Mina Shrestha

Sangam Bhandari (born 1971) is a Nepali film actor active since 1991, recognized for his steady contribution to Nepali cinema. He began his career with Pariwar (1991) and Sampati (1991), later appearing in Chatyang (1994), Jay Baba Pashupati Nath (1995), and Surakshya (1999). His performance in Muna Madan (2003) strengthened his presence in literary‑adapted films, and he continued his work with Jhingedau (2022), marking over three decades of involvement in the industry.

Ram Keshar Bogati was a Nepali film artist who began his acting career in the late 1990s and became known for his natural, grounded performance style. Active across social and dramatic cinema, he built a reputation for sincerity, discipline, and emotionally honest roles. Bogati passed away on October 9, 2018 (Tuesday) at the age of 58 after a tragic accident near his home in Tikathali. His contribution to Nepali cinema remains appreciated for its simplicity, authenticity, and dedication to the craft.

Rajendra Khadki is a noted Nepali actor and action director recognized for his influential contribution to commercial action cinema from the 1990s onward. Known for his disciplined stunt craft and energetic screen presence, he helped define the action style of his era through collaborations with leading stars and directors. Khadki worked both in front of the camera and behind it, choreographing memorable fight sequences that shaped mainstream Nepali filmmaking. His long career reflects dedication to physical storytelling, technical precision, and the evolution of action choreography, establishing him as a respected figure in Nepali film history.  

Bijayratna Tuladhar is a Nepali film director, chief assistant director, and respected film‑based journalist whose career spans more than three decades across cinema, media, and cultural documentation. Active since the early 1990s, he is known for his disciplined on‑set leadership, his contributions to classic Nepali films, and his award‑winning work in film journalism.He entered the Nepali film industry as a Chief Assistant Director, contributing to notable films such as Priyasi (1993), Rajamati (1996), and Pachhyauri (1997)—projects that helped shape the visual and narrative style of 1990s Nepali cinema. His early work established him as a reliable creative collaborator with strong command over production, continuity, and actor‑director coordination.Transitioning into direction, Tuladhar helmed Bir Ganeshman (2003) and Man Ko Tukra (2004), both of which reflected his interest in socially rooted storytelling and character‑driven drama. His directorial work is marked by clarity, cultural grounding, and a commitment to authentic Nepali narratives.Parallel to filmmaking, Bijayratna Tuladhar built a respected identity as a film‑based journalist, writing analytical pieces, industry reports, and cultural commentary that contributed to the documentation and critique of Nepali cinema. His journalism earned him major national honors, including the NFDC National Film Award (2071) – Best Journalism Award and the D‑cine Award (2066) – Film Journalism Prize, recognizing his influence beyond the screen.With a career that bridges filmmaking and journalism, Tuladhar stands as one of the few Nepali creatives who have contributed to cinema both from within the production floor and from the lens of critical media. His work continues to represent dedication, discipline, and long‑term service to Nepali film culture.