There was controlled chaos at the Chhaya Centre on 8 September before the premiere of <a href="https://www.youtube.com/watch?v=N2EXOwDgrIg&amp;t=25s">Shambhala</a>, which has made history as the first South Asian film to be selected for the 2023 Berlinale in-competition lineup in three decades. <a href="https://www.imdb.com/name/nm5336883/">Director Min Bahadur Bham</a> ran around, dreadlocks flailing, to test the DCP in the projection room and welcome an all-star lineup of guests. Even so, he found time to sit down with us for an interview in a quiet corner in the lobby. Despite visible signs of stress, Bham’s passion for his craft shines through. The premiere was the culmination of years of work, but as Bham tells it, the true essence of filmmaking is the journey itself.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240912100956_fe4bb576edb2f6ca22d460c425a8b9fdf8d3855dd4e9cac9e13fb56a69094cdd.jpg" data-media-id="editor_2" data-image-id="20240912100956_fe4bb576edb2f6ca22d460c425a8b9fdf8d3855dd4e9cac9e13fb56a69094cdd" data-rendition-name="original" width="616" height="585" loading="lazy" alt="Min Bham NT 3 "> </figure>  Min Bahadur Bham, 40, was born in isolated Mugu. As a boy he already knew he wanted to be a film director after his photographer and journalist father bought a cinema hall in his hometown.&nbsp; While watching Bollywood movies there, his friends all wanted to be actors and would imitate the mannerisms of their favourite stars. But Bham craved something more.&nbsp; “Even back then, I wondered who tells the actors what to do. There must be someone guiding and coordinating their performance,” he says. “I didn’t know at the time that it was done by a director, but I instinctively felt that was the person I wanted to be.”&nbsp; Read also: <a href="https://nepalitimes.com/here-now/a-director-from-kathmandu">A director from Kathmandu</a>, Sewa Bhattarai This early fascination set Bham on a journey that would take him far, far away from Mugu. In Grade 8 he was already saving money for film school, and by Grade 10 he had run away from home. He started in theatre in Kathmandu, learning acting, lighting, set design, and costume. This theatre background proved to be formative and influenced his later approach to cinema. “If I had to choose, I’d still give more points to theatre,” he tells us. “It’s a pure art form, it has a poetic and an artistic sense to it, requiring discipline and hard work, unlike the finances and glamour of cinema.” Beyond filmmaking, Bham developed a deep interest in <a href="https://nepalitimes.com/here-now/medication-to-meditation-in-the-mountains">spirituality</a>. “Creating art is a form of meditation,” Bham says, his eyes shimmering with intensity. “Filmmaking, like meditation, requires pouring all of yourself into it.” His debut feature,<a href="https://archive.nepalitimes.com/article/must-see/Kalo-pothi-review,3101"> Kalo Pothi (The Black Hen)</a> premiered at the Venice Film Festival in 2015, earning critical acclaim for its nuanced portrayal of two boys caught in the crossfire of <a href="https://nepalitimes.com/banner/all-is-fair-in-war-and-peace">Nepal’s Maoist insurgency</a>. The film’s success, however, left Bham ambivalent.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240912110924_b4333fc1aeefc7adc6160a183f0dfc8ca5ee8cd66df6eab085f47436d83c8c4b.jpg" data-media-id="editor_7" data-image-id="20240912110924_b4333fc1aeefc7adc6160a183f0dfc8ca5ee8cd66df6eab085f47436d83c8c4b" data-rendition-name="original" width="1442" height="1008" loading="lazy" alt="Movie posters NT"> </figure>  “I felt burdened by the success," he confides. “Looking back, I’m critical about its lack of cinematic language: it felt more like a film essay.”&nbsp; Read more: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Narrating-stories-of-nepal,3082">Narrating Nepal</a>, Smriti Basnet Kalo Pothi was a personal story of Bham’s own memories when his friends in school were joining the Maoists, and he heard of the disappearances. A recurring theme in both Kalo Pothi and Shambhala is childhood. “All the characters in my films are reflections of myself,” Bham confesses. “Of course, they’re manipulated for the sake of the narrative, but their essence is drawn from my own childhood when I was very fragile and introverted.” As a boy, instead of playing with children his age, Bham preferred hanging out with older people, listening to their stories: “I missed out on a normal childhood, but had a wonderful one nonetheless.” These early experiences, the memories and nostalgia, became invaluable storytelling tools for cinema, and his PhD in anthropology was an asset as well. “As a filmmaker, it’s essential to grasp the nuances of human behaviour, culture, and politics,” he explains.&nbsp; Before Kalo Pothi, Bham wanted to study political science to get a &nbsp;deeper, holistic understanding of what was happening in Nepali society at the time.&nbsp; But it is with Shambhala that Bham truly comes into his own as a director. "Kalo Pothi was my love letter to my society, and Shambhala is a love letter to my existence,” he says.&nbsp; Shambhala benefits from Bham’s own spiritual journey. He started meditating at age 12, becoming a more serious practitioner by 15. “Through meditation, I began having vivid recurring dreams of a past life as a lama in a monastery in Dolpo,” he says.&nbsp; Read also: <a href="https://nepalitimes.com/review/daughter-of-chomolungma">Daughter of Chomolungma</a>, Pinki Sris Rana He travelled to Dolpo, where the terrain and people matched the dreamscape of the places from his meditation. “It was a surreal moment,” he says. “That’s when I realised I had to make Shambhala, to explore the subconscious and discover what I didn’t know.” When the film was selected for the Berlinale, Bham admits he was not very excited, perhaps because he was confident it was going to go places. In Berlin he did not attend any parties, cancelling all interviews and official meetings.&nbsp; “I wanted to be at peace and simply observe. I didn’t want to get caught up in the networking or the festivities,” he recalls. Though polyandry is a central element of Shambhala, Bham says it only serves as a backdrop to an inner quest into the meaning of existence, femininity and reincarnation. “Dolpo offers such incredible landscape that you can point the camera at anything and it will be stunning,” he says. “But it was not a love story, so I used the mountains as characters themselves.” Read also: <a href="https://nepalitimes.com/review/streaming-the-himalaya-on-film">Streaming the Himalaya on film</a>, Pinki Sris Rana The film’s protagonist is Pema (played by<a href="https://nepalitimes.com/here-now/nepal-s-star-shines-in-locarno"> Thinley Lhamo</a> for which she won the<a href="https://www.youtube.com/watch?v=0iCvN6jHVMQ&amp;t=973s"> Boccalino d’Oro Prize for Best Acting Performance at Locarno</a> last month) whose power and freedom challenge patriarchal norms.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20240912110944_491763c06fc1827cd131157b9b3750c9831ee8252fb1d378769dc800170c7f67.jpg" data-media-id="editor_13" data-image-id="20240912110944_491763c06fc1827cd131157b9b3750c9831ee8252fb1d378769dc800170c7f67" data-rendition-name="original" width="1080" height="719" loading="lazy" alt="Berlin film festival NT"> </figure>  “Pema’s character is a reflection of inner strength and independence, transcending gender,” Bham explains. “As a male director, I also wanted to explore my feminine side to understand it more deeply.”&nbsp; Read also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/feminity-to-masculinity,1952">From femininity to masculinity</a>, Bernardo Michael and George Varughese He adds that, in Shambhala the male characters reflect aspects of himself, while Pema represents his feminine side: “Developing the characters, I made sure the male side did not overshadow the feminine side in me.” Bham is researching ideas for his next film which might, for a change, be set in Kathmandu or Angkor Wat to discover his artistic sensibility, irrespective of locale.&nbsp; More than a geographical journey, Min Bahadur Bham is on an artistic voyage deep into his inner being to find the meaning of existence itself. &nbsp; Shambhala is set to release on 13 September in cinemas with Nepali and English subtitles.

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Min Bahadur Bham’s cinematic quest

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723d379c7e80680e0c9661jpeg.jpg" alt="" width="1846" height="1266"/><figcaption>Courtroom scene from Maitighar, 1966</figcaption></figure>While teaching at Kathmandu University School of Law, I ask my students if they or their seniors have danced to the Nepali song Maitighar. Nearly all students immediately raised their hands.Not surprising, since the song has been playing for decades in school assemblies, and has been unofficially incorporated as an essential school activity in Nepal’s academic curriculum.Next, I ask students if they are aware that the 1966 movie had an iconic courtroom scene where lawyers argue the facts of a murder case in which the admissibility of a dying declaration was a fact in issue.None of the 200 students were aware of this. Some were inspired to be lawyers after watching the American drama series Suits and Boston Legal. Some said they enjoyed watching Akshay Kumar in Bollywood’s Jolly LLB. But Nepali students of law were not inspired by a Nepali movie.Movies mirror the socio-cultural aspects of a society. How Nepal’s judiciary is portrayed in movies is the first impression of the <a href="https://www.nepalitimes.com/latest/what-is-happening-to-nepals-supreme-court/" target="_blank" rel="noopener noreferrer">delivery of justice for Nepalis</a> who don’t have access to speedy legal aid.The 13-minute climactic court room scene in Maitighar portrays a respectable judiciary. A three-judge bench gives a patient hearing and adheres to the principles of natural justice, a forensic doctor has been invited as an expert witness to guide the judiciary in technical matters of medicine, and public prosecutors and defence counsels are seen establishing a chain of causation of the crime.The dialogue is sound in law, and as the scene intensifies, viewers can’t help but focus their attention to how the judges will be delivering justice.In the 2014 movie Chha Ekan Chha, veteran actor Nir Shah plays the role of a judge who has to determine an adultery case and sets the courtroom decorum by shutting down a misogynic comment made by the lawyer. However, that promising scene immediately degenerates into another in which the judge decides to flirt with the woman in the witness box.The portrayal of this scene was upsetting, but not unprecedented in real life. A young lawyer friend once related to me how while arguing a case before the court, a judge stopped her to ask about her age and her father’s occupation.She answered politely and continued to defend her client. A few days later, she got the news that the judge was trying to find a suitable female practicing lawyer to marry his son.The star studded Chakka Panja 2 movie has a polyandry case shot in the premises of Patan High Court. The legal issue being argued is the validity of a marriage for the purpose of migrating to Australia.While cross-examining a witness, Priyanka Karki’s character makes an emotional argument stating that Nepali youth do not have faith in the country, and will not return to build the nation. The witness leaves the courtroom, disobeying the judge, thereby portraying the inability of the judge to hold court.The common theme in these movies circles around the <a href="https://www.nepalitimes.com/banner/are-women-not-nepali-enough/" target="_blank" rel="noopener noreferrer">rights of women</a>. However, the 2021 movie Eh Mero Hajur 4 seems to have digressed from this by portraying a custody battle. Not of a child, but a dog.The fact that the judge entertained a matter of an unmarried couple makes you wonder how the suit has locus standi, but when the judge goes on to pass a joint custody order over the dog it raises questions of jurisprudence.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723d3a9c7e80680e0c9662jpeg.jpg" alt="" width="886" height="1284"><figcaption> </figcaption></figure>In these scenes, the script is replete with sexist jokes and personal attacks at the judge. The arguments are over-expressive, all to get a few laughs from the audience. The judiciary is not portrayed as a formal and serious institution where distressed citizens come to receive justice, but a playground where justice is delivered based on populist arguments rather than resolute understanding of law.What has the Bar Council been doing? Its primary task is to uphold the ethical values of the legal fraternity and make it a respectable profession. The Judicial Council is also expected to instil faith in Nepali citizens’ access to justice by immediately addressing concerns about the independence of the judiciary. The portrayal in Nepali movies does not help when embarrassing behaviour by judges and lawyers frequently make the media headlines.Read also: <a href="https://www.nepalitimes.com/opinion/federalism-rule-of-law-and-the-judiciary/">Federalism, rule of law and the judiciary</a>, George Varughese and Iain Payne <a href="https://www.nepalitimes.com/opinion/devolving-the-judiciary/">Devolving the judiciary,</a> George Varughese and Iain Payne<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/2022111414114/63723d3c9c7e80680e0c9663jpeg.jpg" alt="" width="1654" height="936"><figcaption> </figcaption></figure><a href="https://www.nepalitimes.com/latest/what-is-happening-to-nepals-supreme-court/">What is happening to Nepal’s Supreme Court?</a>, Santa Gaha MagarLast October, we had two <a href="https://www.nepalitimes.com/latest/nepals-lawyers-on-warpath-against-chief-justice/" target="_blank" rel="noopener noreferrer">lawyers punching each other</a> in the premises of Nepal Bar Association over a dispute about boycotting the bench assigned by Chief Justice Cholendra Shamsher Rana. In June an audio recording was leaked to the press in which a lawyer and Kathmandu District Court judge were found negotiating a deal for the bail of real estate tycoon Ichchha Raj Tamang.There were reports in July that more than 200 complaints had been filed before the Judicial Council on the <a href="https://archive.nepalitimes.com/article/editorial/fusion-of-powers,3760" target="_blank" rel="noopener noreferrer">illegal and political appointment</a> of judges by neglecting established principles of law. In September, Chief Justice Rana started disclosing political affiliations of various former and sitting judges while defending himself before the Impeachment Recommendation Committee of the Parliament.All this in a period less than 12 months. Expecting law teachers in Nepal to inspire the next generation of lawyers in the midst of all this is asking them to forge a false narrative of a profession which lacks role models. The present leaders of the legal profession need to act by example, to give hope for the upcoming generation.<a href="https://www.nepalitimes.com/latest/old-wine-in-old-bottle-in-nepal-politics/" target="_blank" rel="noopener noreferrer">Old wine in old bottle in Nepal’s politics</a>, Shristi KarkiIt is not surprising, therefore, that the portrayal of <a href="https://www.nepalitimes.com/here-now/supreme-court-puts-nepal-politics-back-on-track/" target="_blank" rel="noopener noreferrer">Nepal’s judiciary</a> in the country’s movies has been declining between 1960’s and 2020’s. The movies are just mirroring society. As a law teacher trying to mend things, I have to admit sadly that the way the judiciary is shown in films is accurate.Prajwal teaches law at Kathmandu University and was an Oxford Policy Fellow at the Ministry of Finance in Uganda.

How the judiciary is depicted in Nepali movies

<figure><img width="1080" height="1080" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161128/636d196c9c7e80680e0ac81bjpeg.jpg" alt=""/><figcaption></figcaption></figure>The Nepali film <a href="https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGMn92yR9U9Eix-Lao3LSUPAhw5fw">A Scarecrow</a> has won the UNICEF Iris 75 award at the <a href="https://www.unicef-irc.org/uiff" data-saferedirecturl="https://www.google.com/url?q=https://www.unicef-irc.org/uiff&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNHX4PmiajpN2OkgPa-twxTYInDMGg">UNICEF Innocenti Film Festival 2021</a> (UIFF) in Florence for its portrayal of what it means to be a girl child in Nepal today.An international jury selected <a href="https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGMn92yR9U9Eix-Lao3LSUPAhw5fw">A Scarecrow</a> written and directed by self-taught Nepali filmmaker, Rajesh Prasad Khatri, for the top award. Khatri, who is also a schoolteacher, is said to accurately depict the cultural barriers that often prevent young girls from gaining an education. "Being a teacher in the remotest village, I have had the privilege to interact with a group of innocent kids where I always learn to feel the stories of each students' cold homes, broken dreams, and their tears along with my experience.” Khatri said. “Most of all, these are the stories of truth which I am hoping to advocate for their rights and share their stories to the world through the medium of cinema.”https://youtu.be/eIwovOmOMMoThe Florence festival is organised by <a href="https://www.unicef-irc.org/" data-saferedirecturl="https://www.google.com/url?q=https://www.unicef-irc.org/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNFFnFM55kBTg3qU0sYfcafgi6zycw">UNICEF’s Office of Research – Innocenti</a>, and celebrates films about children. This year’s festival was held 21-24 October and  featured 38 films from 29 countries. The Iris Award recognises excellence in filmmaking about children to encourage exploration of childhood all over the world as a cinematic theme. This year, a total of 1,700 films were submitted for consideration from 114 countries.The honor for the best overall film at UIFF is the UNICEF 75 Iris, created to mark UNICEF’s 75thanniversary, now being celebrated around the world. The jury selected <a href="https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9726-a-scarecrow/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGMn92yR9U9Eix-Lao3LSUPAhw5fw">A Scarecrow</a> because of its rich visual symbolism and its crucial message to uphold the Convention on the Rights of the Child. Set in a Himalayan mountain community in Nepal, the film tells the story of a young girl taken out of school to help her mother earn a living making scarecrows.  <figure><img width="640" height="475" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110161128/636d196f9c7e80680e0ac81cjpeg.jpg" alt=""><figcaption>Rajesh Prasad Khatri, the director of 'A Scarecrow,' that won the Iris Award at the UNICEF Innocenti Film Festival 2021. </figcaption></figure>The award for Best Film Under 18 Iris was made by a group of children in the slums of Nairobi, and tells the story of determination and creativity to play the game they love. The jury commended the artistry of the young amateur filmmakers as well as its message: young people will not allow their circumstances to hinder them. In the category Best Film, Childhood and Pandemic the winner was the short documentary, <a href="https://www.mymovies.it/ondemand/uiff/movie/9724-antara/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9724-antara/&amp;source=gmail&amp;ust=1635219475912000&amp;usg=AFQjCNGi0BuiN-wDGZ-hDg1tdIdE8ZH6NA">Antara</a> about the Covid-19 lockdown as seen through the eyes of a young girl in Bangladesh. The Best Film in the non-fiction open category went to <a href="https://www.mymovies.it/ondemand/uiff/movie/9750-being-someone-else/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9750-being-someone-else/&amp;source=gmail&amp;ust=1635219475913000&amp;usg=AFQjCNH5SrxuX2aIkRyInQVwWPr6SpsWwg">Being Someone Else</a> that follows a 13-year-old as she prepares for Comic Con and reflects on the impacts of her disability. The jury noted this intimate portrayal’s fresh perspective on understanding children with autism. The Best Film in the fiction category went to <a href="https://www.mymovies.it/ondemand/uiff/movie/9730-the-name-of-the-son/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/movie/9730-the-name-of-the-son/&amp;source=gmail&amp;ust=1635219475913000&amp;usg=AFQjCNF3vHDJrfSwz7xIb6lf9reCpWaejg">The Name of the Son</a> that follows a 13-year-old trans boy on vacation with his father and younger sister, where the new closeness puts their relationship to the test. All films from UIFF will be available to stream online for free until 29 October via <a href="https://www.mymovies.it/ondemand/uiff/" data-saferedirecturl="https://www.google.com/url?q=https://www.mymovies.it/ondemand/uiff/&amp;source=gmail&amp;ust=1635219475913000&amp;usg=AFQjCNGXmrVdY5G1IMSjmupgf9ZmDAaLeA">MyMovies.it</a>.

Nepali film wins Unicef award

<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

One smoggy winter morning in February 2019, Ekta regretted coming to her sculpture class. It was the first day of her period, and the 19-year-old wished she was home, curled up in bed with a hot water bag to soothe her cramps.
Her class was at Kalapremi Ceramic Studio, a dark room on the ground floor of a house in Maharajganj, and Ekta’s teacher was the artist Gopal Das Shrestha ‘Kalapremi’, a noted sculptor.
Two other students were already there, using all their muscle strength to knead the sculpting clay. Ekta, now 24, recalls how Kalapremi asked her if she was feeling all right. She avoided him, as she did not want everyone to know she was menstruating.
Kalapremi repeatedly asked Ekta what was wrong. She finally muttered that she was having her period, after which he grabbed her hand and led her to a partitioned corner of the studio and sat her on a chair. Before she could stop him, he slid his hand under her dress, and started massaging her abdomen.
“I was horrified,” Ekta recalls. “I told him to stop, but he didn’t listen, asking me not to be shy, saying he knew how to relieve my pain. He stopped only after I protested furiously.”&nbsp;
The art tutor then said, “You’re like my daughter. I’m doing it out of love to make you feel better, but you’re so stubborn.”&nbsp;
“Instead of saying sorry he acted like I was the one having crazy thoughts,” remembers Ekta, adding that from April 2016 to August 2020 beginning the time she was 16, the artist sexually abused and harassed her on several occasions. &nbsp;
Now, Ekta and the artist’s other former students are finally sharing their experiences and some are pressing legal charges against him, hoping that others do not have to endure what they did.&nbsp;
Award-winning artist and teacher Gopal Das Shrestha ‘Kalapremi’ (the name means ‘Art Lover’) is known for his ceramic art, sculpture, and contemporary pottery. He was <a href="https://nepalitimes.com/review/the-house-of-kalapremi">profiled in Nepali Times after a collaborative exhibition</a>, ‘Where the Wild Things Are’ at the Siddhartha Art Gallery three years ago.&nbsp;
His pieces, titled Gaalis, featured sculpted female figures with the heads of dogs, sheep, and donkeys (pictured) to depict derogatory terms for women. Some critics said the collection was a satire on feminists.
Kalapremi started his artistic and teaching career in 1983 and over the years taught at Bhanubhakta School, Kathmandu University School of Arts, Lalitkala Campus and at his private Kalapremi Ceramic Studio. He has also lectured at Jeonju University in South Korea and recently at Tabor Academy in the United States.
Seven of Kalapremi’s former students were interviewed for this story. Five female students said he touched them inappropriately in his studio or at Kathmandu University. Two male students said they witnessed him abuse and harass the women. In all cases, the students struggled to recognise the abuse when it occurred, and the lack of reporting systems left them to cope on their own for years.&nbsp;
Earlier this year, students shared a social media post hinting at Kalapremi’s history of abusive behaviour following which more students of the artist reached out sharing similar experiences. Some students spoke of abuse that happened as long as 20 years ago.
Kalapremi, 60, has denied the allegations. He told Nepali Times: “Some years ago, there was a movement encouraging people to hug and kiss. I used to do it purely out of friendship and love. But after seeing posts on social media last year calling out my behaviour, I realised my actions may have hurt some people. I understand now that I should have been more mindful.”
He added: “I am also an auxiliary health worker, so I know the exact points to massage to relieve menstrual pain. It’s not just menstruation, I take anyone who is ill to the hospital.”
Sexual abuse is much more rampant than reported given how difficult it is to prove it in court. The law defines sexual abuse as occuring when someone touches another’s private parts, coerces them into touching theirs, uses vulgar language, shows degrading images, or behaves indecently towards them without consent.&nbsp;
Ekta and her fellow students are consulting lawyer Suneeta Regmi Pokhrel, who says they know that even if the court decides in their favour, it is difficult to survive after speaking up, and influential men defend themselves saying they are being framed.&nbsp;
“They are in a lot of pain and weep when recalling how he abused them,” Regmi Pokhrel told us. “They are angry and have filed a case against him, but they are also terrified. They know he is a powerful man and they have seen how our society treats women who speak up against abusers. Unless people speak up, perpetrators will be emboldened.”
Art and academia in Nepal simply reflect the power imbalances in society where people with intersecting identities experience worse forms of abuse. Theatre actors Raj Kumar Pudasaini, Rajan Khatiwada, and Sunil Pokhrel were called out during the #MeToo movement in the Nepali theatre scene in 2019. Even after the allegations Pokhrel went on to receive national awards, while others continued to work without repercussions.
“If you speak up against abusers, you gradually get sidelined from projects,” explained a theatre artist who wished anonymity fearing professional setbacks. “The theatre scene in Nepal is quite small, you just have to make peace with the perpetrators and work with them if you want to sustain yourself.”&nbsp;
In academia there is a history of faculty members sexually harassing students and getting away with it. After Tribhuvan University (TU) lecturer Krishna Bhattachan was accused of harassing women students, the university said it would follow Nepal’s sexual harassment law and set up a reporting mechanism. But nothing happened to the professor, who had already retired. Instead, he counter-accused the students of 'attacking the indigenous people’s movement with baseless allegations' as <a href="https://kathmandupost.com/letters/2019/01/29/bhattachan-responds">he told the Kathmandu Post in 2019</a>. He continues to be featured as a prominent speaker including at TU.
Other faculty members previously accused of sexual harassment include Jagadish Murti Koirala from TU, Bishnu Prasad Acharya from Ratna Rajya Campus, and Bodha Raj Tripathee from Lalitpur Madhyamik Vidhyalaya. A woman staff member from TU also filed a sexual abuse complaint against Dambar Chemjong from TU.
Prominent figures like <a href="https://nepalitimes.com/news/the-rise-and-fall-of-nims-purja">mountaineer Nims Purja</a> have been <a href="https://www.nytimes.com/2024/05/31/sports/mountaineering-sexual-harassment-abuse-nims-purja.html">accused of sexual assault</a>, and cricketer Sandeep Lamichhane, actor <a href="https://nepalitimes.com/news/celebrity-rape-case-spotlights-nepal-laws">Paul Shah</a>, and former speaker of Parliament <a href="https://nepalitimes.com/news/mahara-arrested">Krishna Bahadur Mahara</a> have been accused of rape, but society-at-large has let off the alleged perpetrators amdist a larger debate about justice for survivors and punishment of perpetrators.&nbsp;
‘Gaushala-26’ is the court name given to the 18-year-old who accused Sandeep Lamichhane, former captain of Nepal’s national cricket team and skipper of Biratnagar Kings in the <a href="https://nepalitimes.com/here-now/here-comes-the-nepal-premier-league">ongoing Nepal Premier League</a>, of rape. She left the country citing society questioning her character affecting her mental health while Lamichhane got an outpouring of support. In May, the Patan High Court overturned a prior verdict that found Lamichhane guilty of rape and had sentenced him to eight years in prison. During the 23-month legal battle to pursue justice, Gaushala-26 faced threats of gang rape and acid attacks.&nbsp;
Exhausted by the struggle, Gaushala-26 sought to “move to a new world” where she could live free without hiding her identity.
Actress Samragyee Rajya Laxmi Shah in an Instagram video now deleted detailed the harassment she faced from a filmmaker during a movie shoot. She did not name any name but veteran actor Bhuwan KC filed a defamation case against Rana, but the court ruled that the charge lacked sufficient evidence.&nbsp;
Former Kathmandu mayor <a href="https://nepalitimes.com/opinion/theytoo">Keshav Sthapit also mocked the #MeToo movement</a>, calling accusations against him by journalists Rashmila Prajapati and Ujjwala Maharjan “a rape of men’s rights”.
Serial Abuse
Back at the Kalapremi Ceramics studio, another former student, 24-year-old Rajiv, says he felt the need to speak out after seeing his female classmates being abused.&nbsp;
“He frequently kissed them on their cheeks,” he told Nepali Times. “Whenever they walked into the studio he flailed his arms like a child asking for a hug. They awkwardly hugged him from the side, but he pulled them closer, held their chin, and kissed their cheeks.”&nbsp;
Rajiv says he also saw Kalapremi pull the women’s bra straps, touch their breasts, and slap their buttocks. The young students would freeze, not knowing how to react, and if they protested, he would say it was “normal in art”. Rajiv, 19 at the time like his classmates, remembers thinking perhaps the well-respected artist was right after all.
Another student, Luna, who took lessons at Kalapremi’s studio from 2020 to 2022 did try to confront the tutor after he made an obscene proposal to her. She recalls: “One day when the other students had left the studio and it was just the two of us, he told me that God had given him special artistic talent and he could transfer those powers to me. But to do that both of us will have to be naked, inside a dark room, and have sex.”
Luna, who was 18 then, was livid and told him she did not want any of his powers, but she says he laughed at her as if he was joking. She did not tell her family about the incident because she thought no one would believe her.&nbsp;
“They were all in awe of this famous artist and felt I should be grateful that to be learning sculpting from him,” she says. “I was scared to be alone with him in case he talked about sex again. My coping mechanism was to be rude so he wouldn’t try to come close to me.”
Seeing how some classmates were standing up to Kalapremi, Ekta too tried to push back against his advances, but she said he found ways to coerce her. Since Ekta, Rajiv, and Luna could not afford Kalapremi’s Rs30,000 monthly fee for lessons, he had offered them all a stipend to assist him in the studio.
“He had spondylosis and took me to his therapy sessions to learn massage techniques, then he often made me and other students massage him,” says Ekta. Whenever she refused, he would feign pain to make her feel sorry for him. “He would insist that I put my hands under his shirt so that I could massage him better,” she adds.
The art tutor often tried to “seduce sympathy” from Ekta by sharing how he had never been loved as a child and was “sexually frustrated” as an adult.&nbsp;
“At 7PM, he would pour himself Signature whiskey and immediately go off again about how he was sex-starved. I didn’t know how to respond. It took me time to realise alcohol was just an excuse to talk about sex,” Ekta says.
If convicted, Kalapremi could face financial penalty and/or a prison sentence of up to three years according to Section 224 of National Penal (Code) Act 2017.&nbsp;
Data suggests that victims of child sexual abuse on average take nearly 24 years to tell someone about their trauma, and some may never disclose it at all.&nbsp;
“In our culture, children are rarely taught about boundaries. They often react, show anger when adults pinch their cheeks. But adults insist they did it out of love, and force the children to accept it,” says Sita Lama, a psychotherapist at Manka Kura. “And even when someone touches them inappropriately they struggle to identify and verbalise it.”
When perpetrators claim to be “acting out of love”, Lama says survivors are likely to perceive it as something safe, rather than recognising it as abuse.&nbsp;
“It may take years for them to realise they were abused,” she explains. "And even when they become aware, the power imbalance with the abuser and the associated shame often prevents survivors from speaking up."
Other former students from the School of Art at Kathmandu University have also come forward years later, saying Kalapremi sexually abused them. As young adults, they felt his behaviour was off but were uncertain if it was inappropriate, illegal, or they did not know how to respond. After having understood that it was indeed abuse, they say they are speaking out now to protect others.&nbsp;
Amina Singh, a visiting faculty member at Kathmandu University, says there is no clause against sexual abuse in contracts of teachers, and there is no formal grievance handling mechanism for the students.&nbsp;
“So the only way students can to deal with sexual abuse is approach someone they trust,” she says.
Eight other former art students of Lalit Kala Campus and Srijana College of Fine Arts of Tribhuvan University and other private art studios in Kathmandu say they were also sexually abused by their art teachers. Three faculty members interviewed from these institutions said they saw the abuse, but felt it was futile to report it given how powerful the teachers were.
In the absence of a formal system, some longtime women artists warned each other about “problematic” artists. They shared &nbsp;a “heads-up” to be more cautious when collaborating with them, and avoided responding to their calls and texts after work hours.
To ensure art institutions are safe for all, galleries, museums, artist studios, and smaller art spaces need to develop policies on sexual harassment. This would include a code of conduct or studio policies that hold the leadership accountable and outline the principles of professional ethics.&nbsp;
Students and employees should inquire about accountability mechanisms for raising concerns, both formally and informally, advocates say.
Three years after Ekta left the ceramics studio, she learnt that Kalapremi had harassed many other women. Still trying to get a footing in the art industry, she attended a workshop in Kathmandu where women artists discussed ways to stay safe in the art sector.&nbsp;
Since it was a close-knit group Ekta opened up about how she felt violated and realised she was not alone, he had been abusing underprivileged students for years, and this was common knowledge among artists in Nepal.
Ekta says that even after she quit, Kalapremi continued sending her text messages like ‘I am thinking of you’, ‘Why have you stopped speaking with me’, or ‘I am waiting for your call’.&nbsp;
But what really forced her to act was when Ekta found out that he was sending similar texts to her younger sister.&nbsp;
“I’ve had enough,” she told us. “He abused me all these years but I won’t let him abuse my sister.” &nbsp;
Ekta, Rajiv and Luna are not the real names of the students.&nbsp;

‘Art Lover’ accused of sexual abuse

It was 8:15 in the evening of 25 March 1968 when everyone in the village of Batulechaur near Pokhara heard a deafening sound like thunder as a bright flashing object hurtled down to land in a field.&nbsp; That field belonged to Kul Timilsina, and the next morning he retrieved a sheet of metal about 2m by 1m and carried it home with the help of a few others, thinking it would be useful for his buffalo shed.&nbsp; Before he died at age 83 three years ago, Timilsina had told photo archivist Sunil Ulak that the black metal sheet was not rectangular and had rounded corners. There are a few witnesses still alive who have a clear recollection of the object that fell from the sky that night.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120707128_75cc85aac56b9cc4a77366471f058d7b3eb6868776811b0923845c2d0a61f014.jpg" data-media-id="editor_0" data-image-id="2024120707128_75cc85aac56b9cc4a77366471f058d7b3eb6868776811b0923845c2d0a61f014" data-rendition-name="original" width="1170" height="601" loading="lazy" alt="UFO over Pokhara"> <figcaption>The field in Batulechaur belonging to Kul Timilsina where fragments of a flying object fell from the sky in 1968.</figcaption> </figure>  One of them is Timilsina’s wife Gyanu, who was 22 at the time. She had been at home, and remembers hearing the big bang and the sky becoming very bright. “We saw the thing in the field in the morning,” she told us. “It looked like a lid, a covering of some sort. The way it was stuck in the ground, it must have fallen from the sky. We thought we could use it to dry clothes on, and took it home.”&nbsp; Another witness is Kul Narayan Paudel. “I was only eight then. We ran to the field to see what had fallen. It was a four-sided metal sheet. The elders took it away, and I don't know what happened to it.” &nbsp; Ram Bahadur Baniya, a teacher at the local school, says he had heard the sheet had been brought to the school, and later handed over to the Zonal Commissioner at the time, Nanda Prasad Malla. “But that is all hearsay,” he says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2024120707128_0bf207a12063fb8155b3c8d9a00a94887b126380c9e0627527c84cf5e1101f54.jpg" data-media-id="editor_1" data-image-id="2024120707128_0bf207a12063fb8155b3c8d9a00a94887b126380c9e0627527c84cf5e1101f54" data-rendition-name="original" width="1170" height="610" loading="lazy" alt="UFO over Pokhara"> <figcaption>Gyanu Timilsina, wife of Kul Timilsina.</figcaption> </figure>  There are two versions of what happened to Kul Timilsina’s metal sheet. One is that an American Peace Corp Volunteer teaching at the nearby Bindyabasini School took it, and another is that it was handed over to the government. Recently declassified Central Intelligence Agency (CIA) and US State Department documents from the time say that the US Embassy in Kathmandu tracked down the object two years later and had it shipped back to the US. A telegram from the Department of State and Department of Defense tagged as ‘MOON DUST / Space Fragments’ dated 1 March 1972 stated: ‘1. Restored space fragment will be on board Embassy support flight 115 arriving Kathmandu on or about March 10. Fragment is packed in shipping crate (cargo no. 72-33365) marked in care of DAO.&nbsp; 2. State and Defense representatives examined fragments prior to shipment finding restoration acceptable.’  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071212_929d903ee06d41baa4f6040e981cd7c7d7bd75cc9c37c9b617d307fc8538d2df.png" data-media-id="editor_2" data-image-id="20241207071212_929d903ee06d41baa4f6040e981cd7c7d7bd75cc9c37c9b617d307fc8538d2df" data-rendition-name="original" width="856" height="568" loading="lazy" alt="UFO over Pokhara"> <figcaption>Declassified CIA documents about the investigation into the object sighted in Pokhara. </figcaption> </figure>  The documents show that the US government, military and intelligence agencies investigated this incident thoroughly when it occurred, and have continued to revisit it ever since, as recently as five years ago. What is even more intriguing is that the object that fell in Pokhara was not the only unidentified space object that fell to earth that year. There were similar sightings of objects falling from the sky in Ladakh, Sikkim and Bhutan between 19 February and 25 March 1968.&nbsp; These mysteries were the subject of a CIA investigation in 1968 titled ‘<a href="https://www.cia.gov/readingroom/docs/CIA-RDP81R00560R000100070007-8.pdf">Sighting of Unidentified Flying Objects in Ladakh, Nepal, Sikkim and Bhutan</a>’, and the report is part of the recent online declassification of 800,000 top-secret documents from the period.&nbsp; &nbsp;Although unidentified flying objects (UFOs) have a connotation now of being alien craft, it could be pieces of satellite, missile, rocket or even aircraft. The CIA report documents six sightings in 1968 and quotes local sources as describing all of them having similar characteristics: bright blue or red streaks in the sky accompanied by loud sounds like lightning and thunder and objects falling to the ground. Aside from the metallic object that was found in Batlechaur, there were other items also found nearby in Tallakot, Tureypasal, Armalakot and Maidan. Whatever the object was, it seems to have disintegrated even before it hit the ground.&nbsp; The CIA report records the first sighting on 19 February 1968 in various parts of Sikkim and Olangchung Gola and Ghunsa in eastern Nepal. The light was said to be ‘long and thin’ and giving out ‘green and red light’. &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071212_c3c825027d966a2aedc846970390eebe063957503c7eacc8e01e0517843f9bbb.png" data-media-id="editor_4" data-image-id="20241207071212_c3c825027d966a2aedc846970390eebe063957503c7eacc8e01e0517843f9bbb" data-rendition-name="original" width="892" height="596" loading="lazy" alt="UFO over Pokhara "> </figure>  Two days later on 21 February, a soundless blue object was seen traveling fast across the sky above Thimphu in Bhutan. Then on 4 March there were multiple daytime sightings or white streaks in the sky at Chang La Pass, Fukche and Koyul in Ladakh. There were more sightings in Ladakh on the very day fragments fell near Pokhara on 25 March 1968.&nbsp; After the sightings in Pokhara, rumours started flying in Kathmandu that these were aliens trying to land on Earth, it could be Russian or Chinese spy planes or satellites, and some even say it as a sign from heaven that the end of the world was near. This was at the height of the Cold War. The Russians and Americans were testing their thermonuclear devices as well as intercontinental ballistic missile delivery systems. The Washington-Beijing rapprochement had not yet happened, and China was making quick progress testing atomic bombs. Within two years after its first atomic test, in 1966 China exploded its first hydrogen bomb at the Lop Nur site in Xinjiang, 3,000km to the north from Nepal. After neary six decades, what is still intriguing is that all the sightings within a few months of each other in 1968 were along the Himalayan arc bordering Tibet: from Bhutan, Sikkim Nepal, to Ladakh. The US military intelligence seems to have concluded that this was not a coincidence and there were frequent research trips to the site in Pokhara by American officials in the months after the incident. With the help of the Royal Nepal Army, the region north of Pokhara was thoroughly searched.&nbsp; A confidential memo dated 25 June 1968 by Jerry C Trippy to a ‘Mr Farley’ mentions that the US Air Force’s Foreign Technology Division had decided that the debris could be important because it may be related to a Chinese missile test or a Soviet ‘Vehicle Venik’ rocket.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071216_feb5425692dc36b20187de4e4fcc2ce9fd12b6d9e1b8724398e50bcdbf9032fe.jpg" data-media-id="editor_5" data-image-id="20241207071216_feb5425692dc36b20187de4e4fcc2ce9fd12b6d9e1b8724398e50bcdbf9032fe" data-rendition-name="original" width="1500" height="1000" loading="lazy" alt="UFO over Pokhara"> </figure>  On 28 August 1968 the US Embassy in Kathmandu sent a letter to Washington DC saying that the object could be of Soviet origin, possibly from when the rocket carrying the ‘Kosmos 208’ satellite re-entered the atmosphere. But why were the fragments falling to earth several weeks apart, and in the same region? No one knows where the metal sheet that Kul Timilsina recovered is now. It was definitely packed in a crate and taken to the US, and although it is rumoured that it was returned that is not very likely. Archivist Sunil Ulak heard from the Timilsina family that CIA officials had returned to the site five years ago. &nbsp; Interest in UFOs peaked in the US in the 1950s, with the Cold War space race and tests of atomic weapons and delivery rockets. CIA and scientists were being sent to investigate sightings, both publicly and privately. Could the Pokhara fragments as well as the sightings in Ladakh and Bhutan actually be alien craft falling to earth? The renewal in interest in space travel in large part due to Elon Musk’s SpaceX, UFOs and sightings are again subjects of public interest.&nbsp; Even 57 years later, even if there was definitive proof about whether the Batlechaur fragment was from a Chinese missile or a soviet rocket, it has not been made public in documents declassified so far. We may never know.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20241207071216_b6938795f40731e7657fd6dcbb3cf460a326186a15eb11d4f832f602201ff598.jpg" data-media-id="editor_6" data-image-id="20241207071216_b6938795f40731e7657fd6dcbb3cf460a326186a15eb11d4f832f602201ff598" data-rendition-name="original" width="642" height="320" loading="lazy" alt="UFO over Pokhara"> </figure>  Sunil Ulak speculates if the debris actually came from an American aircraft, perhaps on an intel mission upon China. “Which could explain why they were so thorough in collecting the fragments in Pokhara,” he says. But that still does not explain the multiple sightings weeks apart in 1968.&nbsp; Indeed, US military aircraft were at that time flying frequent night-time missions from air force bases in India to supply weapons to Khampa guerrilla camps in Nepal located north of Pokhara in Mustang. It could very well be that the Chinese shot down one such aircraft. The other sightings could have been contrails of US spy planes, or Chinese anti-aircraft missiles.&nbsp; There were quite a few developments regarding UFOs in 2024. In a US congressional hearing in July, former intelligence officer David Grusch claimed that the government had long been involved in a program to investigate and retrieve non-human craft crashes, and then try to reverse engineer them. However Grusch did not show any evidence.&nbsp; The UAP Disclosure Act of 2024 was signed into law by Joe Biden in December 2023. It plans to oversee the public disclosure of UFO information. However, there is a clause in it that prevents disclosure if it would cause threats to military defense, intelligence operations or foreign relations.&nbsp; It is unlikely that the declassified documents about sightings in the Himalayan will cause any real surprise about definite evidence of alien life even if it was found. It seems humanity will continue, at least for now, to wonder about curious lights in the sky and whether there is anybody out there.&nbsp;

UFO over Pokhara

When Rastriya Swatantra Party (RSP) president Rabi Lamichhane was arrested in October on charges of defrauding depositors of cooperatives, the party’s vice president Swarnim Wagle gifted him Fareed Zakaria’s book, Age of Revolutions.
Since then, Lamichhane has been shunted around from Kathmandu to Pokhara to Chitwan and back to Pokhara to attend police investigations and court proceedings. He was being flown to Birganj via Kathmandu on Buddha Air on Monday. There is another pending case in Janakpur.
Human rights groups and civil society have criticised the government for hounding Lamichhane with inhumane treatment that borders on physical torture. The two parties in the coalition, Nepali Congress (NC) and the UML, see Lamichhane’s RSP as a potentially formidable challenge to their power.
Even if the fraud charges against Lamichhane are true, the Nepali public is increasingly looking at the government’s actions through the police and courts as political vendetta.
Despite all the travelling, sometimes by plane and often by road at night, Lamichhane appears to be in high spirits, waving to supporters who often gather if they know he is going to be driven around. A social media video shows him giving high fives to fellow passengers on a recent flight to Pokhara.&nbsp;
In the past weeks, streets in Pokhara have erupted with parallel protests by Lamichhane’s supporters as well as depositors of cooperatives who lost their savings to the scam.&nbsp;
Although family visits are allowed, prison officials in Pokhara told Nepali Times that not many people visit Lamichhane these days. He added, “When he does get visitors, he asks them to bring him books.”
Lamichhane is currently Nepal’s most high-profile public figure in custody, and highlights the stark difference between how influential prisoners are treated compared to ordinary inmates.
There are six prison cells at Kaski District Police Office’s two-story detention centre, three on each floor. And while authorities pack prisoners into already overcrowded cells, Lamichhane has an entire room on the second floor to himself.&nbsp;
He has also been allowed to call his family every few days. Other prisoners are not permitted phone calls except for emergencies.
Meanwhile, Lamichhane’s former business partner Chhabilal Joshi, an ex-Deputy Inspector General of Police with whom he established his Gorkha Media Network, is in custody under the same charges in the prison cell next to him.
Lamichhane is accused of siphoning off depositors' money to the tv network in which he was part-owner and anchor. &nbsp;
Both Lamichhane and Joshi are able to buy food from the police canteen instead of being served the regular meal like other prisoners. Joshi has also given his statement to authorities in Rupandehi and Kathmandu for his alleged role in the scam. Lamichhane is yet to be presented in Kathmandu for questioning.
While he was in custody at the Kathmandu District Police Complex, Joshi expressed his desire to sleep in a police officer’s office, reportedly assuring authorities that he would not run away and he was entitled to certain facilities as a former officer of the law.
“He seemed to be under the impression that he is still a police officer,” says a source at the Kathmandu District Police. “We made it clear to him that as someone accused of a crime, he was not entitled to special treatment.”
Former ministers Balkrishna Khand and Top Bahadur Rayamajhi, and ex-home secretary Tek Narayan Pandey, who were arrested in connection with the fake refugee scam last year, were similarly housed in the offices of law enforcement officials instead of prison cells. Khand has since been released after six months in jail.
While there is no legal provision to keep high-ranking officials in separate detention centres when they are arrested, authorities granting them special facilities is not uncommon. Law enforcement officials say VIP detainees expect preferential treatment while in police custody.
Among those is former Kosi Province minister Lila Ballav Adhikari, who was arrested from Biratnagar on 10 November over his alleged involvement in human trafficking and brought to Kathmandu. Adhikari had flown to Japan without government approval with three individuals on 29 October to attend a cultural conference, but had been sent back to Nepal from Narita.&nbsp;
His three companions were arrested at Kathmandu airport upon their arrival, but Adhikari was able to exit unscathed from the VIP lounge. Adhikari had resigned as the Kosi Province Minister for Internal Affairs and Law when it became public that his companions had been taken into custody, and was himself arrested shortly after. He has since been cleared by the courts.
Throughout his detention, Adhikari was kept separately from other inmates. Senior Superintendent of Police (SSP) Basant Rajouri, head of the Bhadrakali complex, says that while there is no separate detention area for VIPs, some detainees are kept separately depending on the nature of their crime.
However, sources say that arrangements were made for retired judges and others to visit Adhikari frequently worked at the office of a Deputy Superintendent of Police (DSP) during his time in custody.&nbsp;
“He used to constantly pester the authorities to let him sit outside in the sun, and to be able to use the police officer’s shower area,” added an officer.
Adhikari was released on 25 November after the government prosecutor’s office decided not to charge him in a move that was seen to expose the government’s double standards.
Over at Kathmandu’s Dilli Bazar Prison, former Kist Bank CEO Kamal Gyawali emerges from his prison cell into the courtyard of the prison’s ‘Ka (क)’ block every morning with a thick book in his hands, ready to give his daily sermon.
With his long beard, Gyawali, who is serving a prison sentence for banking fraud, looks the part of a religious guru as he implores his rapt listeners to “walk the right path, abandon bad thoughts and turn to scripture and spirituality”.&nbsp;
Afterward, the attendees gather to discuss politics and current affairs. Inmates at his daily sermons at the prison include other high-profile detainees, including former MP Ichchha Raj Tamang, who is in jail for money laundering and cooperatives fraud, former joint secretary Chudamani Sharma, who was convicted of corruption, as well as NC leader Chandra Bahadur Lama and Krishna Bahadur Upreti of the UML both of whom are on trial for embezzling billions of rupees.
Victims of the cooperatives scam that former lawmaker Tamang was involved in have made trips to the prison and requested visits, but he has refused to meet with any of them.
“Tamang often complains that the state has prevented him from returning the money to the victims by locking him up,” says a police officer at the Dili Bazar jail.
“All you hear every day from the VIP prisoners is that they have been framed,” adds the officer. “No one admits that they were involved in misdeeds.”
But while most high-profile prisoners complain about prison conditions, one exception is former provincial lawmaker Deepak Manange, who is serving a sentence at Dilli Bazar Jail for attempted murder.
“He is the happiest prisoner here,” says a warden. “Unlike the others, he doesn’t claim to have been framed, in fact he doesn’t seem to care that he is in prison.”
Manange is detained in the ‘Kha (ख)’ block of the prison complex, which he renovated at his own expense. The block previously housed female prisoners, but Manange used his influence to transfer them elsewhere. He faces no shortage of visitors, who range from political leaders to people from the underworld.
Along with Manange, other well-known prisoners in this block include Nepal Telecom Managing Director Sunil Poudel, and former executive director of the Surakshan Printing Centre Bikal Poudel, who are serving time for corruption.
Former prisoners at Dilli Bazar prison include ex-ministers Khum Bahadur Khadka and Shyam Sundar Gupta, NC leader Ganesh Lama, Maoist MP Balkrishna Dhungel, Nagarik Unmukti Party leader Resham Chaudhary, as well as former IGs Ramesh Chand Thakuri, Om Bikram Rana, and Hem Bahadur Gurung.
Section 54 of Nepal’s Prison Act assigns each prison’s internal administration the
responsibility of governing its prisoners, which means the more favourable the jail management is, the more comfortable it is for prisoners.
Dilli Bazar prison has been the prison of choice for many high-ranking prisoners, especially those convicted of white collar crimes, due to its more accommodating administrators. The prison, which has the capacity to house 700 inmates, is also less crowded than other jails.
Anuj Bhattarai, spokesperson of the Department of Prison Management, says that there is no legal classification in Nepal for felons to be assigned prisons based on the nature of their crimes.
“That Dilli Bazar Jail has a higher number of prisoners convicted of crimes like corruption is most likely a coincidence,” says Bhattarai. “There is no provision for influential people to be able to choose where they will be incarcerated.”&nbsp;
Translated by Shristi Karki from the Nepali original published in himalkhabar.com

What Nepal’s VIP prisoners do in jail

If you were raised in Nepal, you must have picked up its unique set of vocabulary: आन्दोलन, चक्का जाम, बन्द, राँके जुलुस, आफ्नो मान्छे, हाम्रो दल, कर्फु and many more words connoting political protest.
We became familiar with the acrid smell of burning tyres, and eyes smarting from tear gas. And yet, everyone speaks of another revolution in the making. Not by desire, but by suffocation.
We heard speeches about नयाँ नेपाल, but the New Nepal never arrived. The governance system changed, but it did not reflect on people’s lives — except for those close to centres of power. The state is still unreachable and is not bothered about <a href="https://nepalitimes.com/here-now/matter-of-life-and-debt">victims of loan sharks</a>, cooperative scams and other injustices.
Politicians continue to speak in sound bites, but fail to deliver. They have mastered the game of pointing fingers towards an external enemy and convincing people that they are never at fault. The political narrative is so disconnected from the actual analysis of the problem that suffocation doesn’t go away after every revolution.
No genuine effort has been made to deliver at all, which is why there is a palpable sense of disillusionment in the air forcing us to seek another revolution, even if Nepal may not be able to afford it.
How has the current system successfully held power, even if the public is deeply frustrated? How is it that for three decades we continue to be led by the same faces, who have time and again, proved to us that they may be great politicians but not national leaders?
<a href="https://nepalitimes.com/opinion/improving-internet-governance-in-nepal">My experience at the epicentre of politics</a> has led me to identify three cultures that have enabled political parties to keep a tight hold on power: acceptance, silence and dependency.
We accept things the way they are. We use fatalistic phrases like “नेपालमा यस्तै हो” or “नेपालको कानुन दैब जानुन”. While this resilience enables us to rise back up from devastating calamities, it is also a reason for our compliance with the status quo.
Despite so many ‘revolutions’ that have led to significant reforms, these phrases keep getting reinforced, to the point that the upcoming generations have made it their lingo.&nbsp;
This acceptance is not a symbol of law-abiding citizens, but citizens living in fear of those in power, unable to ask the whys and why-nots.
Innovation suffocates in this culture of acceptance of the status quo. This is manifested in remarks like “but we don’t have any laws for this,” or “we don’t have the capacity to implement this”. An innovator or entrepreneur therefore has to spend that energy to become a political lobbyist, often educating and convincing the bureaucracy.&nbsp;
Remember when locally assembled <a href="https://nepalitimes.com/banner/designed-and-made-in-nepal">Yatri motorbikes</a>, despite having willing customers, had to suffer to secure license numbers because of a lack of regulations? Instead of creating new laws, the government kept chanting the “We will promote Nepal-made goods” mantra, leaving entrepreneurs in a labyrinth of bureaucracy. The weight of acceptance of the law lies heavily on innovators. Fatalism is a tactic used by those in power to generate mass fear in society.
When we accept, we become silent. This is a pervasive phenomenon. We are trained to keep quiet, lest we ruffle feathers, burn bridges, or not get the help we need in future. We know, yet we don’t speak.
Read also: <a href="https://nepalitimes.com/here-now/bureaucratic-hurdles-in-researching-nepals-bureaucracy">Bureaucratic hurdles in researching Nepal's bureaucracy</a>, Daniel W Edwards
Here is one example: the 2021 census shows that the number of baby boys born for every 100 baby girls is 112. This is a clear indication of female foeticide because of boy preference in society.
Despite such horrifying realities, there is finger-pointing within the government between the Ministry of Health and Population with the Ministry of Home Affairs. At the citizen level, we know those who are involved in killing girls. Yet, we don’t speak up. The Nepal Medical Council reports state that despite this gender imbalance at birth, there is no indication of any action.
But why would anyone speak against one's own fraternity, no matter how vile the act is?
When we accept and keep quiet, we become dependent on those who yield power. From getting our government procedure completed on time to getting transfers, to accessing any of our legally protected rights as well, we are forced to depend on our networks of चिनेको मान्छे people we know by blood, village, relations, political affiliation.
The culture of dependency has been the established way in Nepal. If you drive a two-wheeler or four-wheeler, and you get into a small accident, you will be asked to sort it yourself, dialing up the most powerful person you know. It becomes a competition of who knows who.
Recently I was told that there were calls from the Ministry of Health and Population and another from the Prime Minister's Office for just one medical position in a private hospital. Each was pushing its own candidate. Guess which candidate got the position.&nbsp;
The dependency of people is not on the laws or the state, it is with people in power, a reliance on the network of somebody who knows somebody, including those not officially in power.
These cultures are deeply ingrained in our heads, and in society. Collectively they form a vicious circle that helps those in power to retain power. This is not the society we want to live in.
Then, what do we do as a collective to break away from this? How do we break away from the cultures of acceptance and silence that have created this dependency? What can we do to ensure that our children do not have to learn the jargon of आन्दोलन before they learn about the state?
These are the cultures political parties need to shed rather than use them to perpetuate their power. This is what <a href="https://nepalitimes.com/opinion/comment/an-alternative-to-alternative-politics-in-nepal">alternative politics</a> needs to be about.
Sumana Shrestha is a member of Parliament’s Education, Health and Information Technology parliamentary committee and represents the Rastriya Swatantara Party.

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