Chini Kam Rang Kada is a 2020 Nepali film directed by Nepali-American filmmaker Bibek Ghimire, who made his directorial debut with the movie after studying filmmaking in the United States, and it was written and produced by Ganesh Dev Panday. The film was released via Amazon Prime Video on 1 July 2020 in the USA and the UK, with a subsequent release in Nepal during the Dashain season, becoming one of the first Nepali films to stream through the global platform while the theaters of the country were largely closed by the COVID-19 pandemic.

The film tries to weave together a love story, a crime thriller and a social commentary on the state of Nepali youth. The story revolves around Ajay, a disheartened musician played by Manav Ghimire, who dreams of making music as an artist in a country where the mainstream film industry demandsa different type of song. He stumbles into a naive tea-seller named Lalita in one of the busy squares of Kathmandu; meanwhile, the young man struggles with the influence of the melody of the western world and the pressure of the music industry, and he turns a mysterious path around him.

Director Bibek Ghimire's style is distinct, visible in the focus of the shots of hands changing chords on the guitar, the realistic in-the-location shooting, the diegetic and unfiltered noise of the capital, and the real-life footage of the streets with the meandering of the central characters; the film crashes the minimalist towards a documentary-like authenticity, an attempt to not be another commercial Nepali film. The movie's music was composed by Manav Subedi, who also acted in the film, with lyrics by Sushil Sitaula; the cast includes Manav Subedi, Anu Thapa, Rabin Jung Thapa, Surya Thapa and Jiban Bhattarai. The cinematography is by the Italian duo Yacopo Rachalic and Luca Mauceri, and Krishna Bhandari handled the editing.

Reviewers characteristically praised the film for refusing to be a mainstream commercial production and for its realism; others criticized it as building a commentary that never became something more than the sum of its parts, confusing minimalism with emptiness. The film was received warmly by the diaspora viewers in the USA and UK, in the age of the pandemic.