The Nepali commercial movie industry, which did not offer movies focusing on subject matters related to caste, has recently witnessed a few such movies. One such movie, Purna Bahadurko Sarangi (Dir. Saroj Poudel, 2024), which focuses on the struggle of a Dalit family to educate their son, unexpectedly, even contrary to the movie producer’s expectations, became a blockbuster, breaking several records, including the highest gross income. This is certainly a positive development, as Nepali movies have at least begun to center their stories on the subject of caste. However, systematic analyses of how such Nepali movies deal with questions of caste are utterly lacking.

This paper investigates the representation of caste, particularly Dalits, in Nepali movies. Our study reveals that, despite their efforts to include the issues of caste, Nepali movies have largely failed to portray Dalits or the questions of caste adequately. The movies have, instead, perpetuated existing caste stereotypes, presented distorted views about several issues such as untouchability, reservation, caste mobility, and root causes of Dalit condition, oversimplified or romanticized complex issues related to caste and Dalits, and failed to critically engage with the socio-political and historical realities of caste in Nepal.

The study fills a critical gap in the existing literature about caste and cinema, as such literature is dominated by the topic of caste in Indian cinema. Additionally, our paper can be a valuable addition to critical media studies, the sociology of caste, and Dalit studies, as the paper’s focus lies at the intersection of cinema, caste, and social justice. Moreover, on a practical level, the paper can also serve as an important medium for filmmakers to reflect on their work and recognize the importance of a just representation of caste questions in movies as well as the broader impacts of misrepresentation.