How ‘Elephants in the Fog’ Made Nepal’s Historic Un Certain Regard Breakthrough

The selection of “Elephants in the Fog” for Un Certain Regard at the Cannes Film Festival marks a significant milestone for Nepali cinema, but it also raises questions about the responsibility that comes with representation. Director Abinash Bikram Shah’s film tells the story of Pirati, a Kinnar matriarch living in a small village in Nepal’s southern Terai plains, and her complex relationships with her community and the outside world.

The film’s premise is built around contradictions: public hostility versus private resilience, tradition versus modernity. Shah has said that he was struck by the Kinnar community’s ability to maintain a presence on TikTok despite facing hate remarks and bad comments. This contradiction is reflected in Pirati’s own story as she navigates her love for the local drum master while dealing with the pressures of living in a society that often prefers to ignore or marginalize people like her.

Shah’s approach to filmmaking is notable not just for its sensitivity but also for its willingness to challenge stereotypes and conventions. By working closely with Kinnar community members, including Puspa Thing Lama, who plays Pirati, Shah aimed to create a film that would show the community in a new light. The result is a nuanced and complex portrayal of people who are often invisible or misunderstood.

The film’s use of imagery reflects how people from marginalized communities are often perceived by those outside their community. In one scene, Pirati’s daughters paint eyes onto tree trunks to appeal to the forest to look back and see them. This image resonates with Shah’s comment about how Kinnar women are seen as “elephants carrying something enormous inside a set of rules not designed for her.”

The film’s release coincides with a time when gender non-conforming people are being openly weaponized in political discourse across multiple countries. Shah is clear-eyed about the film’s relationship to this context, emphasizing that it was not the engine of the work. For him, the politics grow out of the human truth, rather than the other way around.

Shah feels a responsibility to tell the story of a trans woman in a way that is honest and respectful. This sense of duty is reflected in his approach to casting, where he sought out people from within the Kinnar community to play key roles. The film’s use of music, composed by Frédéric Alvarez, blends traditional Nepali sounds with something more fractured and modern to track Pirati’s inner journey.

Ultimately, “Elephants in the Fog” is a film that challenges our assumptions about people from marginalized communities. By showing us the complexity and nuance of Pirati’s story, it reminds us that we need to look beyond stereotypes and conventions in order to truly understand others. As Shah says, treating characters from the margins with the same complexity and tenderness as anyone else is the most radical thing an artist can do.

The film’s release in Cannes marks a significant milestone for Nepali cinema, but it also raises questions about the responsibility that comes with representation. Can we truly understand people from marginalized communities if we only see them through the lens of our own assumptions and biases? “Elephants in the Fog” suggests that the answer is no, and that we need to do more than just represent these communities – we need to listen to their stories and learn from their experiences.

Representation matters because it has the power to change the way we see ourselves and others. By telling the story of Pirati, Shah’s film shows us a different side of Nepal and its people. This is not just about representing marginalized communities; it’s also about challenging our own assumptions and biases.

Shah is clear-eyed about the politics of his film, but he emphasizes that they grow out of the human truth rather than being an engine for the work. For him, authenticity and honesty are essential in filmmaking.

The making of “Elephants in the Fog” was a collaborative effort, with Shah working closely with Kinnar community members, editors, cinematographer Noé Bach, and composer Frédéric Alvarez. This collaboration is reflected in the film’s nuanced and complex portrayal of people from marginalized communities.

The release of “Elephants in the Fog” in Cannes marks an important milestone for Nepali cinema. It also raises questions about the future of filmmaking in Nepal, and whether we can continue to tell stories that challenge our assumptions and biases.