Based in Paris, Thapa believes his film can be called a commercial film only because he intends it to get a good response from the market.
Republica’s Pramila Rai caught up with Thapa and asked him a few questions.
What made you think that the Nepali audience would be receptive to such a sensitive story?
I don’t believe that people aren’t ready for a film like this. If I’m ready to make the film, then people are ready to watch it, too. The treatment may be a little modern but it’s a simple, contemporary Nepali story that people will understand.
Do you think that maybe only the audience from the urban areas would be receptive to your film?
As I said before, this is a contemporary Nepali story. So I don’t think that only people from urban areas will watch my film. This is happening in our country regardless of any geographic differences. Everyone should be able to understand the message.
What do you think is the best part of the film?
There are a lot of good things in the film. The relationship between the two characters, the complications they go through, the meeting with the parents, the discussions: these are good parts of the film. However, the key point would be the scenes with no dialogues. The scenes are about three minutes long but they are very important when it comes to storytelling.
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