and industry insiders agree that maintaining this momentum will require a strong focus on content.

While blockbusters like Purna Bahadur Ko Sarangi have set new records, the road ahead is unpredictable. Recent success stories include films with modest expectations becoming hits, while some big ticket releases have disappointed. This highlights the need to prioritise substance over brand appeal. Scriptwriter Samipya Timalsena says the emergence of new actors, notably from Madhesi and Janajati backgrounds, has injected fresh energy and a newfound sense of representation into the industry. “New actors trained in theater have begun to gain visibility,” Timalsena said, highlighting the emergence of talents like Dayahang Rai, Bijaya Baral and Najir Hussain. This inclusivity, embraced by both audiences and filmmakers, has not only enriched storytelling but also broadened the scope of Nepali cinema, which now captures a fuller spectrum of society's experiences and perspectives.

Prachanda Man Shrestha, a director, believes that this diversity has been a catalyst for success. “Content is key to a film’s success, as audiences need to connect with it,” he said. Shrestha credits films like Chakka Panja and Loot for igniting the trend, which now sees Nepali films claiming up to 50-60% of theater revenue — a far cry from the days when they contributed a mere 20%. He, however, pointed out that Bollywood and Hollywood films still dominate the Nepali entertainment scene. Kathmandu, with its cosmopolitan taste, favors all three film types, while Hindi language films dominate in regions like Madhesh. Nepali films reign supreme in hilly districts, reflecting the diversity of the market itself.

While local films have thrived in 2024 with hits like Chakka Panja, 12 Gaun, and Purna Bahadur Ko Sarangi, Nakim Uddin, co-founder of QFX Cinemas, warns of a critical barrier - a shortage of cinema halls. “When QFX first entered the market, Nepal had around 450 theaters. Today, that number has dwindled to about 150,” Uddin explained. “Although box office earnings have surged, the lack of sufficient theater infrastructure threatens to stifle growth of the industry.”

Adding to the challenge is the need for government support. Despite the industry’s pleas for tax relief to help sustain and expand theaters, the government has been reluctant, fearing a shift in focus towards international films. Yet, as Timalsena and Shrestha agree, the potential of Nepali cinema lies in maintaining its local voice and broadening its reach.

“Nepali cinema holds promise,” Timalsena said.

But it is clear that unlocking this potential will require both strategic support and an expanding stage.

(This report was originally publihsed in December 2024 issue of New Business Age Magazine.)