Sunny Rauniyar

Cute dimple girl Karisma Dhakal is active in modeling. She has acted in more than hundred songs. She has also presented her art as a daCute dimple girl Karisma Dhakal is active in modeling. She has acted in more than hundred songs. She has also presented her art as a dancer in many events. She is also the most popular actress on Tiktok.ncer in many events. She is also the most popular actress on Tiktok.

Rakshya Shrestha is a Nepali film actor. She became famous through the teleserial 'Bhadragol'. And later she is acting regularly in the same team's 'sakkigoni'. She has acted in many music videos and TV commercials. In some 'fashion shows', she has appeared as a show stopper.

Renu Nath Yogi is a Nepali actress and theatre actor who has made significant contributions to the entertainment industry in Nepal. She has appeared in various Nepali films and television shows, showcasing her acting skills and versatility. Renu is also known for her work in theatre, where she has performed in numerous plays.

Shrisha Karki (1978–13 October 2002) was a Nepali actress and model whose brief but impactful career left a lasting imprint on Nepali cinema. Active from 1997 to 2002, she appeared in nearly twenty films, including Yo Mayale Launa Satayo (1997), Allare (1997), Aafno Birano (1998), Zameen (1998), Anshabanda (1998), Gham Chhaya (1998), Maya Baiguni (2000), Aawara (2000), Beimani (2001), Maya Garchhu Ma (2001), Kaidi (2001), Dharti (2001), Malati (2001), Aatankabadi (2002), and the posthumous releases Sukha Dukha (2002) and Bacha Bandhan (2004). Known for her expressive presence and natural screen appeal, she represented the emerging generation of late‑1990s Nepali actresses transitioning into more contemporary, youth‑focused storytelling. Her career was cut short when she died by suicide on 13 October 2002 in Kathmandu, an event that triggered nationwide outrage and became one of the most defining media‑ethics crises in Nepali film history. Her death followed the publication of a nude photograph in the tabloid Jana Aastha, which sparked widespread protests by actors, directors, and the public, who condemned the incident as an example of yellow journalism and demanded accountability. Major outlets including the BBC reported on the case, documenting her family’s claims of blackmail and the film industry’s collective call for justice. The controversy ignited long‑term debates about press responsibility, exploitation, and the vulnerability of women in the entertainment sector. Despite the sensationalism surrounding her final days, Shrisha Karki is remembered within Nepali cinema as a talented young actress whose potential was never fully realized. Her filmography continues to be referenced as part of the transitional era of Nepali filmmaking, and her story remains a pivotal reminder of the need for ethical media practices and the protection of artists’ dignity.