Daily Inspiration: Meet Nani Walker

Today we’d like to introduce you to Nani Walker.

Hi Nani, thanks for joining us today. We’d love for you to start by introducing yourself.
I grew up between Kathmandu, California, and Japan and I’m based in Los Angeles now.

As a kid, I fell in love with black-and-white photography, learned to process film in a darkroom, and began writing poetry. During my last two years of high school in Japan, I got involved in theater, and started making films with friends. I studied religion, philosophy, and geography during my undergrad, then did my master’s in new media and documentary production. That blend of the spiritual/emotional, analytical, and spatial anchors my process.

In my early career, I freelanced across television, music videos, narrative features and shorts, documentary, and immersive media. I worked on Michael Moore’s FAHRENHEIT 9/11 (2004) and directed the feature-length documentary OTHER NATURE (2012). I co-wrote Kinfolk’s immersive AR piece UNSUNG (2019).

My time at the Los Angeles Times marked a shift into editorial leadership. There, I launched the short docs platform and managed partnerships with festivals, brands, and sponsors. Executive producing THE LAST REPAIR SHOP (2024), which went on to win the Academy Award for Best Documentary Short, was a defining milestone, not only for the recognition, but for the impact it helped spark across the Los Angeles Unified School District.

Over the years, I’ve been honored with awards and nominations across film, journalism, immersive media, and visual storytelling, but the greater reward has always been the communities and conversations that grow around the work. Teaching and mentorship have also become a major part of my practice. For the past eight years, I’ve taught interdisciplinary courses on multimedia storytelling, cognition, and documentary craft.

Most recently, my debut narrative feature SHAKTI (2025) has begun its festival journey.

I am guided by the intention to tell stories with care, clarity, and impact.

Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
There are ebbs and flows. I’ve moved between countries, cultures, and mediums my whole life, so adapting has been built into my worldview. Working in filmmaking and journalism came with its own set of challenges, especially as a woman behind the camera.

There were so many moments early on when men felt the need to “teach” me things I already knew or correct me in rooms where I was equally or more qualified. It took time to step into my own becoming.

Like a lot of independent storytellers, I dealt with the usual hurdles of unstable funding, unpredictable freelance work, and the emotional weight of working on stories involving trauma, injustice, or systemic harm.

The challenges made me more intentional, more grounded, and more committed to creating spaces where other women and marginalized storytellers don’t have to fight the same battles I did.

Appreciate you sharing that. What else should we know about what you do?
My debut narrative feature, Shakti, is something I’m especially proud of. It’s rooted in Kathmandu, where I was born, and sits at the intersection of storytelling and social impact. The film tells the story of a mother and daughter navigating silence, stigma, and the limits imposed by Nepal’s restrictive statute of limitations for survivors.

Shakti is part of a broader push for justice, accountability, and inclusivity in Nepal. It highlights a legal framework that leaves survivors, especially those from the most marginalized communities, without meaningful paths to justice. In many ways, the film is speaking directly to the experience of the Dalit community, whose voices have historically been silenced in South Asia and the diaspora.

The social impact side of this film is central. I wanted Shakti to do more than raise awareness, I wanted it to galvanize action, spark dialogue, and invite audiences to confront systems that rely on silence.

At its core, the film is about reclaiming voice, and using narrative as a way to build awareness, and build solidarity, both within Nepal and across diasporic communities. That’s the impact I envision Shakti continues to make long after the festival run.

Any advice for finding a mentor or networking in general?
For me, the most meaningful mentorships came from showing up with curiosity, consistency, and a genuine desire to learn. I’ve found that people respond when you’re clear about what you’re working toward and respectful of their time. Seek out communities that align with your values, volunteer your skills, and stay connected even when you don’t need anything. The best relationships grow organically, through shared work, trust, and mutual respect.

Contact Info:

• Website: https://www.instagram.com/shaktifilmofficial/?__d=1%2F%2F
• Instagram: https://www.instagram.com/naniswalker/?hl=en
• Facebook: https://www.facebook.com/shaktifilm2025
• LinkedIn: https://www.linkedin.com/in/nanisahrawalker/

Image Credits
All the photos are Copyright of Crystal Mountain Films