Since then Nalin has been actively making fiction and non-fiction movies which have been coproduced with countries like India, France, Germany, Italy, Japan, and the USA.

Nalin also made short documentaries for Canal Plus on Indian superstars Shah Rukh Khan and Sridevi.

The subjects of his documentaries ranged from modern India to deep interiors of Nagaland to High Tibetan plateau of the Himalayas.

Nalin's independent moviemaking spirit attracted French documentary filmmaker Yolande Zauberman’s attention; so while she was making her feature documentary Born Criminal in India, Nalin shifted his career gears by becoming co-producer on the movie because he was highly impressed by Zauberman’s style of moviemaking.

[9][10] Nalin got a breakthrough with Cinematheque in Paris, where his documentary "Sacred Courtesan Devadasi" and his short fiction "Khajuraho" was being showcased, in the audience was Europe's prolific producer Karl Baumgartner.

Samsara got invited to Toronto International Film Festival to make the world premiere, Miramax and fifty other distributors acquired the movie for the distribution.

[11] Pan Nalin came into global limelight; SAMSARA became a massive commercial and critical success worldwide and won him many international awards.

[12] Following theatrical success of "Samsara", Nalin traveled 15000 km by road to meet with traditional masters of Indian medicine.

[13][14] In 2006, Nalin's Hindi and Japanese language second feature, Valley of Flowers was pre-sold to nearly 35 countries and considered a major underground hit.

The spiritual longing of Tarkovsky movies, high voltage actions of Kurosawa, and versatile styling of Kubrick and Sergio Leone were some of the early influences on Pan Nalin's work.

He believed that each story or screenplay is born with its own natural cinematic style, and Stanley Kubrick and Sergio Leone proved it with each and every movie they made.

Samsara was conceived with almost every frame storyboarded and composed by Nalin, actors were restricted to respect that and were not allowed even the slightest of improvisation.

Nalin made a small book for the cast and crew, “Notes on Zenematography.”[30] Angry Indian Goddesses is the opposite with its handheld cinematography actors were given the freedom to improve and go in and out of frame as they please.

[32] With Valley of Flowers Nalin made an attempt to create an authentic Asian love story, free of western influences.

Valley of Flowers story commences in the early 19th century in high-altitude Himalayas and ends in modern-day Tokyo.