Ashok Nayak

(Film Editor • Colorist • Post‑Production Artist • Nepali Films & Music Videos) Suprim Parajuli is a Nepali film editor and colorist active in the industry since 2015, known for his growing body of work across feature films, short films, and high‑view Nepali music videos. He has contributed to more than 10 feature films as an assistant/primary editor and has built a strong reputation in the color department, especially through his work on critically rated films such as Pujar Sarki (2024) and Purna Bahadur Ko Sarangi (2024). Parajuli is also the editor of the upcoming feature film Kumari (2026) and has edited several popular music videos, including Salala Salala (2022) and Telephoneko Tower (2019). His post‑production style is defined by clean pacing, emotional rhythm, and polished color aesthetics that enhance narrative tone.

Sambhu Pradhan is a respected Nepali film director, editor, and actor whose work helped define the commercial era of Nepali cinema in the 1980s and 1990s. Emerging as a versatile creative figure, he built his career through disciplined craft in editing and gradually transitioned into directing films known for emotional storytelling, strong musical structure, and audience‑centered narratives. His directorial contributions include memorable Nepali classics such as Samjhana, Behuli, Sapana, Bishwas, and Santaan, works that established him as one of the influential filmmakers of his generation. Active across multiple disciplines—direction, editing, and acting—Pradhan’s career reflects a multi‑layered creative presence that shaped the visual and narrative style of mainstream Nepali cinema during its formative decades.

Tirtha Lal Shrestha is recognized as the first film editor of Nepali cinema, establishing his legacy with the landmark film ‘Man Ko Bandh,’ released on Falgun 7, 2030 BS, marking the beginning of credited film editing in Nepal. Working in the era of manual flatbed editing, he shaped the narrative rhythm, emotional tone, and cinematic structure of early Nepali films, earning the industry’s respect as the “second director” for his decisive role in transforming raw footage into cohesive storytelling. Shrestha edited notable films including Man Ko Bandh, Kumari, Ke Ghar Ke Dera, and dozens of other productions, contributing significantly to the foundation of Nepal’s post‑production craft and influencing generations of editors who followed.