Yogendrakarki

Birendra Hamal is a theater artist, mentor and director. He has taught acting to hundreds of actors. Veteran actor and play director Birendra Hamal, who has been working in the theater for the past 35 years, has directed about 5 dozen plays, and has acted in hundreds of plays and a dozen films. Birendra, who became a hero in the film 'Godhuli', has already presented his acting skills in films like majadur, kaha bhetiyela, a mero hajur, shahid, sukha-dukha.

Pratap Subba was a pioneering Nepali film director, writer, and lyricist from Darjeeling whose work helped shape the early identity of Nepali cinema. Active primarily in the 1970s and 1980s, he directed influential films such as Paralko Aago, Bachna Chahane Haru, Masaal, Kahi Andhyaro Kahi Ujyalo, Didi, Chatyang, and Bhisma Pratigya. Known for his realistic storytelling and strong emotional depth, Subba also contributed memorable lyrics and dialogues that enriched the cultural texture of his films. His commitment to authentic Nepali narratives made him one of the most respected filmmakers of his generation, leaving a lasting legacy in both Nepali and Darjeeling-based cinema.

Madan Ghimire is an experienced and active Nepali film director who has contributed to direction, writing, and production for more than two decades. He is known for blending emotional storytelling with commercial appeal, earning recognition across mainstream Nepali cinema. Ghimire’s notable works include Maya Namara (2002), one of his early successful films, the action‑driven Aago 2 (2015), youth‑focused Boyfriend (2019), and the sequel Aandhi Tufan 2 (2023). Over his career, he has worked on around 27 films, including Kauso, Bouncer, Jeevandata, Dadagiri, Faisala, and Maya Gar La, establishing himself as a consistent and dedicated filmmaker in Nepali cinema

Ashok Nayak is a professional film editor known for his work in Nepali cinema, contributing to notable films such as Santan, Maya Preeti, Karja, and Khar Ko Chhano. Active across multiple decades, he is recognized for his precise cutting style and steady technical presence in the post‑production of mainstream Nepali films. His nationality is not clearly documented in public film records, but his editorial work remains an integral part of several well‑known Nepali productions.