<img width="2480" height="1753" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141148/636a5edf9c7e80680e056df2jpeg.jpg" alt=""/>Vidyadutt Sharma, 83, stands in front of his blue-tinted two storey home, looking out into a 360 panorama of the Himalayan mountains. This is Moti Bagh, Sharma’s farm in Pauri district of the Indian state of Uttarakhand. Tall, with an aquiline nose, white hair cropped close to his scalp and rugged features, weathered by work in the farm, Sharma in kurta pyjama and vest, points to the abandoned homes and locked gates. These are the ‘ghost villages’ where inhabitants have migrated permanently. “The mountains are dying,” says Sharma, who worked for the state government and resigned when he was 28. There is a photo of him with a fierce beard, which he grew in protest to get high school status for the village school. Now, it is an Inter College, he says proudly. Another family photo with his wife and four children, two daughters and two sons, one who died young. His wife died in 2000. “She kept us all together and whatever status I have today is because of her,” he says. Sharma (pictured right) ploughs his land with oxen, plants seeds, hauls his own water and chops wood. He sings while sowing seeds of monkeys and langoors who pick and destroy the crops, the wild boars, cows, parrots, jackals, porcupines. In 2019 Sharma’s record breaking 22.75 kg radish won a national award and made him famous. Cooking a vegetable dish over a wood fire he says ‘upper’ caste people have left the villages and abandoned farming. The ‘lower’ castes do all the work. With the demise of farming, producers are now consumers, people want to work with the mind, not hands, scared of physical labour, he says.“It’s easy to write books, but the challenge is to make a tomato seed grow,” Sharma adds.Consolidated fragmented farms would make agriculture more productive. The farms were rainfed, and when in 1976 Sharma started rainwater harvesting the villagers laughed at him. <img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141148/636a5ee29c7e80680e056df3jpeg.jpg" alt="" width="1500" height="2000">Pauri town is 35 kilometres from Moti Bagh and built up in concrete like most hill towns. Tribhuvan Uniyal, Sharma’s journalist son, lives here with his wife and two children. Will they farm? His daughter wants to do fashion design. In a trip to Pauri town to meet the Regional Transport Officer (RTO), Sharma protests about the re-routing of buses in their village. The bus contractor tells the RTO on the phone that there are not enough passengers on rural routes anymore. Get the buses back on the usual routes, orders the RTO. With locals having migrated, most farmhands here are from Nepal. Helping Sharma on his farm is Ram Singh, who came here from western Nepal 18 years ago and never left. He is happy the children got to go to school, he has savings to send back to the larger family back home.“Locals are jealous of me,” Ram Singh says with a toothy smile. When he first came, he and his family were called names and told to go back to Nepal. Now, he says, he is accepted. “I will have to return to Nepal one day or, maybe we will be made to go back,” he says.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108141148/636a5ee69c7e80680e056df4jpeg.jpg" alt="" width="960" height="1280">Director Nirmal Chander Dandriyal (pictured left) is himself from Uttarakhand and his sensitivity to his protagonists shines through the film. He was born in Chennai, but began travelling to Uttarakhand more frequently around 2011. Seeing migration as a central issue interconnected to others, he felt it could be a theme for a film. But, how to tell the story?  Migration was not a new issue. But while it is seasonal in other states, in Uttarakhand it is permanent.So, Moti Bagh became the location, a microcosm to the big picture. The story unfolds through the characters, without hectoring, lecturing, or a voice over of gloom and doom. The characters in the film are fresh and rooted in the environment. Supported by India’s Public Broadcasting Service Trust (PBST) and Prasar Bharati, Chander was able to shoot in different seasons, various stages of cultivation, and events such as marriages and wildfires. Chander’s rhythms changed and informed the way he shot. He let it flow. The cycles and pace of life quietened him. He found peace.Moti Bagh has been picked as an entry for the oscars and will be screened at the South Asian Documentary Film Festival in November in Kathmandu.https://www.youtube.com/watch?v=lHfTKPUBY1gMoti Bagh, 201960 minHindi

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Moti Bagh

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110814110/636a53a59c7e80680e052360jpeg.jpg" alt="" width="800" height="800"/>Much has been said about the darker, edgier remake of the beloved 1994 animated classic <a href="https://www.imdb.com/title/tt0110357/" target="_blank" rel="noopener">The Lion King</a> since its release a month ago. Most notably, the digitised re-release uses new photorealism techniques to bring to life breathtaking computer-generated shots of wildlife and nature.It is so realistic we have to remind ourselves we are not watching <a href="https://www.imdb.com/name/nm0041003/" target="_blank" rel="noopener">Attenborough</a> or Animal Planet. But in retelling the original cartoon movie, it is precisely this virtual realism that has been panned by reviewers for ‘lacking soul’, and being ‘heartless’, or ‘trading feelings for realism’.Still, as someone who was so moved as a child by the original Lion King, <a href="https://www.imdb.com/title/tt6105098/fullcredits/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">the 2019 version</a> worked well, as it retold the story of a young cub who must embrace his role as the rightful king of Pride Rock and avenge the death of his father Mufasa at the hands of his villainous Uncle Scar.The young Simba crying for help after the stampede is as powerful and as painful to watch, if not more. The audience of young Nepalis at a matinee show at Labim Mall was thoroughly transfixed by the boisterous 3D duo of Pumbaa and Timon. Hakuna Matata is there, so is a body positive message in the mix. And despite working with a different medium, the characterisation of young-adult Simba is still on point: joyously chasing after butterflies over a clearly perplexed antelope.The only actor reprising his voice role, James Earl Jones as Mufasa sounds as kingly as he did the first time around. The voices of <a href="https://www.imdb.com/name/nm2255973/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Donald Glover</a> as Simba and Beyoncé as Nala are perfect fits. <a href="https://www.imdb.com/name/nm6556377/?ref_=ttfc_fc_cl_t6" target="_blank" rel="noopener">JD McCrary</a> as young Simba is full of life, naive and entitled. <a href="https://www.imdb.com/name/nm0252230/?ref_=ttfc_fc_cl_t1" target="_blank" rel="noopener">Chiwetel Ejiofor</a> presents a different Scar, downright menacing and terrifying, a departure from <a href="https://www.imdb.com/name/nm0000460/?ref_=tt_cl_t7" target="_blank" rel="noopener">Jeremy Iron</a>’s charismatic villain. But the highlight have to be Simba’s sidekicks, Pumbaa and Timon, voiced by hilarious <a href="https://www.imdb.com/name/nm0736622/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">Seth Rogen</a> and <a href="https://www.imdb.com/name/nm2813994/?ref_=ttfc_fc_cl_t13" target="_blank" rel="noopener">Billy Eichner</a>.<a href="https://www.imdb.com/name/nm0001877/?ref_=ttfc_fc_cr13" target="_blank" rel="noopener">Hans Zimmer</a> and Elton John return for musical composition. Circle of life, as the opening of the film, is a shot-for-shot adaptation of the original. The high-spirited Hakuna Matata and soulful Can you Feel the Love Tonight? are full of nostalgia.Director <a href="https://www.imdb.com/name/nm0269463/?ref_=tt_ov_dr" target="_blank" rel="noopener">Jon Favreau</a> made <a href="https://www.imdb.com/title/tt3040964/?ref_=nm_flmg_prd_9" target="_blank" rel="noopener">The Jungle Book</a> in 2016, and used some of the new technology in this Lion King. During promotions Favreau said it was important that the film have the illusion of being a naturalistic documentary. The fact that the Lion King is based in Africa drives home the reality of desertification and biodiversity loss caused by human greed and the <a href="https://www.nepalitimes.com/banner/living-below-nepals-melting-mountains/" target="_blank" rel="noopener">climate emergency</a>.One might ask why we need a photorealistic Lion King with Musafa explaining to Simba the circle of life when ecosystem collapse is already so real. Besides, we have Animal Planet and other nature documentaries. Here's why: the Lion King anthropogenises wildlife, forcing children hooked on cartoons to learn early about nature’s balance and the need for <a href="https://www.nepalitimes.com/banner/in-conservation-nepal-is-not-out-of-the-woods-yet/">conservation</a>. The message is more powerful when the digital animals are more realistic.Cartoons are keeping pace with animation technology, and this can only make them more relevant at a time when the Planet is facing its <a href="https://www.nepalitimes.com/banner/between-existence-and-extinction-in-nepal/" target="_blank" rel="noopener">sixth extinction</a>. If they can be entertaining and goad the next generation to be activists for the Earth's protection, that can only be a good thing.

Sonia Awale

Animal Planet meets Disney World

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45439c7e80680e04d377jpeg.jpg" alt="" width="2052" height="1368"/><figcaption>Protesters walked from Pulchowk to Maitighar on Wednesday to silently demonstrate against the arrest of Pranesh Gautam, who was jailed this week for reviewing the movie Bir Bikram 2. Photos: MONIKA DEUPALA</figcaption></figure>The Kathmandu District Court has ordered that YouTuber Pranesh Gautam, who was arrested for his review of the movie Bir Bikram 2, be kept in custody for one more day. Gautam was arrested on 7 June and is charged with violating the Electronics Transaction Act.Gautam uploaded his satirical review of the movie on YouTube channel Meme Nepal. He compared the film to the Hindi movie Sholay, criticised the acting of the film’s stars, and called the direction weak.Read also: <a href="https://www.nepalitimes.com/opinion/nepal-has-press-freedom-but-no-freedom-after-press/" target="_blank" rel="noopener">Nepal has press, but no freedom after press</a>, Shashank ShresthaThe director-producer of the movie, Milan Chams, filed a police complaint against Gautam two weeks ago, claiming the video negatively impacted the movie's sales and the director and actors' reputation. The police arrested Gautam, and filed a case under the Electronic Transaction Act.Cyber law expert and advocate Baburam Aryal calls this an extreme misuse of power. "This shows that the police administration is not adhering to the law," he says. "This is an example of how the administration can misuse power. Such an action by the police is a travesty in a democratic society. Such acts decrease the creative potential of a society and push the country towards dictatorship."Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/here-now/zip-up/" target="_blank" rel="noopener">Zip up</a>, Rameshwor Bohora<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/long-shadows/" target="_blank" rel="noopener">Long shadows</a>, Sewa Bhattarai<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45469c7e80680e04d378jpeg.jpg" alt="" width="2106" height="1404"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a454a9c7e80680e04d379jpeg.jpg" alt="" width="2129" height="1419"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a454d9c7e80680e04d37ajpeg.jpg" alt="" width="2052" height="1368"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110813110/636a45519c7e80680e04d37bjpeg.jpg" alt="" width="2106" height="1404">Nepali Congress MP Gagan Thapa called it wrong to file a case against a comedy video. "Absurdist humour is taken as normal all over the world," he tweeted. "It is unfortunate that Pranesh Gautam was charged with cyber crime for a satire video, and it is against freedom of speech. Criticism is the main pillar of democracy, let us protect it."Nepal's Constitution guarantees freedom of expression as a fundamental right. Other laws address misuse of speech through slander and libel, so there should be no reason to resort to using the Electronic Transaction Act.Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/gagging-the-press-in-installments/" target="_blank" rel="noopener">Gagging the press in installments</a>, Sewa Bhattarai<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/opinion/creeping-control-over-the-press-in-nepal/" target="_blank" rel="noopener">Creeping control over the press in Nepal</a>, Ajay PradhanCitizens are free to react to subjects of public interest and to comment on other people's creative outputs. Being arrested on the basis of such comments is nothing more than a way for the police to intimidate critics. Advocate Aryal claims that since a movie is a 'product,' it is not considered slander to review it, since only negative comments made on a personal level can be libellous.However, the Producers' Association accuses Gautam of undermining the movie industry. A group of people from the industry, including producer Akash Adhikari, actor Bhuwan KC and media-person Naresh Bhattarai, visited the Metropolitan Crime Department in Teku to support Chams.Read also:<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/suppressed/" target="_blank" rel="noopener">Suppressed</a>, Om Astha Rai<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://www.nepalitimes.com/banner/strongman-rule/" target="_blank" rel="noopener">Strongman rule</a>, Om Astha RaiChams had promised to withdraw the case if Meme Nepal is shut down, but is now demanding Rs10 million to withdraw the case.Bir Bikram 2 was released on 17 May, and Gautam reviewed the movie five days later. After complaints from the movie producers, Meme Nepal removed the video from YouTube.

Scripted arrest

<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110811114/636a29ac9c7e80680e0458dejpeg.jpg" alt="" width="1500" height="1000"/>Given his multinational background, it was perhaps inevitable that it would be Pema Dhondup would make the first truly global Nepali feature film. Dhondup’s family moved down from Tibet to Jomsom after the Chinese annexation, and from there to Himachal Pradesh and cities across India. He has been living in the United States for the past 15 years.His movie <a href="https://www.imdb.com/title/tt5364878/" target="_blank" rel="noopener">The Man from Kathmandu</a> is shot in Kathmandu and Los Angeles, features a stellar cast of Nepali actors like <a href="https://www.imdb.com/name/nm4542007/?ref_=tt_cl_t8" target="_blank" rel="noopener">Karma</a>, <a href="https://www.imdb.com/name/nm0787463/?ref_=tt_cl_t11" target="_blank" rel="noopener">Neer Shah</a>, <a href="https://www.imdb.com/name/nm1200073/?ref_=tt_cl_t6" target="_blank" rel="noopener">Mithila Sharma</a>, <a href="https://www.imdb.com/name/nm7273293/?ref_=tt_cl_t5" target="_blank" rel="noopener">Anna Sharma</a> and international stars including <a href="https://www.imdb.com/name/nm0004109/?ref_=tt_cl_t1" target="_blank" rel="noopener">Gulshan Grover</a> from India, and other actors from Puerto Rico and Spain."Many people from across the world travel to be a part of the <a href="http://archive.nepalitimes.com/blogs/thebrief/page/87/" target="_blank" rel="noopener">terrorist group ISIS</a>, even educated men from Western countries. But so far not a single one of them has been a Nepali," says Dhondup, “I wanted to explore the story of that one man among thousands. I wanted to find out what is it about Kathmandu that brings about this phenomenon."Read also: <a href="https://www.nepalitimes.com/here-now/animated-in-nepal/" target="_blank" rel="noopener">Animated in Nepal</a>, Sikuma RaiTheme of his film is interaction between man and city, how Kathmandu changes the outlook of a radical half-Hindu-half-Muslim protagonist. Terrorism is just the backdrop to the plot, the real story is of a man's journey.To be sure, making Kathmandu the setting for this movie seems unusual, since Dhondhup is not Nepali and does not speak the language. And the film itself seems to be an effort on the part of the director to come to terms with his own identity and the definition of ‘home’."You can say the quest has ended in a way for me, in the form of my American passport. But does that really define who I am?" he asks.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022110811114/636a29af9c7e80680e0458dfjpeg.jpg" alt="" width="2000" height="1376"><figcaption> </figcaption></figure>We interview Dhondup in the Labim Mall office of the film’s producer Nakim Uddin of QFX. Despite his globe-trotting, the director says Kathmandu was the only city he could have filmed his story in. He has fond memories of Kathmandu from his childhood when he came here to visit family members, and in those days it was as exotic as visiting a foreign country."This is a place where identities and cultures are always in flux. In any other city, you immediately know who is who, what a particular person's origins are. But in Kathmandu, walk down a street and you cannot figure out people. Temples, monasteries, churches and mosques flourish side by side. The city has accepted and absorbed all kinds of identities," he adds.The theme of The Man from Kathmandu actually follows on from Dhondup's earlier movies where he explored the question of identity. His 2004 movie <a href="https://www.imdb.com/title/tt0452541/" target="_blank" rel="noopener">We're No Monks</a> was about a group of Tibetan boys coming out of their secluded existence to face the world. His documentaries have profiled members of the Tibetan diaspora scattered all over the world."It is very hard to make it in American filmdom, and not because of the reason you may be thinking," Dhondhup explains. "Being brown, or of any race, doesn't matter as much as you might expect. But it matters how well you fit into the capitalistic, money machine of Hollywood studios. If you fit, you can make progress. If you don't fit, and you want to experiment you will have a hard time."Still, years of working in Hollywood has given a certain rigour to his work which he feels is necessary for <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Lights-camera-copy-paste,1146" target="_blank" rel="noopener">Nepali cinema</a> to make it on the global stage. Many Nepali films are still formulaic stories, but Dhondhup says that is not the real problem."No matter what kind of film you make, it has to be up to international technical standards, of sound, visual, editing, otherwise we have everything in Nepal to make world class cinema, from good actors to good equipment. Using these, we can tap into huge market in India and China just next door," he says.Whether or not The Man from Kathmandu will be ‘world cinema from Nepal’ and is of international standard remains to be seen. But Dhondup says it is already global in a sense that it meets technical specifications, and is set to be released in 50 countries after its Nepal premier this week. Dhondup hopes to continue working in Nepali cinema with Nakim Uddin, grooming and helping a new generation of Nepali filmmakers.https://www.youtube.com/watch?v=kMvpmY7zfoYThe movie will be in cinemas in Nepal from 15 March.

A director from Kathmandu

<img width="683" height="1024" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a27049c7e80680e043a4bjpeg.jpg" alt=""/>In an industry prone to profit from escapism, Nepali cinema has suddenly started coming out with movies that portray the reality of life with all its ugly truths.The latest is <a href="https://www.imdb.com/title/tt8622286/" target="_blank" rel="noopener">Bulbul</a>, a film with a straightforward plot, ordinary characters and portraying contemporary Nepal where issues like gender, patriarchy, migration, joblessness, health care, and the struggle to survive are all intertwined.This is not about 2 hours of dancers gyrating to the pulse of masala film songs, but a chronicle of the life of Ranakala (<a href="https://www.imdb.com/name/nm8758984/" target="_blank" rel="noopener">Swastima Khadka</a>) who drives a tempo in Kathmandu’s busy and narrow streets. Her husband went to Saudi Arabia to work, but has not returned for six years and cannot send money home. She lives in a dingy flat taking care of her paralysed father-in-law. Ranakala has a daughter too, but has placed her child in a boarding school so that she can have a brighter future.Read also: <a href="https://www.nepalitimes.com/review/tom-dick-and-hari/" target="_blank" rel="noopener">Tom, Dick and Hari</a>, Ayush NiroulaBulbul is written and directed by Binod Paudel, principal of Oscar International College of Film Studies which has produced quite a few film-makers of the New Wave of Nepali Cinema. <img width="1280" height="720" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101152/636a27069c7e80680e043a4cjpeg.jpg" alt="">A lead character like Ranakala is a novelty in Nepali films, which usually have exaggerated personas, unrealistic romances and facile characters. In Ranakala, however, director Paudel taps into the story of struggle and the complex emotions of a Nepali woman's life.Bulbul has a character driven plot, and Swastima Khadka's authentic portrayal of Ranakala is refreshing and captivates. Her hardships are writ large in her sombre expressions and sharp dialogues which give us a nuanced, all-round portrait of her complex psychology. One can't help but root for this simple, independent girl as she makes a living in a difficult city. She is fierce at her job, tender as a mother, understanding as a friend, struggling as a wife. But overall Ranakala embodies the female shakti.  Since <a href="https://www.nepalitimes.com/opinion/changing-the-headlines-on-migration/" target="_blank" rel="noopener">migration</a> has become such an important facet of the lives of Nepalis today, it is inevitable that it figures prominently in contemporary <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-saili-wave-hemant-rana,3561" target="_blank" rel="noopener">Nepali music videos</a> and movies. But in Bulbul, Paudel tackles a new figure in the equation -- the impact of migration on the wives men leave behind at home.Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-saili-wave-hemant-rana,3561" target="_blank" rel="noopener">The Saili Wave</a>, Sahina Shresthahttps://www.youtube.com/watch?v=KXONssqFatQRanakala speaks to her husband through ear pods as she drives her tempo, pleading that he come home, speaking frankly about their relationship. Paudel is subtle, but searing as he shows us the toll migration is taking on women – a tale repeated hundreds of thousands of times in homes across Nepal.The supporting cast is also competently natural, elevating the movie's authenticity. <a href="https://www.imdb.com/name/nm9936603/" target="_blank" rel="noopener">Mukunda Bhushal</a> as Chopendra provides both comic relief and  is refreshing as an anti-hero character that veers from the traditional perception of a lead actor in Nepali movies. Ranakala's co-drivers demonstrate a camaraderie that sustains them through difficult times, perhaps through the knowledge that they are suffering together.Ranakala's dismal habitation and its overwhelming silence, always with a backdrop of monsoon rain, poignantly accentuate her lonely struggle. Bulbul gets more intense as the plot thickens, as unpredictably as life often does. We don't know what will happen to Ranakala and what decisions she will make, but we want to understand her psyche because Paudel builds our intimacy with her in a way that makes us co-travellers in her life.Bulbul does not have any unnecessary drama, it is a candid immersion into contemporary Nepal through a woman’s eyes. Paudel has redefined what a heroine is in Nepali cinema: not just a pretty lady dancing to a superficial romance, but an individual trying to stay afloat after being thrown off the deep end of life.

Bulbul

<img width="1400" height="875" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221108101132/636a22fa9c7e80680e0417bfjpeg.jpg" alt=""/>The aptly titled movie <a href="https://www.imdb.com/title/tt7668870/" target="_blank" rel="noopener">Searching </a>is a film for our times. In an era where youngsters haven’t touched a physical newspaper for the past five years, when they spend more time on the mobile monitor than looking at the real world. Searching plays out almost entirely on-screen with a nearly all-Asian cast, and most of the script is not voiced dialogue but through apps like Facetime and Skype, Google searches, Instagram and Facebook posts. When David Kim (<a href="https://www.imdb.com/name/nm0158626/?ref_=tt_ov_st_sm" target="_blank" rel="noopener">John Cho</a>) realises his quiet, studious teenage daughter Margot <a href="https://www.imdb.com/name/nm8045046/?ref_=nmbio_bio_nm" target="_blank" rel="noopener">(Michelle La</a>) is missing, he starts a search for her. He files a police report, but starts a search of his own, going through her contact records and chats on their shared computer. Telling you whether or not David finds the culprit and saves his daughter would be a spoiler, but suffice to say that the ending is unexpected and dramatic, as every good mystery should be. The movie has also received praise for its Asian-American cast, the first time they have headlined a Hollywood thriller. But much more than all these factors, it is the contemporary storytelling style that makes Searching stand out. The movie goes virtual right from the start: the opening scene is of a computer logging in. Calendar entries and reminders tell us how Margot is doing at school, and also how her mother’s health is progressing. When Margot creates, postpones, and finally deletes the entry ‘Mom comes home’, we realise the tragedy, but without an accompanying melodrama. If this sounds a little impersonal, that is what the world has become as the lines between online and offline get blurred.  https://www.youtube.com/watch?v=3Ro9ebQxEOYDavid does not recognise the daughter he knows in her online persona with her intimacies and random people she chats with. This and other paradoxes ring true to our experiences of how social media exaggerates and distorts our perceptions. As the search progresses, sensational lists appear on gossip websites, including ‘21 reasons why David could have killed his daughter’, and an unflattering photo of David soon makes the rounds, labeled ‘Father of the Year’ – indicating the trolling phenomenon. Teens who were never particularly close to Margot post teary videos claiming to be her best friend, to thunderous (virtual) applause.Directed by one-time Google filmmaker <a href="https://www.imdb.com/name/nm3792134/?ref_=nv_sr_1" target="_blank" rel="noopener">Aneesh Chaganty</a>, the movie gets all its technology tones right, from the ubiquitous sounds of computers opening and ring tones of various communication apps, to David not knowing the new age social media like tumblr (he googles ‘tumbler’). Technology-based movies are not new in Hollywood, nor is the sci-fi genre. But Searching is part of a new generation of movies where the technology showcased is real, but its content is virtual. Sci-fi is not about aliens or futuristic worlds any more. In 2013, <a href="https://www.imdb.com/title/tt1798709/?ref_=nv_sr_1" target="_blank" rel="noopener">Her </a>featured Scarlett Johansson’s voice as an alluring artificial intelligence assistant that the protagonist falls in love with. In 2016, we saw <a href="https://www.imdb.com/title/tt3713166/?ref_=nv_sr_2" target="_blank" rel="noopener">Unfriended</a>, where a ghost haunts online chats. Since 2011, <a href="https://www.imdb.com/title/tt2085059/?ref_=fn_al_tt_1" target="_blank" rel="noopener">Black Mirror</a> has been projecting how the technologies we know could grow to control our lives, in an eerily familiar manner. Searching is part of this genre, where sci-fi is not about unrealistic fantasies but about how the technology we live with is changing the way we live and process information. And it is all the more scary because it is true.Searching is not just for youngsters and techno buffs. And if it does not make it to Nepali screens, readers of this review can always search and find it online!

Searching

<img width="1000" height="563" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/636933399c7e80680e03df83jpeg.jpg" alt=""/>Young and confident faces smile into the camera, eager to enlist in a war that has just broken out after the assassination of Archduke Franz Ferdinand in Sarajevo in 1914. It is hard to believe that they will soon be cannon fodder on the trenches of Flanders Field.Director <a href="https://www.imdb.com/name/nm0001392/?ref_=nmbio_bio_nm" target="_blank" rel="noopener">Peter Jackson</a> has put together a documentary of rare clips from the I<a href="https://www.iwm.org.uk/" target="_blank" rel="noopener">mperial War Museum</a> and the BBC archives to mark the centennial of the Armistice on 11 November 1918. The movie camera had just been developed, and even carrying the equipment to the front to shoot these frames must have been an act of heroism. And 100 years later, with the propaganda value of the films peeled off, the grainy footage in They Shall Not Grow Old bear witness to the hardships, valour, carnage and the utter senselessness of the bloodshed.Jackson whittled down 600 hours of testimonies, over 100 hours of clips, and many contemporary posters to this 99 minute documentary, parts of which are digitally enhanced and coloured. For those who are fans of Jackson’s epic battle scenes in <a href="https://www.imdb.com/title/tt0120737/" target="_blank" rel="noopener">Lord of the Rings</a>, this film offers something different -- war’s grim reality.We see the moments just before soldiers go ‘over the top’, leaping into deadly fire from German machine gun positions. Time loses its meaning. “It was the longest and shortest moments of my life,” says one warrior. We see the moments of anxiety in the faces of men conscripted from normal civilian lives: “I learnt how to use a gun, but would I be able to kill a man if I had to?”Jackson has chosen to be nuanced, even as he retains his penchant for the visually grotesque. The wounded develop gangrene when rain turns trenches into mud pools. Their bodies are infested with lice. There is the anxiety of killing and dying as smiling faces fade into images of fresh corpses and decomposing bodies. This is unsanitised war, a film not for the fainthearted.Read also: <a href="http://archive.nepalitimes.com/article/nation/100-years-of-platitudes-First-World-War,1025" target="_blank" rel="noopener">100 years of platitude</a>, Sunir Pandey<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/article/editorial/Nepalis-waited-200-years-for-country-to-be-proud-of,2939" target="_blank" rel="noopener">Looking back to the future</a>, Editorial <img width="1998" height="1080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/6369333b9c7e80680e03df84jpeg.jpg" alt="">The storytelling is immersive, we are taken back a century right into the frontlines. Jackson combines hundreds of voices which give a constant commentary. A soldier talks of how impossible it is to have even a moment of respite from the constant gunfire and explosions. Viewers don’t get much respite either.Jackson even manages to find some humour and humanity amidst the carnage, we see not only the terror but also friendship as soldiers bond over tea, cigarettes, and gambling. The open toilet rows where men did not cover up because “there were no women”. We get glimpses of wagons and war horses, the novelty of mechanised tanks.Soldiers start to sympathise with the German boys like them on the other side who are also missing their families. United by common misery, towards the end they “got on very well together”. The soldiers on both sides were past caring who won as long as they got to go home alive. When a soldier says that the Armistice was “the flattest moment in my life”, we realise that real warfare is very different from whipped up patriotism. It is just about men who want to finish their job.But the war is not over even after it is over. The men are unemployed and unwanted back home. No one wants to talk about the Great War, no one understands what they went through. Like veterans before and after, they find they do not fit in anymore. ‘Never again’, many said after World War I, and it is to remember not to forget the brutal reality of war, and not make glorified assumptions about it, that documentaries like this are important. Jackson’s work is dedicated to his grandfather who served in the war.Read also: <a href="https://archive.nepalitimes.com/article/editorial/Double-war-centennial-for-Nepal,1011" target="_blank" rel="noopener">Double Centennial</a>, Editorial<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="https://archive.nepalitimes.com/article/nation/Gurkhas-dying-for-others,2938" target="_blank" rel="noopener">Dying for others</a>, Om Astha Rai  <img width="1998" height="1080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171132/6369333e9c7e80680e03df85jpeg.jpg" alt="">Some 200,000 Gurkhas fought in World War I in Gallipoli, Mesopotamia and the Western Front. One in ten did not return home, and 2,000 were decorated for bravery in battle. But there is no trace of Gurkhas in this film, although we catch a brief glimpse of some Sikhs. The sacrifice of the Gurkhas and of the colonial armies is once more air-brushed, just as it is in the Imperial War Museum in London. This is about what white men went through while fighting other white men, not about the brown boys from Nepal who helped them. It has taken 100 years to produce a film that at least begins to look at the folly of war, and to wipe away the distinction between victors and the vanquished. How much longer will it take for western film makers to shed their Euro-centrism and document the sacrifices of tens of thousands of brave young men from Nepal and India who laid down their lives for a king and country not their own?   Popular culture has a great impact in shaping collective memory. Jackson’s documentary could have been a cultural milestone and set history right, but it is an opportunity missed, and the exclusion  rankles.  They Shall Not Grow OldScreening: British Council, Lainchaur5:00 PM Sunday, 11 November Read also: <a href="http://archive.nepalitimes.com/article/nation/gurkhas-versus-turks-gallipoli-campaign,2192" target="_blank" rel="noopener">Gurks vs Turks</a>, David Seddon<a style="background-color: #ffffff; font-size: 15px; letter-spacing: 0.01em;" href="http://archive.nepalitimes.com/article/nation/More-warlike,1023" target="_blank" rel="noopener">More warlike</a>, Deepak Aryalhttps://www.youtube.com/watch?v=EHYRfukHToc

They shall not grow old

<img width="1078" height="516" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107121148/6368f1379c7e80680e035a1cjpeg.jpg" alt=""/>A chhuchi girl Muna (<a href="https://www.imdb.com/name/nm8619216/?ref_=nv_sr_1" target="_blank" rel="noopener">Shristi Shrestha</a>) in Dharan meets a pulpuleko dude Ved (<a href="https://www.imdb.com/name/nm4641795/?ref_=nv_sr_1" target="_blank" rel="noopener">Vinay Shrestha</a>) from America. He has all the money to host luxurious pool parties and she has no money for milk in her morning tea. Will they ever click?It seems unlikely: he tears her kurta as he shoves past her and she splashes paint at him. But the director <a href="https://www.imdb.com/name/nm4531129/" target="_blank" rel="noopener">Naresh KC</a>  manages to bring the two together to create sizzling, sparkling chemistry. The transition from spitfire to flames (from sandwich me to sketch me to sandwich chhaina? back again) is entirely believable. Along the way we also learn why the girl is so stubborn, and why the guy so callous. Vinay is a convincing insensitive brat, Shristi credibly essays a struggling small-town girl in flowery kurtas and plaited hairdos, but it's her sister who brings the eastern flavor with her on-point accent.Not that the movie is not without flaws. The editing, especially in the first half, is not that great, it jumps abruptly from a girl doing the shradha funeral ritual to a bikini party to a dream sequence with a monster. And the shock value of that gimmicky bikini party song on Nepali screen is a whole another story (was it really necessary to imitate wannabe South Asian rap videos? Kathale magekai ho?).There are some tropes that could have worked until the 90s, but not today. For example, when Ved loses access to his money and is forced to do Muna's bidding, the audience comes up with a thousand reasonable things he could have done to solve it. Some plot twists are reminiscent of Korean melodramas. Sushma Karki's gold-digger character is not just over the top, but the entire subplot is annoying.What is refreshing, however, is movie’s approach to real world issues instead of taking the masala Bollywood route that most of Kollywood is fond of. In his first film <a href="https://www.imdb.com/title/tt3552320/?ref_=fn_al_tt_1" target="_blank" rel="noopener">Dying Candle</a>, the director had explored complicated family dynamics with an absent, benevolent father and a problematic mother. This time he reverses it with a romanticised, absent mother and a difficult father. This movie calls itself a tribute to Van Gogh, and Van Gogh's strong bond with his supportive brother finds itself reflected in Jukhuri and Thupri, that was also at the centre of Dying Candle.Animation plays a refreshingly large role, perhaps for the first time in Nepali cinema. A CGI-rendered monster haunts Muna in her dreams and spills over into her paintings. It is a symbol of issues that we cannot run away from how we must slay our own demons. The attempt to tackle deep seated emotional trauma is laudable, but not entirely satisfactory -- and this is the movie's biggest flaw. One wishes the writer had worked harder to make the reconciliation more plausible.Still, Van Gogh is a rare treat to movie-going eyes. Starry Night swirls everywhere: from the title credits to Vinay's shirt to songs. A blue train chugs behind Shristi in a red dress and parasol, bringing Bridges across the Seine at Asnieres to life. A field of post-impressionist sunflowers wave in the wind. A couple takes a mid day Siesta after Millet on a haystack to Sukmit Gurung's Pal Pal Timrai Samjhana Ma. Giving new meaning to old songs is something of a favourite for KC. Having used the classic Kehi Mitho Baat Gara to great effect in Dying Candle, he does it again with the mushy favourite Gahiro Gahiro Sagar Jastai. The movie's original songs are also delightful, especially the soulful Sanjh Paryo.Though this movie is wanting in a lot of ways, it is watchable for venturing into new territories. It captures Nepali filmdom at a time it is just beginning to flex its wings, so this is not yet time to compare the fledgling industry with the world cinema. But there are some things this movie does as well as any other: deliver an emotional punch, especially on its central theme--the redemptive power of love.https://www.youtube.com/watch?v=YpcXJBdB4xo

Romeo & Muna

In the black and white photograph, General Wangdu smiles broadly in front of the dusty cactus garden in Kathmandu’s Annapurna Hotel. With an ill-fitting jacket and shaggy hair he looks benign enough, but this was the last leader of the Tibetan freedom fighters who led the resistance against the Chinese from their remote mountain hideouts in <a href="https://nepalitimes.com/here-now/comings-and-goings-in-mustang">Mustang</a>. Five months later, Wangdu was dead. Snapped in March 1974, I had only recently arrived in Nepal. How did I meet this legendary fighter? Possibly with his devoted camp follower, Lynne Klapecki, and probably in the Om Restaurant near Freak Street which was the preferred <a href="https://nepalitimes.com/banner/hippie-trail-nostalgia-in-kathmandu">hippie hang-out</a>. Om Lobsang and his brother Yeshe were <a href="https://archive.nepalitimes.com/page/earthquake-brings-back-memories-of-camps-for-tibetan-refugees">refugees from East Tibet </a>whose cafe offered a friendly welcome and<a href="https://nepalitimes.com/multimedia/momo-loco"> the best momos</a> - they became my in-laws after I married their eldest brother Tenzin, but that was a decade later.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1.jpg" data-media-id="editor_4" data-image-id="2025052403054_4573b34282b0f5395c007243d6bef12c7ba76bfd520419e994cdcea048d795a1" data-rendition-name="original" width="1000" height="1583" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Photo: LISA CHOEGYAL</figcaption> </figure>  Wangdu’s English was enthusiastically rudimentary, but even riding around town with him on the back of an aging <a href="https://nepalitimes.com/here-now/kathmandu-s-new-motorbike-museum">motorbike</a>, he was a commanding presence. Always flanked by armed outriders, impressive scars marked his forearms and a pistol hung from the cord around his neck. A charismatic guerrilla leader, Wangdu was celebrated by his followers for his tough commitment and respected for his measured pragmatism. He seemed so young to have shouldered such a responsibility of command, leading hundreds of hardened <a href="https://archive.nepalitimes.com/article/nation/50-years-after-the%20raid-into-Tibet,1012#google_vignette">Khampa combatants </a>through what had been a particularly <a href="https://nepalitimes.com/news/heavy-snowfall-over-nepal-himalaya">brutal winter in Mustang</a>, the last bastion to hold out against the Chinese invasion of their Tibetan homeland.&nbsp; The freedom fighters of Tibet, known as the Chushi-Gangdruk, had emerged to resist the <a href="https://nepalitimes.com/editorial/territorialism">Chinese takeover</a> of Tibet during the 1950s. Estimated to be 80,000-strong at the time of <a href="https://nepalitimes.com/here-now/what-or-who-after-the-dalai-lama">the Dalai Lama</a>’s final escape to India in 1959, the sheer number of Chinese deployed into Tibet eventually forced the Chushi-Gangdruk to retreat to Mustang, From this high Himalayan stronghold, they continued cross-border raids on the Chinese People’s Liberation Army (PLA) throughout the 1960s.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd.jpg" data-media-id="editor_10" data-image-id="2025052403054_8a4a935ba25ae79dc3a63bb5c14626927020e5ec098093c45ccb9a5982e009fd" data-rendition-name="original" width="1114" height="676" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Guerrillas known as the Chushi-Gangdruk emerged to resist the Chinese annexation of Tibet during the 1950s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>  Their Kathmandu base was a small discreet lodge in a back lane near Rani Pokhari. Sipping sweet tea from a blue mug with a chipped lid, I sat bemused in a corner of the Mustang Hotel room whilst Wangdu and his cohorts received a battered brown suitcase from their CIA connection, a tousle-haired American in a leather jacket. Heaved onto the dingy bedspread that covered the thin mattress, it was clicked open to reveal piles of neatly stacked dollar bills.&nbsp; I cannot think why Wangdu allowed me to witness this handover but I was clearly no threat, a newly arrived world traveller with no understanding of the stakes nor any Nepali or <a href="https://nepalitimes.com/multimedia/tibetan-music-in-nepals-sacred-valley">Tibetan language</a>. Despite armed guards in the corridor,Wangdu radiated confidence and bravado, and there was a practiced familiarity to the tense transaction. This deadly dance for many years had been funded by the Americans, tolerated by <a href="https://nepalitimes.com/here-now/the-kingdom-within-a-republic">Mustang’s residents</a>, and permitted by King Mahendra and the Nepali authorities who it suited to turn a blind eye.&nbsp; But Mahendra died in 1972, and times were changing. Richard Nixon’s ping-pong diplomacy thawed the cold war and signalled a fresh entente with China. Nepal’s yet-to-be-crowned <a href="https://nepalitimes.com/here-now/if-birendra-was-alive-nepal-could-still-be-a-monarchy">King Birendra </a>was under pressure to curb the irritating incursions against the PLA launched from the Nepali territory of Mustang. Keen to appease his northern neighbour, on several occasions the King summoned Wangdu for peace talks but, despite increasingly overwhelming odds, Wangdu refused to surrender.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb.jpg" data-media-id="editor_14" data-image-id="2025052403054_a8efd5cfb92cd997bd7cb74296a936fef46e2f7428f9cd642b03f1ac4ea11ecb" data-rendition-name="original" width="1055" height="885" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>General Wangdu flanked by two Tibetan resistance fighters in Mustang in the 1970s. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31.jpg" data-media-id="editor_15" data-image-id="2025052403054_75969125a745847a2ef82b6fe8b9106c0b21a116d85b8efdf5d2ee89a347bb31" data-rendition-name="original" width="1044" height="792" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>King Birendra with General Wangdu (right in dark glasses) taken in 1974 possibly in Mustang after one of their few attempts at negotiation. Photo courtesy: RAJRNDRA KUNWAR</figcaption> </figure>  While I naively rode pillion around Kathmandu in the spring sunshine, Wangdu was in the midst of what turned out to be his final round of negotiations with the Nepal government. Refusing to cease hostilities with the Chinese, Wangdu must have suspected the cost of his decision, making his cheerful smile in the photograph all the more poignant and brave. It was only much later that I appreciated the significance of the moment. Wangdu had been sent to replace the first resistance leader in Mustang, Baba Gen Yeshe, a much derided corrupt character who stole money meant for his troops and exploited fleeing refugees by seizing their treasures. Baba Gen Yeshe never forgave Wangdu,and sought revenge in May 1974 by betraying him and his commanders to the Nepal authorities. Renewed Chinese incursions from the north, active PLA collusion with the Nepali forces under the new King, and treachery from within the Chushi-Gangdrukranks combined to seal their fate.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0.jpg" data-media-id="editor_16" data-image-id="2025052403054_e0987a7c90d76431b0d7d5e6115ebfe3dbda7ab939e5941e079c18d722e884c0" data-rendition-name="original" width="1400" height="769" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>British television journalists George Patterson and Adrian Cowell embedded themselves with Khampa guerrillas and accompanied them from Tsum Valley on a cross border raid on a Chinese Army convoy in 1964. Photo: ESSAYS ON NEPAL / SAM COWAN</figcaption> </figure>  Mikel Dunham, renowned author of Buddha’s Warriors, writes: ‘It is possible that Wangdu was waiting for some cue from the Dalai Lama’s government-in-exile in Dharamsala, India. It is equally possible – during that last, <a href="https://nepalitimes.com/multimedia/the-human-cost-of-nepal-s-yarsa-gold-rush?fbclid=IwZXh0bgNhZW0CMTEAAR31-Cqw8oyIwMPzf_35e4Skr0ululJvLf3_vDkzHn-AYG2h8uPw2rqqErg_aem_tGVn5coY1-jA7fze_xqhew">desolate winter </a>– that he made the decision to go out in glory rather than admit defeat. Over the last fifteen years, Wangdu had experienced Tibet’s organized resistance being squeezed and shoved around by every conceivable outside force.&nbsp; First they had been pushed out of their own country by the PLA; then they had been refused sanction while on <a href="https://nepalitimes.com/opinion/borderlines/nepal-india-trans-boundary-bonds?fbclid=IwAR0PpJ5zUEbwdug3g_U3ar6FUugngRY0S8Tl2v_7wqzrsHmXWcXsKjvL4t4">Indian soil</a>; then they were abandoned by the Americans because, apparently, Nixon wanted to make friends with Wangdu’s mortal enemies, the communists; then they had been betrayed by the vampiric Baba Gen Yeshe – a Tibetan and, even worse, a fellow Khampa; and now, finally Wangdu’s army was being evicted by the Nepalis. One thing was certain: Wangdu was a warrior. To imagine Wangdu simply giving up and settling down in the pacific squalor of a <a href="https://nepalitimes.com/here-now/elderly-left-in-bhutan-refugee-camp">refugee camp </a>was unthinkable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49.jpg" data-media-id="editor_20" data-image-id="2025052403054_8fc1ffef4ae751628b90ae781b66e11e51e4fdde2787207c9042efbee345ce49" data-rendition-name="original" width="500" height="746" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>The much derided Baba Gen Yeshe, the first Tibetan resistance leader in Mustang, who betrayed Wangdu for personal gain. Photo courtesy: MIKEL DUNHAM</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3.jpg" data-media-id="editor_21" data-image-id="2025052403054_b1d833cdb00d3ac4416b844d8730475cd88c238caaaf8da69889a584eea229a3" data-rendition-name="original" width="500" height="656" loading="lazy" alt="The last days of the Khampa NT"> <figcaption>Aditya SJB Rana of the Royal Nepal Army whose team ambushed Wangdu and his cohorts at the top of Tinker Pass in Darchula, West Nepal. Photo courtesy: GAUTAM SJB RANA</figcaption> </figure>  By August 1974 the game was up. Wangdu and six of his exhausted party were killed on their horses by <a href="https://archive.nepalitimes.com/news.php?id=7270">the Royal Nepal Army</a> on the brink of escape. The officer in charge, Aditya SJB Rana, cleverly predicted their route into India after they failed to silence a police radio in Yari. A carefully laid ambush trapped them near the summit of the Tinker Pass in Darchula,at 5,000 meters the highest military operation of its time. Wangdu’s body was helicoptered to Kathmandu, and a big show made of the royal Nepal victory.&nbsp; The Tibetan armed insurgency against China had reached its end.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4.jpg" data-media-id="editor_23" data-image-id="20250524030520_3ff9c6fc85a65bc9a2c3afe9736d9f5f9413de752e790a5d9dca0981ea94f9b4" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The last days of the Khampa NT"> </figure>

The Last Days of the Khampa

The newly-formed Himalayan Art Council is set to launch Nepal’s National Art Protection Platform that seeks to preserve <a href="https://nepalitimes.com/banner/the-history-of-heritage">Nepal’s unique cultural heritage </a>using<a href="https://nepalitimes.com/here-now/artificial-censorship"> AI-powered tools</a>. The Council seeks to safeguard <a href="https://nepalitimes.com/banner/nepali-art-going-places">Nepali art works</a> from neglect, theft and counterfeiting as well as preserve existing artwork and celebrate living masters by giving them a cultural space to continue the <a href="https://nepalitimes.com/banner/sacred-survival">sacred art traditions</a>. "We are introducing a new digital platform designed to preserve, verify and elevate <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">Nepal’s art for generations to come,</a>” says a statement from the Council, adding that the digital platform will use AI told for authentication and blockchain to keep track of works of art. Artists can now be protected by <a href="https://nepalitimes.com/multimedia/ayo-ai?fbclid=IwAR1uwmTVq4gUB70ljfRezjzukD9ArWXPuMnUikopeQ8PoiZMjicToPSwhKE&amp;=1">AI tools</a> that detect forgeries, identify their work even when unsigned, and ensure they receive proper recognition and credit. The archives will be searchable with translated inscription and interactive guides. Says curator Meena Lama: “AI and blockchains are tools that give us the power to detect fakes and identify unsigned paintings and track every piece. With these tools we can restore trust, secure authorship and give artists the dignity they deserve.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53.jpg" data-media-id="editor_6" data-image-id="20250514170544_2ab58f6313c0458f75114a692b0016bd9efb3b59d5f8f07f0da72e1e37b82f53" data-rendition-name="original" width="1300" height="1000" loading="lazy" alt="Artwork at the Traditional Art Exhibition at Patan Museum."> <figcaption>Artwork at the Traditional Art Exhibition at Patan Museum.</figcaption> </figure>  The Council is also holding an exhibition of Nepali cultural masterpieces with 50 historical <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671">thangka and paubha </a>by past masters and <a href="https://nepalitimes.com/review/between-the-sacred-and-everyday">contemporary works by current artists</a>. This curated collection is a living tribute to <a href="https://nepalitimes.com/here-now/when-yaks-go-so-does-culture">Himalayan culture</a> with economic depictions of deities, mandala and sacred narratives. The exhibition at <a href="https://nepalitimes.com/multimedia/a-portal-into-patan-s-past-and-present">Patan Museum</a> also provides an opportunity to meet painters and custodians of art and culture. Read also: <a href="https://nepalitimes.com/review/golden-deities">Golden deities</a>, Sewa Bhattarai ‘The exhibition is only the first step in a long journey to ensure that Nepali art is no just seen but fully understood, <a href="https://archive.nepalitimes.com/article/nation/Narratives-of-Faith-and-Memory-Remembering-the-Lost-Sculptures-of-Kathmandu-exhibition,987">protected and remembered</a>,’ the Council says. Artist Kailash K Shrestha of Artudio has spent decades promoting thankha and paubha traditions because of their beauty and devotional meaning. But he also says artists are underpaid, exploited and ignored. He adds, “AI and blockchain are not just buzzwords, they are powerful tools that can protect Nepal’s artists from fraud, verify authenticity and build a permanent record of provenance.” Traditional Art Exhibition Till 17 May Patan Museum

Digital protection for Nepal’s art

Starting 17 September Turkish Airlines will fly daily to Seville, one of Spain’s major tourist draws. This is Turkish’s sixth destination in Spain after Madrid, Barcelona, Valencia, Malaga, and Bilbao. Seville is in the Andalusia region on Spain’s south coast with a rich Moor history. There are approximately 30,000 Nepalis living in Spain.&nbsp;

Turkish to Seville

<a href="https://www.instagram.com/prabalgurung/" target="_blank">Prabal Gurung</a> left Nepal for New York in 1999 to escape years of bullying, sexism and homophobia, and to pursue his dream of becoming a fashion designer. He <a href="https://www.youtube.com/watch?v=KqN0VaoAI5w" target="_blank">realised his dream</a>, but did not escape discrimination and racism in the new world. Propelled by passion for fashion, Gurung overcame everything America threw at him. He has attained <a href="https://www.vanityfair.com/style/story/prabal-gurung-recalls-his-first-met-gala-when-zoe-saldana-was-at-his-side?srsltid=AfmBOooy-H0oGgxMit864FnW_Pmw8mUnV8rYrh-co-f6OyYK6m2ip5hP" target="_blank">fame and recognition</a> for his haute couture dress designs while remaining true to his Nepali roots, and is even more resolute in <a href="https://www.youtube.com/watch?v=dSmNauyzACk" target="_blank">fighting prejudice</a> in all its forms. Prabal Gurung’s newly-released memoir <a href="https://www.amazon.com/Audible-Walk-Like-Girl-Memoir/dp/B0DG11HCDQ?fbclid=IwY2xjawKZfpxleHRuA2FlbQIxMQABHuZcIJO2OXyXcRm1oq1iG6wzeoF7VJFrQ7GXOFI0YxuZZ4id_CNvSZSZZIna_aem_pG_mOKG73RTnYvN8JaC4fA">Walk Like a Girl</a> is a saga of harrowing abuse in boarding schools in Nepal and India, only finding himself facing a different kind of bullying in the US. He prevails over it all to be where he is today: an award-winning American fashion designer with his own label. Walk Like a Girl was launched last week in New York at a time when everything Gurung fought for — tolerance, inclusion and diversity — are in retreat in his adopted country because of a president who has espoused a culture of bullying. The book is a searing, raw exposé of how cruel and abusive people can be even at a young age in school. On the other hand, it also shows that there are generous, compassionate and open-minded souls out there. In his book, <a href="https://www.youtube.com/watch?v=K4le_uWX7YE">Prabal Gurung</a> calls out those who tormented and tried to hold him back (some of their names have been altered). The moral of his story is: resist, never stop believing in yourself, do not let others define you, never lose sight of your dream, and help those who have been kept out. “Walk like a girl” was a slur used by bullies back in school in Nepal and India for Gurung’s effeminate ways. He fought back then, and he is still resisting by turning those words into something to be proud of.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e.jpg" data-media-id="editor_6" data-image-id="20250519170544_4ffc9c3f565dd2cfa754d10b224816897b82bb31ebaee91b6d79d469fc96f14e" data-rendition-name="original" width="1000" height="1253" loading="lazy" alt="Prabal Gurung NT"> <figcaption>Prabal Gurung at home in Kathmandu in the 1990s.</figcaption> </figure>  “Living through it all was one thing, but writing about it is one of the hardest things I have done in my life,” admitted Gurung during the launch. “I broke down constantly during the six-year writing process.” He continues: “I did not want this to be a victim’s book. I did not want to burden my readers with my emotions. I wanted my struggle to be an inspiration for others facing what I faced. I am grateful to those who bullied me in school, they made me a stronger person ready to face the world.” Indeed, this book is a departure from his earlier one titled simply, Prabal Gurung (Abrams, 2019), which was a lush pictorial autobiography of his career in fashion. Walk Like a Girl is not a typical fashion book, it is an intimate tale of <a href="https://archive.nepalitimes.com/news.php?id=16997">Gurung’s travails and triumphs</a>, and how he willed himself to succeed. Prabal pays a lavish tribute to his mother Durga Rana. We find out she is a descendant of the first wife of the eldest son of Jang Bahadur Rana who was banished to Palpa in the late 19th century. Prabal’s father served in the Singapore Police and that is where he was born before the family returned to Nepal when he was four. Gurung relates with brutal honesty about the violence his mother endured from his father. Durga raises three children as a single mother in Nepal, and Prabal credits her for his fierce determination to resist patriarchy and injustice, which in time manifests itself in his hyper-feminine and subversive dress designs. Writing the book has been a cathartic experience for Gurung, who says he is now relieved of the burdens of his past. It no longer haunts him, and he does not have to prove anything to anyone anymore. Walk Like a Girl has life lessons not just for the <a href="https://www.instagram.com/p/DJmOcSgxdWz/" target="_blank">fashion industry</a>, but for every other profession. How can my job serve a greater cause? Gurung tells us his work is <a href="https://asiasociety.org/blog/asia/why-designer-prabal-gurung-doesnt-want-just-stick-fashion" target="_blank">bigger than just making clothes</a>, it is about making the world a better place because it could do with a lot of improvement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b.png" data-media-id="editor_10" data-image-id="20250519170544_d75296ad8bfdc00d88935f40d23543c6fea3d4d6a10e61a99d6cfc6127f2ee5b" data-rendition-name="original" width="1516" height="1000" loading="lazy" alt="Prabal Gurung"> </figure>  This story of chasing the American dream may sound familiar to many immigrants: knocking on doors for jobs, rejections, trying to survive from day to day on expensive rent, and dealing with subtle racism in white America. Gurung finds racism is rife, and he is often mockingly called ‘gaysian’. He writes: ‘There was a strong hypocrisy — this idea of independence felt like a marketting ruse … and for all the talk of feminism in America, these high society women were trapped by the patriarchy just like in Nepal and India.’ After a trek to the Khumbu region in 2013, Gurung is inspired to use the colours, palette and textures of Nepal for his collection exhibited on Manhattan’s 8th Avenue. A major buyer tells him bluntly: “Stick to making pretty dresses … if I need to see a collection like this, I could buy a copy of National Geographic.” The New York Times was equally dismissive: ‘The designer tries to draw connections between blistered techo-fabric used to construct it and the topography of his homeland, Nepal. But, at the moment, he has lost his map.’ One potential investor tells Gurung he cannot design for Americana because “you do not look American”. Gurung wants to use expletives, but restrains himself. After a fundraiser in New York for the Nepal earthquake in 2015, some belittled his effort, saying: “Here comes the saviour."&nbsp; Read also: <a href="https://nepalitimes.com/review/prabal-gurung-by-prabal-gurung">Prabal Gurung by Prabal Gurung</a>, Kunda Dixit The Gurkha DNA must be dominant in Prabal Gurung’s genes because he does not take such mistreatment lying down. When asked by a fashion publicist why he was designing clothes for fat people, he snaps back: “Because of people like you.” He joins the Black Lives Matter and #MeToo movements, launches the Shikshya Foundation charity in Nepal, and has powerful allies among celebrities who wear clothes he designed: Michelle Obama, Oprah Winfrey, Sara Jessica Parker, Kamala Harris, Deepika Padukone … it is a long list.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe.png" data-media-id="editor_12" data-image-id="20250519150556_48a5f4211991a23fa85b64bbd5377575ca7081d97309d7542035591dda5180fe" data-rendition-name="original" width="1114" height="1534" loading="lazy" alt="Being Prabal Gurung by design"> <figcaption>Nigerian novelist Chimamanda Ngozi Adichie wearing Atelier Prabal Gurung’s design for Met Gala 2025 in which the theme was ‘Superfine: Tailoring Black Style’. </figcaption> </figure>  “I don’t dress women to look beautiful, they already are,” Gurung says. “I try to bring out their innate strength and grace.” <a href="https://www.instagram.com/stories/highlights/17908766880140171/" target="_blank">Admirers</a> tell Gurung he makes it all look so easy, but he used to put up a strong facade to not show his own vulnerabilities in public. “I was closed because of my childhood experiences,” he says. “I was always on guard to defend myself because I never knew where the next punch would come from.” But in <a href="https://www.youtube.com/watch?v=PPVepzPA210" target="_blank">Walk Like a Girl,</a> Gurung comes to terms with his vulnerability, and bares his soul. It has not been easy, it took sustained will power and support from his mother, sister Kumudini and a circle of close friends. “I made unbelonging my power,” he says. “Nepal is where I still have my heart and soul. Nepal grounds you. It is where people go to find themselves. But I escaped.” Recently appointed vice-chair of the <a href="https://cfda.com/about-cfda" target="_blank">Council of American Fashion Designers</a>, Gurung says: “I can’t believe I am here, it feels like it is happening to someone else. Writing this book, the healing has finally begun.” <h2>‘Everything is better in color’</h2> The Met Gala was two weeks later, and my table was an example of everything I’d been fighting for all these years as my guests represented everything I believed in: dynamic, powerful, influential women who were unapologetically original and unabashedly graceful. I was grateful to Anna for inviting me to host and dress a table that reflected my ethos—and for her guidance in doing so. I was also aware of the privilege as one of the first-­ever Asian fashion designers—not just from Nepal, but from the entire continent— to get the opportunity to do so. That fact was not lost on me. I reached out beyond the expected Hollywood celebrities and well-­known socialites to curate a table of exceptional women who inspired me. I invited Deepika Padukone and Alia Bhatt for their first-­ever Met Galas, as well as Michelle Yeoh, Mindy Kaling, Camila Cabello, Ashley Park, Denée Benton, KiKi Layne, Quannah Chasinghorse, and Grace Elizabeth. Together we checked many boxes: Asian, Black, Latinx, and Indigenous, each woman undeniably chic and powerful, a dazzling array of skin tones and experiences that proved my decades‑in‑the-­making hypothesis: everything is better in color. Excerpt from Walk Like a Girl Viking © 2025 by Prabal Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215.jpg" data-media-id="editor_16" data-image-id="20250519170520_6b91d560e9f072c37d16876901058c073a51ffa05e7ad1b9461d19e1c9c28215" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748.jpg" data-media-id="editor_17" data-image-id="20250519170520_345240c21be400e2ce2ec629b52bd82bb53890e5bd86fe95b48340d84b5f1748" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="Prabal Gurung book details NT"> </figure>  &nbsp;