A Flushing Local 7 subway train approaches the platform and commuters get ready to step in. The scene cuts to solid black. These first few seconds set the tone for the rest of Diversity Plaza — this is going to be a film &nbsp;about people in motion. Movement through time and space is something of a trademark for acclaimed documentary maker Kesang Tseten, with previous films like In Search of the Riyal, <a href="https://archive.nepalitimes.com/news.php?id=13035">We Corner People</a>, Castaway Man and Frames of War. <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Kesang-Tseten-documentary-on-Dor-Bahadur-Bista,2176">Some of these films</a> will be screened in a retrospective this weekend.&nbsp; For the next minute or so, Diversity Plaza shows us beauty parlours and nail salons, a kabab king, street vendors, a Covid-19 vaccine centre and a momo van.&nbsp; We are in Jackson Heights in the New York borough of Queens. A subtitle tells us it is ‘the most linguistically diverse zip code in the US and perhaps the world’. Queens is home to 75,000 immigrants from Nepal, Bhutan and India. More than 60% of the people here are foreign-born and speak 160 languages. They are politically aware, and concerned about their place in a changing America, and an altered world. There is an intersection in Queens actually named Diversity Plaza, and Tseten films immigrants campaigning for candidates for city council amidst the Covid crisis, while there are attacks on Asians after President Trump called the bug the “Chinese Virus”. Near the Plaza in a nondescript building is Adhikaar which works for the rights of Nepali immigrants. &nbsp;Among them is Dibya Shori Shakya, who ever so slowly writes her name and address on the board. A group of women gathers to talk about being ashamed initially of their status as domestic help and nannies. “The children we raise will go on to become doctors, engineers or even presidents someday. So we shouldn’t feel lowly or discriminate against ourselves,” says one woman. United Sherpa Association Inc may sound like a mountaineering outfit, but is a monastery. After prayers, devotees do yoga. Some asana are too difficult, and they burst out laughing.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022304020_dc3c87201c606792b8980dbb7203eb88332eebf015f4e3a638a74c9c11a780b0.jpg" data-media-id="editor_2" data-image-id="2024022304020_dc3c87201c606792b8980dbb7203eb88332eebf015f4e3a638a74c9c11a780b0" data-rendition-name="original" width="1426" height="750" loading="lazy" alt="Diversity Plaza"> <figcaption>Screengrab from Kesang Tseten's Diversity Plaza</figcaption> </figure>  This is an intimate look at Himalayan peoples living in Jackson Heights, their struggles and aspirations. Some are busy celebrating festivals and keeping traditions alive, others try to assimilate and are more concerned with making their voices heard in their new country. Adhikaar staff are out on the streets of New York including at Times Square in Manhattan, <a href="https://nepalitimes.com/news/the-promise-of-an-american-dream">advocating for immigrant rights</a>. They are also urging fellow Nepalis to fill up census applications. “Census means numbers. What happens when there are numbers? Power, and when there is power, there is wealth… when there is wealth there is respect and when there is respect, there is recognition,” Narbada Chettri of Adhikaar explains on camera. During the film’s hour-long runtime, viewers in Nepal are transported to the other side of the world, almost forgetting that the scenes are happening on a screen. The cuts are rough, almost cinéma vérité style, unlike some of the sleeker films being made today. Tseten does not embellish the stories, the landscape, the people. Like his previous documentaries, the film lays bare the raw reality of immigrant life in America.&nbsp; <a href="https://nepalitimes.com/here-now/kesang-tseten-is-still-silent-but-not-absent">The director</a> himself takes a back seat, his inputs barely discernible. But of course he is there throughout in the composition of the shots, selection of scenes, the final edits. Tseten calls it an ‘unprompted’ style modelled after American filmmaker Frederick Wiseman. Even though there is no script in Diversity Plaza, the documentary still has a beginning, middle and an end. In Kathmandu this week, Tseten recalled how he was in New York in 2021, trying to persuade a character for his forthcoming film on the<a href="https://nepalitimes.com/banner/bon-voyage"> Bön Po</a>, when he heard about Diversity Plaza with its strong Nepali presence. He was familiar with Jackson Heights ever since he was a student at Columbia Journalism School in the 1980s, and it piqued his attention. “Diversity Plaza is like Thamel,” he says. “The restaurants are filled with our own people.” The documentary ends on a high note, literally and figuratively. An immigrant from India performs a Karnatak song as the 7 train clatters above Diversity Plaza. She translates the verse into English before singing its original: “Do not seek or mind similarity in identity in the world. Why is it that we always look for the things that are the same about one another instead of celebrating and valuing our differences?” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024022304020_d5d5a26acda7234986e3edbd6f7dc593b10ecdeaf2f4178880249381d5371ec2.jpg" data-media-id="editor_6" data-image-id="2024022304020_d5d5a26acda7234986e3edbd6f7dc593b10ecdeaf2f4178880249381d5371ec2" data-rendition-name="original" width="1135" height="635" loading="lazy" alt="Diversity Plaza"> </figure>  Social Science Baha and photo.circle's Kesang Tseten Retrospective will take place from 23 to 25 February at Nepal Tourism Board.

Sonia Awale

original

674x448

610x380

500x500

400x266

400x240

400x203

301x200

1250x600

1084x550

Seeking identity in diversity

In June, Rajan Kathet and Sunir Pandey’s No Winter Holidays premiered at the Sheffield DocFest, one of Britain’s biggest documentary festivals. The film was supported by South Korea’s DMZ Docs Industry Project Fund and the Hong Kong Asia Film Financing Forum. In feature films, Fidel Devkota’s The Red Suitcase was nominated for world premier at the Venice International Film Festival and Nabin Subba’s A Road to a Village got into the Toronto International Film Festival. Nepali films and filmmakers are going places, and many have been able to find their way into international labs, forums, pitches and events. Documentary films have also been doing well, but the challenge is to run and sustain the market for non-fiction film. That was a theme of a brain-storming last month of film festival organisers, government bodies, international agencies and independent filmmakers. The conversation first explored the lack of resources and probed ways in which the government and private institutions could promote the film industry.&nbsp; The two hour discussion at the British Council did not just highlight problems, but also identified possible solutions to push the Nepali documentary market to a new direction. &nbsp; While Nepal enjoys good repute internationally, participants felt it was time for private and government agencies to foster a market for documentary film within Nepal. &nbsp;&nbsp; Read also: <a href="https://nepalitimes.com/here-now/kesang-tseten-is-still-silent-but-not-absent">Kesang Tseten is still silent, but not absent</a>, Sonia Awale Despite noteworthy non-fiction films in the past few years, every documentary maker has had to work from scratch. For this, international fora have become the go-to for funds, due to their ease of access.&nbsp; The catch: competition is stiff and there are many who vie for the few prizes. Success depends on what international viewers want to see and can relate to. This audience is not familiar with the nuances of the Nepali world, and the fate of films thus is determined by its relevance to a world far removed from Nepal. International funds and programs have played an important role in encouraging Nepali documentary makers, but the time has come for Nepali support for Nepali filmmakers. Kathmandu Metropolitan City recently handed an application for the UNESCO Creative Cities Network with ‘film’ as its main component. If the city gets the title, that would be perfect timing.&nbsp; But even if it does not, it proves that the government is serious about investing in films and filmmakers. This could translate into grants for film production.&nbsp; Even Nepal Tourism Board, with its active social media presence and sizeable contributions to film festivals in Nepal, sees opportunities in films. 14 Peaks: Nothing is impossible on Netflix was an example of how the combined interests of several agencies can be pooled to create an adventure documentary that played a big role in boosting tourism in Nepal. The broadcast media remains a largely untapped medium to encourage documentary makers. Internationally, it has been tv networks and their digital subsidiaries who actively commission documentaries.&nbsp; Read also: <a href="https://www.nepalitimes.com/news/documenting-the-subcontinent-for-a-generation">Documenting the Subcontinent for a generation</a>, Aria Shree Parasai  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230908040952_dbce52ad621f6831023cd5fe7dd4db741cc5ea29eaebe3396c4840ec3bde315c.jpg" data-media-id="editor_2" data-image-id="20230908040952_dbce52ad621f6831023cd5fe7dd4db741cc5ea29eaebe3396c4840ec3bde315c" data-rendition-name="original" width="4320" height="2880" loading="lazy" alt="Page 1"> </figure>  Al Jazeera Witness’s What’s behind caste violence in Nepal? and BBC World Service’s Nepal: The battle for souls are examples of how these commissions have come closer to home. The broadcast media is sustained by advertising. But, while revenue is important, content is still king when it comes to building brands and identity. Herne Katha, for example, is proof of how personal stories not only captivate but move audiences.&nbsp; Viewers are now seeking content online, and film commissioning could also make the most of this opportunity to re-brand and fund documentaries that resonate with Nepali audiences. Nepal’s tv channels could lead the way by producing content for the diaspora who are hungry for stories from home. Tv, with its access to a network of in-country journalists with powerfully distinctive stories could be drivers of audio-visual content.&nbsp; Investing in creative story-tellers to create viewership could persuade advertisers to see value in investing in non-fiction film which will ultimately enrich the ecosystem for Nepali documentaries.&nbsp; Participants at the brainstorming included representatives from the Film Development Board, Film South Asia (FSA), Human Rights International Film Festival, Independent Filmmaker’s Society, Kantipur Television, Kathmandu International Mountain Film Festival, Kathmandu Metropolitan City, Nepali Female Filmmakers, Nepal Tourism Board and the US Embassy.&nbsp; Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/awakening-documentary-nepal-filmfestivals,794">Awakening documentary</a>, Mallika Aryal The group concluded that there is willingness to fund content and buy content, but what is lacking are linkages between filmmakers and viewers. Watching habits are shifting to reels made for TikTok and YouTube. Should supporters of films give the audience what viewers want, or what they need? It has become imperative to understand what the audience wants, and to be where the viewers are. Perhaps not enough is being done to create avenues for audiences to explore documentaries. ‘Dumbing down content’ is an ongoing discussion, but it may be time to encourage culture of documentaries with its point-of-view human interest approach. The enthusiastic participation of Nepalis at documentary festivals is proof that there is already a critical mass of viewers interested in the non-fiction film format. Film education schools and societies can be mobilised for an even wider audience engagement.&nbsp; As pointed out in the discussion, this could be achieved through showings and documentary appreciation sessions, where film organisations can inculcate a sense of a community of documentary lovers. The Film Development Board should now work to create these linkages between local commissioners and filmmakers. They could support bigger film grants and ensure that financing is hassle-free. This could be a viable way to give Nepali documentaries a boost within Nepal in a flavour that audiences here understand best.&nbsp; The future for films lies in local government bodies, film organisations and the industry working together to support and create a platform to sustain a culture for documentary viewing. Read also: <a href="https://archive.nepalitimes.com/article/nation/Manakamana-review-David-Gellner,1949">How not to make a documentary</a>, David N Gellner Smriti Basnet is a filmmaker and runs Kathaharu, a production company based in Kathmandu. <h2>Nepali films in Busan Fesitval</h2>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230908040952_4384a408232a10f0e28b8dacf74d9f7ccc84b76f8b60feea2065f2410d315209.jpg" data-media-id="editor_5" data-image-id="20230908040952_4384a408232a10f0e28b8dacf74d9f7ccc84b76f8b60feea2065f2410d315209" data-rendition-name="original" width="1250" height="626" loading="lazy" alt="Page 9"> </figure>  Three Nepali films have been selected for the Busan Festival in South Korea from 4-13 October. Gaun Aayeko Bato (A Road to a Village) directed by Nabin Subba is being screened for the first time at the ongoing 48th Toronto International Festival. The film featuring actors Dayahang Rai, Pashupati Rai and Prasan Rai tells a story of how a new road in the village changes father-son relations.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230908040952_6e1bf726df21f6966f765b1789ce607685f9398088656931b22e06ff77d16570.jpg" data-media-id="editor_6" data-image-id="20230908040952_6e1bf726df21f6966f765b1789ce607685f9398088656931b22e06ff77d16570" data-rendition-name="original" width="1250" height="704" loading="lazy" alt="Page 9"> </figure>  Gaun Aayeko Bato will be screened under the ‘Window on Asian Cinema’ category at Busan. “I believe this will help in globalising our films,” says Subba. Guras directed by Saurav Rai has also been selected for Busan. First screened at Karlovy Vary International Film in the Czech Republic, Guras is a story from the perspective of a 10-year-old girl who sets out in search of her missing hen against the economic and social backdrop of Darjeeling. Tulsi Khawas and Kagendra Lamichanne play the leads.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20230908040956_182d6917bb62faf46ac7bfabe19373f2af07f38cbda241ebac7cd5d12f71233f.jpg" data-media-id="editor_7" data-image-id="20230908040956_182d6917bb62faf46ac7bfabe19373f2af07f38cbda241ebac7cd5d12f71233f" data-rendition-name="original" width="1250" height="782" loading="lazy" alt="Page 9"> </figure>  “Our films being selected for international films means they like our unique identity. We are being screened at prestigious film festivals like Venice, Busan and Toronto, this is a matter of great pride,” says Lamichhane. The Witness Tree, a documentary by Niranjan Bhetwal, has been selected to be screened under Busan’s Asian documentary category.&nbsp; Read also: <a href="https://www.nepalitimes.com/here-now/lights-camera-action-in-nepal">Lights, Camera, Action in Nepal</a>, Ashish Dhakal

nepali-filmmakers

Seeking identity in diversity

Documentary films come of age