Until last year, Pushpa Thing Lama worked for an LGBTQ advocacy organization in a small town in western Nepal, her work known only to a few people in the victim community. Today, he is one of the stars of an award-winning film that has become a symbol of Nepali cinema, and the incredible Nepalis, on the international stage.
In May, Elephant in the Mist marked a first for the local film industry by winning the Un Certain Regard Jury Award at the Cannes Film Festival. The award was not only a rare victory for Nepali cinema but also a special moment for the country’s growing film industry and cheeks communities, whose lives have been sidelined for a long time and are now being celebrated on one of the world’s greatest cultural stages.
“This is not just a movie, this is our life,” Lama, a transgender actress, told Foreign Policy. “It has a lot in common with our struggles—the hatred we face from our families and communities and the negative attitude towards our society. This film is not fictional but a reflection of our lives.”
Kinnars and hijras are traditional the third gender community in South Asia, although not all transgender, intersex, and intersex people in the region identify as kinnar. In Nepal, some accept “kinnar” as a cultural identity, while others favor transgender or third gender. The Kinnars have their roots in Hindu mythology—described in epics such as Mahabharata and Ramayana-and they are seen as celestial beings divinely associated with art and culture. They are usually invited to bless weddings and births, especially in the southern regions of India and Nepal bordering India, despite continuing to face stigma and discrimination.
Elephant in the Mistalso, it shows a celebratory aspect of kinnar life, although the filmmakers say it focuses more on mystery and more on personal feelings, something that is often absent in Nepali films that feature queer characters. The film focuses on the relationship between a mother and her adopted daughters—both played by transgender actors—tracing the tensions between relationships, roles, desires and responsibilities that are often invisible to outsiders. (The kinnar community is traditionally associated with a fictional fraternity, where the senior member becomes a model mother, creating a chosen family that provides care and support to the marginalized.)
Abinash Bikram Shah, writer and director of Elephant in the Mistsaid he was inspired to make the film after coming across videos of the kinnar community on TikTok during the COVID-19 lockdown. Despite constant comments from other people and surfing the Internet, the producers continued to share their content, which he found “encouraging and courageous.” Further research led Shah to cast actors from within the community, which allowed them to help shape the script and take greater ownership of their story, which gives the film a more authentic feel.
“They have brought their history, instincts, and collective courage to the film,” Shah told Foreign Policy. “So, I wasn’t capturing the acting on camera—it was capturing the truth. I don’t see this as a silly movie, but a movie about the dynamics of a family between a mother and her daughters.”
A still from Pooja, sir (2024).Aadi Films/Baasuri Films/Tannhauser Gate
The portrayal of queer characters in Nepali cinema—even when openly portrayed as gay or transgender—lacks historical authenticity, and often leaves society misunderstood and misrepresented. Profiles of male characters or non-gendered men in cross-dressing—especially in films such as Ae Mero Hajur 2 and many TV series—have been used mostly for comic relief, reinforcing stereotypes and creating negative attitudes about the LGBTQ community.
But the breakthrough came in 2013 and Sookawa: Dance of Orchidswhich presented the love story of a vegetarian and is considered to be the first major ethnic film of Nepal. Its release came just two years after Nepal made international headlines by hosting it for the first time symbolic same-sex wedding—between two Americans—at a Hindu temple near the capital, Kathmandu.
Country symbol 2007 Supreme Court Decision recognizing gender and sexual minorities as equal citizens helped the queer community to be more vocal and visible in the social and cultural landscape of Nepal. Even before Like a lion brought the issues wider, Shah had already brought iconic characters to the screen in critically acclaimed films such as. the body (2011) and Main road (2012).
Others say the results are mixed. Pragyan Thapa Ghimire, founding editor of Nepali CinemaHe said that time Like a lion is “wrong in its depth, integrity, and sensitivity in terms of its unique representation,” films released since then have tried to portray it accurately and in different ways. He added that fiction is different from water, and “very little of it has been shown in Nepali cinema so far.”
However, efforts have continued, with mainstream filmmakers increasingly daring to explore queer stories and characters, reflecting a growing appetite for cinema that engages with diverse themes and representations. In 2023, One Bhagavad Ra One Geeta featured gender fluidity and transgender characters, while Gunyo Cholo: Clothingreleased in 2025, it was a coming-of-age story of a transgender woman. Pooja, sir introduced audiences to a gay police officer in 2024.
“One Bhagavad Ra One Geeta and Victory of Cholo it is an open and deliberate exercise in bringing awareness and providing understanding about silly issues,” Thapa Ghimire told. Foreign Policy. “Pooja, sir it offers a much lower, more subtle take on the phenomenon by showing a main character who is obviously a badass but has a lot more to them than that. This kind of representation, which resists making a spectacle or moral debate out of the phenomenon, plays in creating an important and common effect around it.
But there are looming questions as to whether audiences can accept such films, and whether they can guarantee returns at the box office. Thapa Ghimire is unsure about the audience’s readiness but said that films with inappropriate themes should be encouraged and supported, as they have the power to change social attitudes over time. Shah added that when funny stories are told within mainstream commercial movies, featuring famous filmmakers and actors, they can help inform a wider audience about LGBTQ characters and the challenges they face, while also expanding their visibility.
“But appearance without depth means nothing,” Shah said. “We shouldn’t just see them from the point of view of sympathy and pity and put them in such roles, or we should reduce those characters to stereotypes. We should see them as individuals, we need to empathize with them and humanize them so that the audience can see and feel them.”
Lama at the 79th annual Cannes Film Festival at the Palais des Festivals in Cannes, France, on May 20.Stephane Cardinale-Corbis/Getty Images
Over the years, throngs of well-wishers have gathered outside Kathmandu’s airport to welcome home athletes, mountaineers, and other national heroes, beckoning them with garlands of marigolds. khata– traditional Buddhist ceremonial scarves – to celebrate their success. But Elephant in the Mist the team received an unprecedented turnout of filmmakers, with government ministers, as well as crowds of people, joining in to celebrate the film’s historic success at the airport.
Reflecting on the journey that led to that moment, Lama said that none of the film’s transgender actors expected such recognition after years of living on the margins of society. For many, the opportunity to showcase their talents and find meaningful work had already exceeded their expectations.
Despite equal rights being provided to LGBTQ citizens through various means, discrimination still persists in Nepal. A UN Women Report 2023 found that few people have been able to obtain a citizenship certificate that accurately reflects their gender identity and expression, and LGBTQ individuals struggle to access basic services, including health care, education, and employment. This is especially true for transgender women and those who identify as a third gender, as they often are more visible than other gender minorities.
“In Nepal, there is a change in attitude, but there is still a big gap that needs to be closed,” said Madhurima Bhadra, an expert on gender equality, disability, and social inclusion. “Although there are many positive changes at the level of governance and policy, implementation and participation, especially with the intention of leaving no one behind, has not yet been achieved.”
According to Lama, limited employment opportunities remain one of the constant struggles of the transgender community, adding that many are turned away from employment or discouraged from looking for it altogether, with employers favoring men or women. Many fantasy films have also only starred non-characters. But the success of Elephant in the MistLama hopes, it can create a new path for more transgender artists and artists in the industry.
“I totally support the push for more actors in general, (not only for) originality, but often they already have limited options,” Thapa Ghimire said. “Elephant in the Mist it will be important and influential on the strength of its success at Cannes. Having said that, I can’t say exactly how and to what extent.”
As the film gears up for a Nepali release in September and other international festivals—including the US—it’s raising hopes for the community. But for many actors like Lama, the spotlight is short-lived, and what comes after the applause and awards is more important. For them, the fog, in many ways, has not yet lifted.
“I don’t know what I’m going to do after this,” Lama said. “I admire the filmmakers for their courage to make this film and give us an opportunity. But one film is not enough. We need more opportunities, and we want to live with the same rights and dignity as anyone else.”
