Shunya is the Buddhist notion that all things are made up, empty of realness, in an absolute sense, but the subject of films, of novels, is the murky, fecund relative. For me,  shunya should permeate the film differently, not in the sense of some transcendalist idea but the opposite,  of samsara.  Narrative film should excavate the murky, conflict, all round, they should up the ante of conflict as residing in every perspective, to draw sympathy to difference, whether we agree or not with the difference. kesang tseten

Kesang Tseten’s hami kunako manchhe (‘we corner people’) won Best Nepali Documentary at the Kathmandu International Mountain Film Festival (’06), the Slovenia TV Award and the Special Jury Award at the ’07 Slovenia International Mountain Film Festival; and was selected for the New Asian Currents of the Yamagata International Documentary Film Festival ’07. On the Road with the Red God: MACHHENDRANATH won the Grand Prize at the Kendal Mountain Film Festival (’06), Mention at the Bilan du Ethnographique, and was voted Best Documentary of the Decade  by the Nepal Motion Pictures Association (’05).  We Homes Chaps featured at the Film SouthAsia and the Margaret Mead Film & Video Festival.

Frames of War, which Tseten co-directed and produced, about victims of Nepal’s 11-year conflict and the photo exhibition A People War, won the Best Film of the Nepal Panorama at Kimff 2008, and was seen by 60,000 people around the country.    In 2010, Tseten completed his migrant worker project about Nepali workers to the Gulf, In Search of the Riyal, which was a PUSAN recipient of the Asian Cinema Fund and screened at Pusan International Film Festival and The Leipzig Documentary and Animation Film Festival, The desert Eats Us, and Saving Dolma, which was a Jan Vrijman Fund selection and will premiere at the International Documentary Film Festival of Amsterdam (IDFA).

Tseten wrote and co-directed Listen to the Wind, a fictional short for teenagers;  his original screenplay Mukundo (Mask of Desire), co-produced by NHK/Japan and Nepal’s selection to the Academy Awards (2001), was given the Best Script Award by the Nepal Motion Pictures Association. He wrote the original screenplay KARMA in 2004.