Roshni Karki

Anita Giri is Freelancer Actress and fashion Model. She initially acted in a movie. She has done dozens of photo shoots, fashion shows and music videos.

Supuspa Bhatta is a talented Nepali actress known for her work in both films and television. Here are some highlights from her career: Ranveer (2019): This was Supuspa's debut film, where she played a significant role. Pitaambar: Another notable film in her career. Chapali Height 3 (2021): She has also been part of this upcoming movie. Television Serials: Supuspa has acted in TV serials like "Gahana" and "Abhiyan". In addition to her acting career, Supuspa has also been involved in dancing and other artistic endeavors. She made headlines when she got engaged to Raunak Bikram Kandel, a film producer.

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.