The Erawan Shrine: A cellphone film

Here is a tiny "film" made with cellphone shots I took of the Erawan Shrine in Bangkok. I wanted to work with the limitations of technology, and see what could be done with something as small, mobile and universal as a cellphone.

WATER shown in eco-feminism week in Trinity College, Dublin

Isabel Jorgensen invited me to screen WATER at the eco-feminism week (Nov 13-17, 2017) at Trinity College, Dublin. She said she'd seen me present at Oxford University's Smith School of Enterprise and the Environment, and thought the film fitted perfectly with the theme of the week. I was already back in Nepal after a summer in Oxford, so I suggested that she present it instead. Isabel said the documentary would be screened at the Museum Building Library, and that "it was by far the most beautiful building and room on campus!" So I googled it up, and indeed, here is the beautiful building . It was inspired by the Byzantine architecture of Venice. Here is her email after the event, after I asked her how it went: Amazing, thanks! Here are some pictures from the event, it went smoothly and there was a lot of good discussion. I gave a 30 minute intro to climate justice and environmental issues and women’s roles in their resolution, we had the a screening an...

Hubert Bals Fund grant

I received a seed grant from the Hubert Bals Fund to write a fiction film script in 1997. The grant gave me support and inspiration when I needed it the most. I found this list of HBF grantees on the web, and am honored to be part of this global film community.

INTERVIEW: Nabin Subba

This interview was published in the Nation Weekly magazine in 2004. KHULA MANCH Nabin Subba (35), the director of the acclaimed film Numafung, talked with Sushma Joshi of The Nation Weekly about his films, the Nepali independent film movement and his visions of nation-building. The Nation: How did Numafung come about? NS: During the pre-democracy days, I worked in journalism for almost a decade, first in Nepali Awaj for 3 years, and then in Deshantar for 5 years. I was doing mainstream reporting. Then I started to focus on art and culture, and later exclusively on film. I was dissatisfied with Nepali films, and would write critiques about them. I had long discussions with my filmmaker friends about making a film that would have a Nepali identity, but they all said it was not possible. They said it would not be commercially viable. So I said, okay, I will have to do it myself. The Nation: So you took it as a challenge? NS: Yes. I wanted to experiment with a Nepali form, one ...

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