As the Nepal International Film Festival (NIFF) wrapped up in the heart of Kathmandu, one of the most compelling voices at the "Xizang Panorama" section was Hong Yang. A filmmaker with the China Global Television Network (CGTN), Hong Yang traveled to Nepal for the first time to showcase her documentary series, "Sunrise over the Plateau. In this exclusive conversation with Anil Yadav, she reflects on the striking cultural similarities between Kathmandu and Lhasa, the physical toll of filming at 4,800 meters, and her vision for a unified "Himalayan Narrative" that transcends borders.
1. Your film brings a unique perspective of Xizang (Tibet) to the screen. What was the core inspiration behind this story, and what specific message or emotion do you hope the Nepali audience—who share a similar Himalayan culture—will take away from it?
–In this series, Sunrise over the Plateau, we explore the deep transformation and the many changes that have been happening across Xizang over the past decade. I would say 'transformation' is the core inspiration we drew from all the characters we had the privilege to meet during filming. That is the core image and emotion that I—and the entire directing team—want to deliver to the Nepali and international audience. We want to show how life is evolving while maintaining its roots.
2. Nepal and Xizang share deep geographical, spiritual, and cultural roots. Since arriving in Kathmandu, what similarities have you noticed between the people or the atmosphere here and the environment depicted in your film?
–Actually, I have found so many similarities here! This is my first time ever visiting Nepal, and it has been fascinating to see the parallels. For example, the woolen fabrics, the traditional way people make clothes, and the intricate patterns you see on the doors and the shops—everything feels very familiar. It has a "homey" style that reminds me exactly of what I found in Xizang.
In our documentary, we actually feature a lady who makes Pulu (a traditional Tibetan wool fabric). Her work is focused on refreshing and preserving traditional handicrafts. I think that is exactly what the craftsmen here in Nepal are doing. Walking through Thamel Street, I saw some very cute woolen products—the hats, the charms—and it felt so connected. It made me realize that across the entire Himalayan mountain region, people are deeply linked through culture, daily habits, and shared beliefs.
3. Filming in high-altitude regions, often called the 'Roof of the World,' is physically and technically demanding. Could you share one major challenge you faced during production and how that experience shaped you as a filmmaker?
–Yes, it is incredibly demanding. Working on Sunrise over the Plateau was actually my first time ever working on the plateau environment, so it was a transforming experience for me personally. I remember one terrible night at an altitude of 4,800 meters. I was constantly checking my blood oxygen levels, and I watched the meter just going down and down. I was so nervous!
That experience taught me a vital lesson that I now carry as a filmmaker: "You should always be over-prepared, otherwise you are under-prepared." That is the one line I will definitely repeat to myself before I ever embark on another filming trip to the plateau.
4. There is an increasing global interest in indigenous and mountain stories. How do you think filmmakers from China and Nepal can work together to promote a "Himalayan Narrative" on the international stage?
–I think, around the globe, people from different nations and ethnic backgrounds share a similar aspiration: they all cherish their traditions and want to tell their authentic stories. For filmmakers in both China and Nepal, the key is to focus on "knowing what we know." By staying true to our own lived experiences and deep-rooted cultures, we can deliver the most powerful stories to the world. Collaboration comes from that shared respect for authenticity.
5. As a participant in the Xizang Panorama at NIFF, how do you view the role of international film festivals in strengthening the friendship and artistic exchange between the film industries of China and Nepal?
–At CGTN, we are primarily a news media organization, so stepping into the world of documentary filmmaking for festivals is still quite a new journey for us. However, I love non-fiction films; they have a unique power to connect people. I feel very lucky to be here at NIFF and to meet such amazing people. We’ve had very close communication and a wonderful exchange of ideas. Building a platform like this is essential for friendship between our industries. I am so happy to see that Nepal already has such a strong festival, and I believe more filmmakers from around the globe will want to come here next year, and then come back again and again.
6. After experiencing the beauty and hospitality of Nepal, do you see potential for a future project or a co-production that involves both Chinese and Nepali locations, artists, or technicians?
–Yes, definitely! Through the conversations I’ve had with people during this festival, I’ve realized that there is actually a lot of cooperation already happening between our two countries. Seeing the potential here, I am sure this friendly relationship and these artistic co-productions will continue and grow for sure. Thank you so much for having me.
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