Bashana Timilsina

Peshla Katwal is a Nepali film actress who entered the industry with Prem Vivah (2011), while her first released film is Dulahi Rani (2012). Drawn to acting purely out of personal passion, she continued her journey with selected film projects and a handful of music videos. She completed the shooting of Play Girl and later worked on Thank You, after which her on‑screen activity gradually slowed down.Although she has not been consistently active in recent years, Peshla remains a name associated with early‑2010s Nepali cinema, and she may return to the screen in the future depending on the right opportunities.

Prashamsha Rayamajhi is a talented artist who has made her mark in the modeling industry. Let's explore some of her work: “Malai Pani - Yo Raat Ko Jun Ma” (Official Music Video): In this song, Prashamsha collaborates with Preezol Nepali. The track delves into feelings of dissatisfaction with one's possessions or situation. It portrays the struggle when you feel suffocated and anxious, like being tangled in an imaginary string. The video captures these emotions beautifully. You can watch it on YouTube. “Hasideu” (Official Video): Prashamsha also features in the official video for “Hasideu” by Ghongbaa. The song reflects on life's learning experiences and the motivation we find in the people around us. Check out the video on YouTube. Apart from this she has acted in many music videos and many video and paper advertisements. She is also a brand ambassador in some corporate companies. The talented Prashansha, who is also the president of Ghongbaa Films, as soon as possible on the movie screen, best wishes!

Shrisha Karki (1978–13 October 2002) was a Nepali actress and model whose brief but impactful career left a lasting imprint on Nepali cinema. Active from 1997 to 2002, she appeared in nearly twenty films, including Yo Mayale Launa Satayo (1997), Allare (1997), Aafno Birano (1998), Zameen (1998), Anshabanda (1998), Gham Chhaya (1998), Maya Baiguni (2000), Aawara (2000), Beimani (2001), Maya Garchhu Ma (2001), Kaidi (2001), Dharti (2001), Malati (2001), Aatankabadi (2002), and the posthumous releases Sukha Dukha (2002) and Bacha Bandhan (2004). Known for her expressive presence and natural screen appeal, she represented the emerging generation of late‑1990s Nepali actresses transitioning into more contemporary, youth‑focused storytelling. Her career was cut short when she died by suicide on 13 October 2002 in Kathmandu, an event that triggered nationwide outrage and became one of the most defining media‑ethics crises in Nepali film history. Her death followed the publication of a nude photograph in the tabloid Jana Aastha, which sparked widespread protests by actors, directors, and the public, who condemned the incident as an example of yellow journalism and demanded accountability. Major outlets including the BBC reported on the case, documenting her family’s claims of blackmail and the film industry’s collective call for justice. The controversy ignited long‑term debates about press responsibility, exploitation, and the vulnerability of women in the entertainment sector. Despite the sensationalism surrounding her final days, Shrisha Karki is remembered within Nepali cinema as a talented young actress whose potential was never fully realized. Her filmography continues to be referenced as part of the transitional era of Nepali filmmaking, and her story remains a pivotal reminder of the need for ethical media practices and the protection of artists’ dignity.