Manoj Pandit

Milan Chams, also known as Milan Chamling Rai, is a prominent Nepali film director and producer. Born on March 20, 1980, in Kathmandu, Nepal, he has made significant contributions to the Nepali film industry. Milan Chams is known for his work on films such as "Bir Bikram", "Lily Bily", and "Blind Rocks". He has received numerous awards, including the National Film Award for Best Director for "Blind Rocks" in 2018. Milan Chams began his career as a music video director, directing over 200 music videos before transitioning to films. He is also recognized for popularizing the trend of shooting Nepali films overseas, with scenes shot in countries like Norway, Turkey, the UK, Romania, and Azerbaijan.

Kedar Prasad Ghimire is a Nepalese comedian, actor, scriptwriter and filmproducer known for his work in Nepali entertainment industry . He is widely famous and commonly known as Magne Budo from his hit TV Show, Meri Bassai. He plays a role of Magne Budho and he is popular with his dialogue "Ahile latta le diyera bari ko pata ma purydinchu" which literally means "with one kick I will throw you on the edge of field".

Marichman Shrestha, widely known by his iconic character “Balchi Dhurbe,” is a Nepali actor, writer, director, and producer celebrated for his sharp comedic style and socially rooted storytelling. He rose to national fame through the hit television series “Meri Bassai,” where his character became a cultural phenomenon. Expanding his creative journey, Shrestha has worked across television, stage, and digital platforms as a scriptwriter and director, blending humor with social commentary. He is also the producer and lead actor of the feature film “Gobar Ganesh” (2026), marking a significant milestone in his cinematic career

D.B Pariyar was a pioneering Nepali filmmaker best known for directing, writing, and shaping Satya Harischandra (1950), widely regarded as the first Nepali‑language feature film. Working from India during the early diaspora era of Nepali cinema, Pariyar helped establish the narrative, technical, and cultural foundations that later filmmakers would build upon. His contribution marked a defining moment in the transition from stage traditions to cinematic storytelling for Nepali audiences. Though historical documentation remains limited, Pariyar’s role as director, scriptwriter, and story creator positions him as one of the earliest architects of Nepali film history