Hira Singh Khatri

Arun Regmi is a Nepali actor and film professional active since 1996, known for his long-standing contribution to Nepali cinema through both acting and production work. As an actor, he has appeared in notable films such as Darpan Chhaya (2000), Bato Muniko Phul (2010), Rhythm (2013), Zhigrana (2015), Resham Filili (2015), Bhairav (2015), and Rajja Rani (2018), establishing himself as a familiar on‑screen presence across commercial and dramatic genres. Alongside acting, he has built a respected parallel career as a production manager, contributing to major films including Kagbeni, Rato Tika Nidharma, Hajar Juni Samma, Yatra, Rudrapriya, How Funny, and Sungava, earning industry recognition including the Gopikrishna National Film Award for Best Production Manager. Known for his reliability, discipline, and deep understanding of filmmaking logistics, Arun Regmi remains an important figure in Nepali cinema, balancing performance and production with equal professionalism.

Manju Kumar Shrestha is a Nepali cinematographer who played an important role in the early technical development of Nepal’s film industry. In 2029 B.S., he joined the Royal Nepal Film Corporation (then known as Shahi Nepali Chalchitra Sansthan).In 2030 B.S., he worked as a film photographer for the corporation’s first production, Man Ko Bandh. At that time, most technical experts in Nepali filmmaking—such as directors, cameramen, and lighting technicians—had to be brought from India due to the lack of local professionals.During the shooting of Man Ko Bandh, the Indian cinematographer fell ill, and Shrestha stepped in to operate the camera himself. Although he carried out much of the filming, he was credited only as an assistant cameraman when the film was released. This experience marked the beginning of his career as a cinematographer.He later went on to shoot many Nepali films, including Kumari, recognized as Nepal’s first color film, and Jeevan Rekha. Over the course of his career, Manju Kumar Shrestha has worked as a cinematographer on more than 70 films, making a significant contribution to the growth and technical progress of Nepali cinema.

Sushil Baniya is a Nepali camera person working in television and media production, recognized for his behind‑the‑lens contribution to studio and field‑based shoots. His work focuses on multi‑camera setups, reality‑show coverage, and broadcast‑ready visual capture. Known for steady technical execution and reliable on‑set coordination, he supports directors and editors by delivering clean, consistent footage that strengthens the overall visual narrative of each production.