Mehaka Chahat Luintel is a passionate Nepali filmmaker with expertise in creative production, directing, and screenwriting. She holds an MFA in Film—Creative Producing from Columbia University.

Some of her latest work includes managing workflows for Netflix documentaries and producing award-winning scripts like ‘Les Choix’ and ‘Way Back Home’ (2024). Luintel is dedicated to crafting meaningful films that resonate globally, drawing on her international experiences in China, Congo, the UK, Europe, Hong Kong, Thailand, Indonesia, India, and Saudi Arabia.

She has produced several films, including ‘Whole Country for Old Men’ and ‘Strawberry Cream’ (2024).

In this chat with the Post’s Aarya Chand, Luintel reflects on her journey and discusses how her passion for filmmaking has evolved. She shares how her cultural background and international experiences have shaped her storytelling approach.

You’ve studied in Nepal, India, and the US. How has this international educational background influenced your perspective as a filmmaker and storyteller?

My experiences studying in Nepal, India, and the US have influenced my filmmaking by merging various cinematic traditions. At Actors Studio Kathmandu, I gained deeper insights into performance-driven storytelling, focusing on character intricacies, their translation onto the screen, and the emotional depth involved.

I travelled to India because I am passionate about vibrant Hindi films filled with music and dance, yet my experience there transformed my perspective on cinema. I transitioned from popular Hindi movies to arthouse films, delving into the works of global masters like Tarkovsky, Bergman, Hou Hsiao-Hsien, and Apichatpong, as well as Indian directors such as Mani Kaul, Satyajit Ray, and Ritwik Ghatak. This exploration expanded my understanding of cinema as a sensory and metaphysical journey.

While in the US, I concentrated on narrative structure, character development, and social relevance. These experiences underscored the significance of storytelling in captivating audiences and crafting unique films, which has influenced my filmmaking approach. I aim to create films that feature strong performances, evoke deep sensory experiences, and tell compelling stories.

Having specialised in filmmaking (directing) and creative producing, which aspects of the filmmaking process do you find most compelling, and how do you see these two disciplines working together in your career?

Directing ignited my passion for filmmaking, enabling me to convey ideas and stir emotions through performance, sound, music, and production design. It revealed to me the depth of my voice as an artist. I grew captivated by how subtle decisions, such as an actor’s delivery or the lighting, can profoundly shape a scene’s emotional resonance.

Conversely, creative producing has taught me how to bring films to life through collaboration, forging strong scripts, obtaining funding, and manoeuvring through the industry to transform ideas into real projects. While directing and screenwriting will always be my first passions, my ultimate ambition is to establish a production company that produces artistically rewarding work with a meaningful impact. After all, before I am a filmmaker, I am a film lover.

You’ve worked on a Netflix documentary at Marshall Curry Productions. What were some key takeaways from that experience, and how did it contribute to your understanding of documentary filmmaking?

I’m working as a producer assistant on a Netflix documentary on The New Yorker magazine, directed by Academy Award-winner Marshall Curry. The documentary chronicles the magazine staff’s efforts in preparing for its centenary issue, incorporating archival footage, vérité sequences, and interviews to showcase the inner workings of this literary institution.

With a background in narrative filmmaking, this experience has opened my eyes. I’ve discovered the effectiveness of documentary filmmaking—you don’t require a large crew; a camera, a sound person, and a producer are sufficient. More significantly, I’ve recognised the human element in the process—establishing trust with subjects and embracing the unpredictability of real-life storytelling. This project has enhanced my appreciation for the evolution of documentaries and their remarkable ability to capture reality as it happens.

Your filmography spans diverse locations. How do you approach telling stories from different cultural contexts, and what considerations do you keep in mind to ensure authenticity and respect in your work?

Working on films set in various countries has deepened my understanding of storytelling across cultures. To ensure authenticity, I collaborate closely with directors from those regions, relying on their experiences to ground the story truthfully.

Stories are universal. When emotional moments connect, and characters appear genuine, they resonate across cultures while maintaining respect. Disrespect typically arises from stereotypes or forced character behaviours, which I strive to avoid by emphasising depth. My involvement begins in script development, fostering a collaborative process that allows the story to grow organically from those most familiar with it. Authenticity in storytelling is achieved through attentive listening, collaboration, and allowing genuine voices to guide the narrative.

6. You’ve received grants for films like ‘Do You Have a Name?’, ‘Les Choix’, and ‘Way Back Home’. How do these grants help you tell the stories you’re passionate about, and what impact do you hope these films will have?

Grants are crucial for independent filmmakers, enabling projects like ‘Les Choix’, a film on sexual exploitation in a Congolese university, to exist without commercial pressure. They allow storytelling to remain an expression of art and truth without compromising creative integrity.

Storytelling is about resonance. I want my films to engage emotionally while conveying essential themes. As the Indian filmmaker Nagraj Mangle once said, “The medicine is mine, but the packaging is for the audience.” That philosophy guides my work.

Although each of my films has a different theme and setting, they are all about human experiences at their core. I hope my movies not only entertain but also start conversations, shift perspectives, and stay with people long after they’ve watched them.

Do you see yourself working in Nepali cinema in the future? Would you consider making Nepali films, and if so, how do you envision contributing to its growth?

I absolutely want to create a Nepali film and have recently finished a script for one, for which I am applying for grants. While Nepal’s film industry is expanding, I believe contemporary urban narratives are still underrepresented—stories I am passionate about sharing. Having grown up in an urban setting, my viewpoint captures that experience, which I feel is not fully showcased in Nepali cinema.

Beyond that, I want to tell women’s stories, stories of my mother’s and grandmother’s generations, but from a feminist lens. There’s so much depth, resilience, and complexity in their experiences, and I believe those narratives deserve to be explored on screen in an honest and nuanced way. My goal is to contribute to diversifying the kinds of stories being told in Nepali cinema and help expand the industry’s reach by connecting it to the global independent film space.

Mehaka Luintel’s book recommendations

A Window Lived in the Wall

Author: Vinod Kumar Shukla

Publisher: Vani Prakasana

Year: 1997

This novel is pure magic, blending everyday life with quiet surrealism. I find Shukla’s writing delicate and whimsical.

Essence of Camphor

Author: Naiyer Masud

Publisher: Nusrat Publisher

Year: 1990

I love books that linger like memories, and Masud’s short stories do exactly that. His writing is dreamy, nostalgic, and haunting.

On Earth We’re Briefly Gorgeous

Author: Ocean Vuong

Publisher: Penguin Press

Year: 2019

I think anyone who loves language should read this book. It’s raw, poetic, and personal, written as a letter from a son to his illiterate mother.

Butter

Author: Asako Yuzuki

Publisher: Fourth Estate Ltd

Year: 2017

This one’s a recent favourite—sharp and fascinating. The novel blends crime, character study, and social commentary.

Devotional Cinema

Author: Nathaniel Dorsky

Publisher: Tuumba Press

Year: 2003

A must-read for filmmakers—a short but profound reflection on the spiritual and poetic possibilities of cinema.