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Shreedhar Khanal was a Nepali film personality associated with the early development of Nepali cinema. He is best remembered for his involvement in the 1968 Nepali film 'Hijo Aaja Bholi', where he contributed as one of the key creative figures in the production.Khanal belonged to the generation of artists and technicians who worked during the formative years of Nepal’s film industry. At a time when filmmaking resources and infrastructure were limited, he played a role in helping establish socially themed cinema that reflected Nepali culture, traditions, and changing social values.Although detailed documentation about his life and career is limited, Shreedhar Khanal is remembered as one of the early contributors who helped shape the foundation of Nepali filmmaking during the 1960s.

Indra Lal Shrestha was an actor associated with early Nepali cinema during the formative years of the country’s film industry. He appeared in several classic Nepali films and is remembered for his contributions to the development of acting in Nepali movies during the 1960s and 1970s.One of the films connected with his name is Hijo Aaja Bholi, a social drama that portrayed the transition of Nepali society from traditional values to modern ideas. Through such films, Indra Lal Shrestha helped bring realistic characters and social themes to the screen at a time when Nepali cinema was still in its early stage.Although detailed records about his personal life and full filmography are limited, Indra Lal Shrestha remains part of the generation of pioneers who contributed to the growth of Nepal’s early motion picture industry.

Rita Thapa is an actress from the movie- Parivartan (1971). She was a Nepali film personality associated with the early development of Nepali cinema. Although detailed documentation about her life and career is limited, she is remembered as one of the early contributors who helped shape the foundation of Nepali filmmaking in the 1970s.

Yagya Nath Ghimire is an actor from the Movie- Parivartan (1971). He was a Nepali film personality associated with the early development of Nepali cinema. Although detailed documentation about her life and career is limited, he is remembered as one of the early contributors who helped shape the foundation of Nepali filmmaking in the 1970s.

Harish Pathare, who worked as a film editor on Parivartan (1971), is a Nepali film personality associated with the early development of Nepali cinema. Although detailed documentation about his life and career is limited, we always remember him with respect as one of the early contributors who helped shape the foundation of Nepali filmmaking in the 1970s.

Tank Sharma acted in the role of hero in the film 'Paral Ko Agao'. He is a Nepali film personality associated with the early development of Nepali cinema. Although detailed documentation about his life and career is limited, we always remember him with respect as one of the early contributors who helped shape the foundation of Nepali filmmaking in the 1975s.

Indra Thapaliya is a Nepali lyricist known for his contribution to Nepali film and modern songs. He wrote lyrics for several songs during the earlier decades of Nepali cinema, helping shape the poetic style of film music at the time.Thapaliya’s lyrics often reflected emotion, romance, and social themes, blending literary expression with the musical traditions of Nepali songs. Through his work, he collaborated with composers and singers in the Nepali film industry and contributed to the development of Nepali film music.He is also recognized for writing songs for classic Nepali films such as Paral Ko Aago, where his lyrical work supported the film’s emotional and social storytelling.Although not widely documented compared to some other lyricists, Indra Thapaliya remains part of the generation of writers who helped build the foundation of Nepali cinematic songwriting.

Man Bahadur Mukhiya was a Nepali lyricist who contributed to Nepali film music during the early development of the country’s cinema industry. He wrote lyrics for several Nepali film songs, helping shape the poetic and emotional style of film music of that era.Mukhiya’s lyrics often reflected social feelings, romance, and the realities of rural life, which were common themes in Nepali films of the 1970s. His work is associated with classic Nepali cinema, including songs from films such as Paral Ko Aago.Although detailed historical records about his life and career are limited, Man Bahadur Mukhiya is remembered as one of the lyricists who contributed to the growth of Nepali film songwriting in its early period.

Salyan K.C. was a Nepali film actor who appeared in some of the early productions of the Nepali film industry. He is known for his roles in films produced during the formative years of Nepal’s state-supported cinema.He played a leading role in Man Ko Bandh, the first film produced by the Royal Nepal Film Corporation, where he starred opposite Sushma Shahi.Salyan K.C. was also associated with the film Kumari, directed by Prem Bahadur Basnet. Through these early films, he became part of the generation of actors who helped shape the beginnings of Nepali cinema.Although detailed documentation about his full filmography is limited, Salyan K.C. remains recognized as one of the actors who contributed to the early development of Nepal’s film industry. 

Rakesh Pandey (9 April 1940 – 21 March 2025) was a veteran Indian actor whose long and versatile career spanned Hindi cinema, Nepali Cinema, Bhojpuri films, and television. He trained at the Film and Television Institute of India (FTII), Pune, and began his film journey with the acclaimed Basu Chatterjee drama Sara Akash in 1969, for which he won early praise. Pandey appeared in numerous Hindi films across decades, including roles in Mera Rakshak, Yehi Hai Zindagi, Dil Chahta Hai, Devdas, Indian, and Black. He was also a major figure in Bhojpuri cinema, starring in hits such as Balam Pardesia and Bhaiya Dooj. On television, he appeared in series like Chotti Bahu and Dehleez. In Bansuri (1981), Pandey played a leading role in this early Nepali film directed by Tulsi Ghimire, helping bridge his work into wider South Asian cinema. Pandey passed away in Mumbai in 2025 due to cardiac arrest, leaving behind a legacy of rich and varied performances across film industries. 

In Bansuri (1981), Rajani Sharma played a leading role in this early Nepali film directed by Tulsi Ghimire, helping bridge his work into wider South Asian cinema. 

Banni Pradhan is a Nepali film actress and artist known for her work in classic Nepali cinema and as a director/producer in later years. She appeared in several films, including the 1981 drama Bansuri, where she was part of the main cast alongside actors like Rakesh Pandey and Rajani Sharma. Beyond acting, Banni Pradhan has been involved in filmmaking behind the camera — directing and producing Nepali films such as Priyatama (2006), Bhai Bhai (2005), Timi Nai Baseu Mero Manma (2000), and others. (thefilmnepal.com)Her career reflects both performance and creative contributions to Nepali cinema, spanning from acting roles in earlier decades to directing projects in the later years. 

Anil Shrivastava is a cinematographer known for his work in Nepali cinema, most notably for the 1981 family drama Bansuri. He was responsible for the film’s visual composition, framing, and camera work, contributing significantly to the storytelling and emotional impact of the movie. While detailed information about his broader career is limited, Shrivastava’s work on Bansuri highlights his role in shaping early Nepali film aesthetics. His contributions reflect the technical and artistic efforts of cinematographers in Nepal during the 1980s, helping to establish visual standards for narrative films in the country. 

Gita Bhitrikothi is a Nepali film actress best known for her role in the classic Nepali movie Bachna Chahaneharu (1982). As one of the primary cast members of this landmark social drama, she contributed to a film remembered for its emotional depth, strong ensemble performances, and portrayal of everyday Nepali life. Though Bachna Chahaneharu remains her only officially documented screen credit, her presence in the film reflects the era’s emerging talent and the collaborative spirit of early Nepali cinema. Gita Bhitrikothi is recognized today as part of the cast that helped shape one of the memorable works of Nepal’s old film tradition.

Hem Lama was a Nepali film producer and director known for his involvement in the film Aadarsha Nari (1984). Originally a Nepali from Burma (Myanmar), he later moved to Nepal and established a business called Universal Packers Movers, a packing and moving company. Alongside his entrepreneurial work, Lama developed a strong interest in filmmaking. With the support of his brothers Manoj Pakhrin and B.P. Pakhrin, he wrote the story, screenplay, and dialogues for Aadarsha Nari and produced the film through Hem’s Experimental Movies Production. His work represents one of the independent filmmaking efforts in Nepal during the 1980s. 

 Punam Lamawas associated as an associate artist in the Nepali film Aadarsha Nari (1984). Although detailed information about her life and career is not widely available, her participation reflects the involvement of emerging performers in the early years of Nepal’s film industry. Despite the limited records, Punam Lama’s contribution to Aadarsha Nari remains a part of the history of early Nepali cinema and is remembered with respect for her role in that period. 

 Ramsharan Basnet was associated as an associate artist in the Nepali film Aadarsha Nari (1984). Although detailed information about his life and career is not widely available, his participation reflects the involvement of emerging performers in the early years of Nepal’s film industry. Despite the limited records,  Ramsharan Basnet’s contribution to Aadarsha Nari remains a part of the history of early Nepali cinema and is remembered with respect for her role in that period. 

Manohar Bhandari was associated as an associate artist in the Nepali film Aadarsha Nari (1984). Although detailed information about his life and career is not widely available, his participation reflects the involvement of emerging performers in the early years of Nepal’s film industry. Despite the limited records,  Bhandari’s contribution to Aadarsha Nari remains a part of the history of early Nepali cinema and is remembered with respect for her role in that period. 

Sarad Thapaliya was associated as an associate actor in the Nepali film Aadarsha Nari (1984). Although detailed information about his life and acting career is not widely available, his participation represents the contribution of supporting artists in the early years of Nepal’s film industry. Despite the limited historical records, Sarad Thapaliya’s involvement in Aadarsha Nari remains part of the legacy of early Nepali cinema and is remembered with respect. 

Rara Karki was associated with the Nepali film Aadarsha Nari (1984) as an associate artist. Very little documented information about his life and career is publicly available. However, his participation in the film reflects the involvement of supporting performers who contributed to the growth of Nepal’s film industry during its early years. Despite limited records, Rara Karki’s role in Aadarsha Nari remains part of the history of early Nepali cinema and is remembered with appreciation. 

Manoj Lama was a lyricist associated with the Nepali film Aadarsha Nari (1984), for which he contributed song lyrics. Detailed information about his life and broader musical career is not widely documented. However, his lyrical contribution to the film reflects the creative efforts of writers who supported the development of Nepali cinema during its early years. Despite limited records, Manoj Lama’s work in Aadarsha Nari remains a valued part of the film’s musical and cultural legacy. 

Deepak Das is a cinematographer who worked in Nepali cinema during the 1980s. He is best known for his work as the director of photography for the Nepali film Masaal (1985), directed by Pratap Subba.Although detailed biographical information about his life and career remains limited in public records, Deepak Das contributed to the visual storytelling of early Nepali films through his work behind the camera. His cinematography in Masaal reflects the technical efforts of filmmakers who helped shape the visual style of Nepali cinema during its developing years in the 1980s. Despite scarce documentation, his work remains part of the historical record of Nepali film production.

Gangadhar Naskar is a Editor who worked in Nepali cinema during the 1980s. He is best known for his work as the film Editor for the Nepali film Masaal (1985), directed by Pratap Subba.

Gangadhar Naskar is a Sound Designer who worked in Nepali cinema during the 1980s. He is best known for his work as the film Sound Designer for the Nepali film Masaal (1985), directed by Pratap Subba.

Anjan Das is a name shared by two notable South Asian filmmakers:Anjan Das (Nepal) — a Nepali film director and cinematographer best known for the 1985 feature film Arko Janma, where he served as both director and DOP. His work represents the mid‑era evolution of Nepali cinema, emphasizing grounded visuals and character‑driven storytelling.Anjan Das (India) — an acclaimed Indian art‑house filmmaker associated with Bengali parallel cinema, known for internationally recognized films such as Saanjhbatir Rupkathara, Faltu, and Achin Pakhi. His work has been screened at global festivals and is known for poetic realism.

Ranjan Pandey, Sound Designer

Pema Lama, Playback Singer

Prakash Kovid, story

Kiran Thakuri, ScreenPlay

Gagan Lepcha is a veteran Nepali choreographer known for his influential work in 1980s and 1990s Nepali cinema, contributing to films such as Arko Janma (1985) and other mid‑era productions. Recognized for blending classical Nepali movement with contemporary film choreography, he helped shape the visual rhythm of early commercial Nepali films. His work is noted for clean formations, expressive storytelling through dance, and strong collaboration with directors and music directors of the era. 

Action Director

associate artist of nepali FIlm 

associate artist of nepali FIlm

associate artist of nepali FIlm Industry 

associate artist of nepali FIlm Industry.

 Sen

Rai

Mahendra Moktan (1985) is the actor of the film Jar.

Babita Gurung (1985) is the actor of the film Jar.

Devika Moktan (1985) is the actor of the film Jar.

Pradip Rimal was a pioneering Nepali film director, lyricist, folklorist, and cultural researcher whose career helped shape the foundation of modern Nepali cinema. Born in 1994 BS in Lubhu, Lalitpur, he began as a folk‑song collector and playback singer before entering films. After working as an assistant director in Maitighar, he directed acclaimed films such as Ke Ghar Ke Dera, Manako Baadh, Kumari, Sindoor, Maya, and the Nepal Bhasa classic Shilu.Rimal also acted in the popular 2025 BS film Hijoo Aaja Bholi and contributed lyrics to many beloved songs, including “Kasturi Hey Baas Aauchha Bhancha” and “Yo Barshama Chhodi Malai,” sung by Narayan Gopal. His folk‑culture book on Karnali Lok Sanskriti earned him the prestigious Madan Puraskar in 2027 BS. A versatile creator, he also wrote and directed several documentaries, leaving a lasting cultural and cinematic legacy.

Ghanshyam Joshi, Film Actor

Ghanshyam Joshi

Awash  Bhattarai

Bikash  Khanal

Rajani Sharma is a Nepali actress active during the early 1980s, known for her roles in films such as Bansuri (1981) and Masaal (1985), where she appeared as one of the prominent female performers of the period. Beginning her screen career in the early decade, she became recognized for her expressive presence and participation in the emerging wave of Nepali cinema that blended regional storytelling with evolving commercial formats. Her work during 1981–1985 reflects a concise but memorable contribution to Nepali film, with Bansuri marking her early appearance and Masaal establishing her visibility in a cross‑border Nepali production backed by Sikkim Film Corporation. 

Tej Rasaily is a Nepali–Sikkimese actor best known for his role in the 1985 feature film Masaal, produced by the Sikkim Film Corporation and directed by Pratap Subba. 

Barun Kawasi is the director of Jhoda (1987), known for his grounded storytelling and realistic portrayal of rural Nepali life. His direction emphasizes emotional authenticity, social themes, and character‑driven narratives, making Jhoda a notable film of the 1980s Nepali cinema era.

Ridhhi Charan Shrestha

Miss Hinadevi – SingerMiss Hinadevi has 6 recorded songs from BS 1991 (AD 1934/1935). Personal details and song titles are not available, yet she is remembered as one of the early female voices of the era.

Miss Prabha – SingerMiss Prabha recorded 3 songs in BS 1991 (AD 1934/1935). Although additional information is missing, she remains part of the early generation of Nepali female recording artists.