Venice Title ‘Pooja, Sir: Rajagunj’ Released in Nepal After Extensive Censorship Battle: ‘An Attack on the Fundamental Right to Freedom of Speech’ (EXCLUSIVE)

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Following its debut at the 2024 Venice Film Festival, director-producer Deepak Rauniyar’s crime thriller “Pooja, Sir: Rajagunj” has made its long-awaited appearance in its native country of Nepal, however, not without encountering obstacles.

The movie has been running for its second week in Nepali cinemas, after a heated debate with the government censor board resulted in substantial modifications to the original production.

Rauniyar’s debut film, titled “Highway,” initially screened at the 2012 Berlinale and later at Locarno. In 2016, his second feature, “White Sun,” was shown at various prestigious festivals such as Venice, Palm Springs, Fribourg, and Singapore, where it received awards. Additionally, Rauniyar is a former participant in the Berlinale Talents program, and his short film “Four Nights” was exhibited at Berlinale Shorts in 2022.

The controversial film centered around Detective Inspector Pooja (portrayed by Asha Magrati), who is investigating a kidnapping in a fictional border town amidst the 2015 Madhesi protests, has been targeted as an infringement on the constitutional guarantee of free speech, according to Rauniyar’s statement.

As stated by Rauniyar, one of the contentious edits enforced by Nepal’s Censor Board involved the elimination of historical footage depicting the current Prime Minister K.P. Sharma Oli (then in office during 2015) labeling Madhesi MPs who opposed the draft constitution as “rotten mangoes.” Although the filmmakers had legally obtained permission to utilize this publicly accessible clip, the censors demanded further approval from the Prime Minister’s Office – a demand that lacked any legal precedent, according to Rauniyar.

The movie was jointly created by Rauniyar, Magrati, Aadi Films, Ram Babu Gurung (of Baasuri Films), and Alan R. Milligan (from Tannhauser Gate). Initially, they contemplated contesting the decision in court, but eventually chose not to pursue that course of action.

Rauniyar shares with EbMaster that none of the lawyers he sought advice from inspired confidence that a legal fight would outweigh the potential risks. “We were uncertain about how long it might last,” he explains, “as court proceedings can be affected by politics. Given that this case involves the prime minister, there’s a possibility it could be postponed indefinitely. By delaying the showing of our film at home and stifling the vital dialogue on racial and gender discrimination — issues central to our movie — we would miss an opportunity to make a real impact.

Gajendra Kumar Thakur, who is both the chair of Nepal’s censor board and an assistant secretary at the Ministry of Communication and Information Technology, has been accused by Rauniyar of making claims about inciting racial tensions without having seen the movie, as alleged by the filmmaker. During a heated argument, Thakur is said to have shouted at the filmmaker, asserting that the project stirred up ethnic conflict.

The guidelines for censorship expanded to encompass restrictions on language, as well as political content. The board required that Hindi dialogues be subtitled, arguing it was a foreign language not widely understood in Nepal—a claim contested by filmmaker Rauniyar, who pointed out that many people in the Madhesi community speak Hindi and Bollywood films are often screened without Nepali subtitles.

The filmmakers viewed this demand as integral to a “strongly nationalistic storyline fueled by anti-India sentiments, noting that the Nepalese administration has traditionally dismissed the 2015 Madhesi protests as externally provoked and repeatedly demanded proof of loyalty from the Madhesi community towards Nepal.

After trying to contact Thakur for a comment, EbMaster didn’t receive a response within 36 hours, before the deadline for publication.

In the Nepal launch, the production crew chose a symbolic method of peaceful resistance by clearly highlighting every censored moment: “We inserted black frames wherever visuals were removed, and the characters’ lips continue to move when audio was silenced,” as Rauniyar clarifies. “Our aim is to ensure viewers can witness precisely what was taken out during the censoring process.

The movie has garnered backing from various political factions in Nepal, including several MPs and ex-Prime Minister Baburam Bhattarai, who have criticized the government’s actions. Furthermore, fifteen well-known Nepalese film directors attended a protest organized by Rauniyar at Kathmandu’s Mandala Theater.

In spite of the hurdles, the film “Pooja, Sir: Rajagunj” is currently playing in Nepalese cinemas, whereas unedited versions have already hit the screens in the U.S., UK, and Canada.

The movie is based on actual occurrences that transpired in Southern Nepal during the 2015 race protests, particularly those involving the Madhesi community. In this film, two boys are abducted in a border town in Nepal, prompting Detective Inspector Pooja to be dispatched from Kathmandu to investigate. Upon her arrival, simmering political turmoil and violent demonstrations lead her astray, forcing her to collaborate with Mamata (Nikita Chandak), a local Madhesi policewoman. Despite facing systemic discrimination and daily misogyny, the women work together to unravel the mystery. Notable cast members include Nepali film legend Dayahang Rai.

Rauniyar contends that the movie uncovers the entrenched bias the government holds towards the Madhesi community. Furthermore, he emphasizes that this oppression remains prevalent, serving to mute a significant portion of our populace.

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2025-03-26 13:17