The Nepali film industry in 2024 was largely defined by social dramas with predictable messages, comedies that failed to land, and clichéd love stories. Audiences were left craving something fresh and innovative.

Fortunately, the release of ‘Missing: Keti Harayeko Suchana’ has set a hopeful tone for the Nepali film industry in 2025. This film delivers in every way for those who have been desperately waiting for something creative, unique, and refreshing.

Although the movie does provide social messages, it does so creatively by incorporating romance, comedy, action and drama. Mixing various genres in a single story was a risky choice; it can either make or break the movie.

The director, Deependra Gauchan, has returned to the industry after two decades. It seems like Gauchan has understood that today’s audiences, especially Gen Z, cannot be hooked until something stimulates their mind. Incorporating various genres in this movie stimulates audiences’ minds to maintain their attention span. So, luckily, the risky choice was worth it.

The film opens with Sita (Shristi Shrestha) confined in a room, blindfolded, handcuffed, and tied to a chair. She finds herself in this predicament after being unintentionally kidnapped by Ram (Najir Husen) in Janakpur.

Just a day earlier, Sita and Ram had met at a cafe in Labim Mall through a dating app. A series of unforeseen events led Sita to consume coffee spiked with a sleeping pill that Ram was carrying. This, in turn, resulted in Ram taking her to Janakpur, inadvertently turning him into her kidnapper.

The journey from Kathmandu to Janakpur is visually captivating, enriched by local songs playing in the background. Viewers might initially question the plausibility of such an accidental kidnapping, but the subsequent scenes provide explanations that feel convincing and realistic.

Additionally, one might wonder why Sita, a sophisticated and elegant woman, would agree to go on a date with Ram, who is clumsy, not particularly ‘cool,’ and often mocked by his colleagues. This question, too, is addressed in a manner that satisfies the viewers’ curiosity.

The first half unfolds at a deliberately slow pace. However, the numerous questions throughout the scenes create an air of mystery and spark curiosity in the audience’s minds. This anticipation of what comes next keeps viewers engaged and ensures the slow pace is not tedious. But if you are habitual to TikTok-type stimulation, brace yourself!

The first half is also rich in meticulous details. For example, when Sita’s blindfold is finally removed after a long period, the film realistically portrays her struggle to adjust to the light. Although brief, this scene demonstrates the filmmakers’ careful attention to even the smallest details.

In the second half, the film beautifully depicts the blossoming romance between Ram and Sita—two individuals from entirely different worlds, Madhesh and Pahad. Yet, beyond their love story, what truly shines is the film’s romanticised portrayal of the Tarai region.

Through compelling dialogues and storytelling, the film challenges the common perception of Nepal as a land of hills and mountains. It highlights the fertile plains, rich culture, and vibrant communities of Madhesh.

Unlike many Nepali films that have belittled Madhesi characters, often reducing them to mere caricatures, this film gently breaks stereotypes by portraying them as relatable and multi-dimensional individuals.

In one scene, when Sita catches sight of a train for the first time, she leaps excitedly and persuades Ram to take her to experience it. Ram becomes her guide, and the film shows us the beauty of the Tarai region through their journey. The ponds, lush mango groves, vibrant Mithila paintings, and colourful Holi celebrations are portrayed so vividly that viewers feel they are journeying through Madhesh alongside the characters.

The vast, open landscapes of the Tarai offer Sita a sense of tranquillity, while the warmth and generosity of the locals—who greet them with open arms and even allow them to pick mangoes from their orchards—leave a lasting impression on her. Through this journey, Sita discovers not only a new land but also a different way of life—one marked by simplicity, warmth, and fulfilment.

Overall, the movie feels like a breath of fresh air. Its rich local flavour, enhanced by authentic dialects, traditional songs, unique storytelling, strong character development, and outstanding performances, is precisely what the Nepali film industry needed.

One criticism could be the presentation of the movie’s vehicle partner. The brand placement comes across as overly promotional, disrupting the narrative flow. A more subtle and seamless integration would have made it feel more natural and less intrusive. The resolution part, too, feels out of place. The director seems to be trying too hard to end the film with a ‘happy ending’ tone. Leaving the resolution open to audience interpretations could have made it more meaningful.

All in all, this movie deserves a 3.5 out of 5.

Missing: Keti Harayeko Suchana

Director: Deependra Gauchan

Starring: Shristi Shrestha, Najir Husen

Duration: 2 hours 40 minutes

Language: Nepali

Available: In nearby cinemas

Year: 2025