Arjun Tiwari

Narendra Mainali is a celebrated Nepali cinematographer known for his evocative visual storytelling and contributions to both mainstream and independent cinema. With a background in computer engineering, he transitioned into filmmaking through a deep passion for photography and motion pictures. Education & Training Mainali holds a Bachelor's degree in Motion Picture Photography from Oscar College of Film Studies, Tribhuvan University. He further honed his craft through international programs, including: Asian Film Academy (Busan International Film Festival, 2012) Berlinale Talents (Berlin Film Festival, 2013) VIEWFINDER: Masters in Cinematography (Erasmus+ program in Ireland, Hungary, and Estonia) He also studied at the Danish School of Media and Journalism and received mentorship from cinematic legends like Wong Kar Wai and Matthew Libatique (cinematographer of Black Swan). Career Highlights Mainali’s debut short film Bansulli (The Flute) was selected for the Venice International Film Festival, while The Contagious Apparitions of Dambarey Dendrite premiered at the Abu Dhabi Film Festival. His work spans over 18 films, including shorts and features, many of which have screened at prestigious festivals in Venice, Busan, Locarno, and Palm Springs.

Javed Shah is one of the foundational cinematographers of Nepali cinema’s classic era (1989–2004), known for shaping the visual language of action‑drama films through his signature gritty lighting, bold framing, and dynamic camera movement. His work spans more than 15 major feature films, making him one of the most respected technicians of his generation.

Pantu Naga is a Nepali cinematographer from 1980 to 1990 known for his basic visual style, natural lighting, and clear narrative framing. Active in feature films and regional productions, he brings emotional depth and visual discipline to his work.

Ram Shanker Pradhan is a highly respected Nepali cinematographer who contributed to the film industry for several decades with his refined visual style and technical mastery. He began his career at the former Royal Nepal Film Corporation and later traveled to Pune, India, where he completed a three‑year cinematography course. After returning to Nepal, he worked on documentaries before moving into feature films, quickly becoming known for his sensitive use of natural light, expressive framing, and storytelling‑driven camera movement.Pradhan enriched Nepali cinema through his cinematography in Chot, Manakamana, Tapasya, Milan, Sauta, Mahadevi, Naata, Shree Swasthani, Sannani, Cheli, Ragat, Chhoro, Pheri Timro Yaad Aayo, Lagan Gatho, Chakrabyuha, Pooja, Anmol, Karnaveer, Ajambari Naata, Parkhi Base, Jeevan‑Mrityu, Sundar Mero Naam, Man‑Mutu Ra Maya, Khushi, Preetiko Phool, Jyan Hajir Chha, Angalo Angaloma, Damini and many other films.He also shot over half a dozen Bhojpuri films, expanding his influence beyond Nepali cinema. His work remains admired for elevating the visual language of Nepali filmmaking and inspiring a new generation of cinematographers.