'Threshold' is the first film by a Nepali director to be screened in the 'Short Film Corner' of the 'Non-competitive category' at the 'Cannes Film Festival, selected for the 2009 Cannes Film fest. The film was the third prize winner in the Kathmandu International Mountain Film Festival 2008. It has also been selected for the 'Phuket Film Festival' to be held in Thailand in June.

We caught up with the director of the film - Deepak Rauniyar before he left for France. Here is him talking about him, his art and the country where he made it. Since June, Chaukathi (Threshold) has also been screened at the Ahmedabad film Festival and has a specific screening held at the Kumari Cinema for a couple of weeks. Making Threshold an important iconic film in Nepal for 2009.

- What has attracted you to films in the first place?
It was in 2047 B.S that I came to Kathmandu. Before, I used to work in Biratnagar in Radio Nepal. In Kathmandu I worked in a number of print media like Nepal Samacharpatra, Himal and Kantipur. During that time I met a lot of Nepali film directors and got a chance to critique their work. There would always be discussions with directors and they challenged us to make films and show them. That was how my seniors like Nabin Subba got into films and how I did too.

- Do you remember the first film you saw?
No I don’t. But I remember when I was small there were no cinema halls in my village and televisions were rare. Only a few people owned television sets. They used to charge us two rupees to watch programs. We used to walk miles to watch World Cup matches on television at neighboring villages. I however remember my first cinematic experience; that was perhaps during my eighth grade days. It was to watch 'Shehensa'. We bought the lowest priced tickets and got the front row seats. We had to tilt out heads completely to watch the film. Amitabh Bachhan looked even more magnificent with his chain and hairstyle. The movie now as I remember seems to have been inspired from the Spiderman genre; during the day the protagonist is a shy village boy but at night he turns into a superhero.

- Hav you found film directors in Nepal you  admire?
I have worked with Nabin Subba and Tshering Rhitar Sherpa and admire their work. I also like the detailings that goes inside Tulsi Ghimires  work and his detailing of Nepali sentiments can be admired.

 - You have worked in print media, visual media and now you are working as senior editor and producer for a BBC radio program 'Katha Mitho Sarangi ko'? Which medium do you find the most effective?
Well, film is the most effective medium but radio is the pathway to awareness. Print landed me into films and now radio is helping me make films. It is teaching me how to make characters work. This visit to the Cannes will further add an expense of one to two lakhs. I don't know where it will come from? My job is financially supporting my career as a film maker.

- Chaukathi is almost 30 mins we hear, what scope do you see for short film making in Nepal?
The trend of short film making has increased in the last ten years since the introduction of digital technology. Film fests like KIMFF have further promoted this trend. The last Kathmandu International Mountain Film Festival (KIMFF) had a sound participation of numerous short films. These events will surely increase in the upcoming years.

 - How did you choose the issue of 'women empowerment ' for you film?
Well, Saraswati was partly a character known to us. It had depth and we wanted to portray it on screen. The film is basically about freedom. It's about power play. We are now moving from 'Loktantra' to 'Ganatantra' but is their freedom? Every political party has centralized power. Can Narahari Acharya do what he wants to in the party? Gangan Thapa is a popular young leader but Girija Prasad Koirala holds the supreme power. In every house there is an authority that holds power while others remain powerless.

 - Where was the film shot and how do and how lwas the production structured?
We shot the film in a village called Gaumadi, forty five minutes drive to the east from Janakpur.  It took us five days and a budget of less than two lakhs. Well, the homework had been going on for a long time.

- Why has the film not been released in commercial cinema halls?
KIMFF has showcased the film in nine different places of Nepal. In case of commercial cinema halls; they are not designed to show short films, only films of three hours length. Besides to commercially release the film you need to pay eighteen thousand rupees and censor it. We are not in support of censorship and it isn't economically viable too. In the film, three actors acted without pay voluntarily and one camera we used was from my workplace (BBC World Service Trust). 

- Your film is based on a social issue. How do you see the trend of largely commercial films, like Slumdog Millionaire also turning to social issues to ensure success. Do you see them selling poverty?
Firstly, I don’t think Slumdog Millionaire was trying to sell poverty. It frames questions to a poor character and displays the unlikeliest of the situation. In fact it gives a hard blow to the attitude of rich people. It shows how no one believes a poor mans story. It's more about the rich than the poor.

People have questioned elements in my film but I have not faced any such acquisition. KIMFF had to screen 'Threshold' several times in almost all venues due to public demand. Some audiences see no problem with women being confined inside their homes and men earning bread for their family. They don't understand why this should change? Usually after the screening we have had men defending this idea and women claiming the opposite. I also remember a unique reaction from a girl in Janakpur. I was struck by how oversensitivity had also caught up with films. She questioned –" why Trishna- the character from the city was a Pahadi and not a Madhesi woman? Weren't Madhesi women educated and employed?" I went up to her and explained "A Madhesi character would be familiar with the settings of village life and she wouldn't be surprised when Saraswati would act frightened at the entry of any outsider to her home". She was satisfied by my answer. 

- What are your expectations from the Cannes Film Festival?
We are happy to have been selected. The last time Nepal got recognition in Cannes was a decade ago through 'Caravan'. Short films are basically visiting cards. They are a way to test your film making skills- we have basically done that. We are thrilled to be representing Nepal in Cannes. It's a great opportunity to watch good films, meet world famous directors, distributors and build your network. We are also holding a separate screening for the Nepalese community in Paris. We will also be pitching our story in the event organized by the Short Film Corner, which is hosted by Short T.V and broadcasted by three television stations.
It's not enough to make good films, you need someone to lobby for you, market your films. Take an example of British Council, how effectively it lobbies for British films. In Nepal we don’t have any such institution. We will try to create as much exposure as possible in the Cannes.      

All that we are seeking is recognition for Nepali films. If an Iranian film is being screened in a film fest everyone awaits its screening, why? because Iranian films have already made a market for themselves. No one knows about Nepali films. We will try to create as much exposure as possible. So that our next film is awaited by an audience and any other Nepali film can benefit from the exposure we create. 

                                                                                                                                           - This interview is a contribution of Dikshya Karki