Weak screenplay is the old problem of Nepali films. New directors come to the Nepali film industry to tell stories with a new storytelling style. However, the mistake they repeat is that they want to establish a new experiment in a weak screenplay. Director Suyog Gurung has adopted a new style to tell the story of 'Pharki Pharki', but his efforts have failed due to weak screenplay, cliche dialogues and immature acting.

Just as the main character of the film gets lost in the time loop, he is also entangled in various shortcomings of the narrative. 

Director Gurung has told the story of 'Farki Farki' through 'Time Loop'. A time loop is where the characters keep repeating the same time and living . The character gets caught in the clutches of repeating time in such a way that he has to meet certain circumstances to pass that time . Such is the case with Madhav Singh Basnet alias 'Maddy'.

 Every time Maddy makes a mistake, she has to keep living the same time . Unless he corrects that mistake . What kind of time loop will Maddy, who is always having fun and not being responsible for work, fall into? The rest of the story of 'Farkifarki' answers this question . 

Trying to catch the style of 'time loop' in

is a new practice, it will surely give a new taste . However, what if you don't know how to tell a story by grasping this style correctly, 'Farki Farki' has become an example of that. Delivering a world unlike real life, the extreme  Believable elements should be used in fictional stories. Like a

, on the day of Kartik Purnima, Maddy starts getting caught in a time loop based on his friend Subhas (Ravi Kafle) praying to God. The belief that God has sent Maddy into a time loop to give her a chance to right her wrongs is established in the film, but not for the other characters.

The aspect that the character disguised as a beggar in Chautari is the real God is not convincingly established . Just as the magical world in 'Harry Potter' seems real, Harry's magical talent is believed, so the characters and story of this film are not established in the scene in a believable way . While

, the film has the power to show the untruth as the truth. Director Gurung has used the time loop, but he has not managed to use it in the narration. Under what circumstances does the main character get out of the time loop? What can be the death of someone or the change that comes at a certain time of the clock ? The director has not been able to show these situations very much in the scene . Therefore, the change in the climax of the film has to take some time to understand the effect it brings to the main story. 

film is a medium of visual language . The film has the power to bring you to the world inside the story from the scene. However, because the same story cannot be presented through visual language, love is not established in this film based on a love story. Saira (Jasita Gurung) who came close by chance and  Love slowly starts to grow between 'Maddy'.

In the beginning Saira starts to like Maddy . For Maddy, women are only characters to fulfill their sexual desires, Maddy has no respect for women. Knowing this nature of Maddy, Saira falls in love with Maddy. When Saira proposes to Maddy, suddenly Maddy realizes the mistakes she has made.

Maddy begins to show immense love for Saira. When the steps taken by him to get Saira are wrong, he decides to leave her. It is difficult to accept the change in Maddie as she expresses this feeling within herself.

Maddy has not been shown to be attracted to Saira in any scene before. He also looks at Saira the same way he looks at other women . Showing deep love without any sense of love at the same time, and the reason for reaching this kind of decision is not very clear in the scene . How did the main character change suddenly? A change in character in one mistake weakens Maddy's confession.  The

film has also tried to show the relationship between friendship and son-in-law. However, the friendship and father-son relationship in the original story is not known, and these sub-stories have become thin . If these stories were told in a parallel manner, the reading of the story could have become more powerful. However, director Gurung to mix these topics in the screenplay  If you don't know, it doesn't leave much impact on the original story of the film .

This subject has been forcibly stretched after the identity of the story has not been found . After not being able to move the story forward, it seems that the director Gung has started telling friendship and father-son relationship one by one . Let's look at Maddy's friendship with her friend. Establishing their relationship towards the end of the film, how did Subhas remain friendly with the abusive Maddy? It is trying to make the forced story poignant by showing that aspect.

tried to establish this feeling through the relationship with his father. However, since these subplots cannot flow together in the main story, we cannot relate to these feelings . So it doesn't hurt when Maddy is holding her father's hand on screen and shedding tears. This father-son relationship and friendship seems to be influenced by Bollywood films. The poet of 'Ae Jawaani Hai Deewani' is immediately seen in Maddy, who is standing in the courtyard of her house with a bag in her hand, near her sick father. Maddy's broken relationship with her father, the rekindled love for her father also has the influence of the film. This film is also reflected in other plot of

film . For example, when the four friends were traveling, Maddy climbed a dangerous hill, and reached the destination and screamed loudly with Saira!

If you look at the film from a feminist point of view, 'Farki Farki', the female character is also wrong. The main character of the film, Saira, is presented as a character who is attracted to a man who only sees women with the eyes of sexual frustration. He has his  She cannot decide on marriage by herself. He has been depicted as a character who is happy about the contract. She is portrayed as a character who is ready to marry a man against her choice. Also, it has been shown that one man is resorted to another to get rid of him .

film repeats again and again, second chance! She can't give her boyfriend . In this film, men want to keep women suppressed, women are established only as objects to erase sexual frustration . Suzy's character tries to maintain balance, but in some scenes, the woman is presented as a laughing stock. As Bose starts looking at his wife's picture from Goji, Maddy says in one scene, "You really love your wife, don't you?" As soon as you see his photo, that happiness, that positivity! Then in the dialogue where Maddy's boss discusses his wife as a big problem, that character shows his attitude towards women. 

is another reason why this film becomes weak, the cliché dialogue . The dialogues used in the film are highly exaggerated. If colloquial language was used, the fictional characters would look realistic. In some scenes, Chotila and colloquial language are also used. However, its continuity does not last until the end. The scene loses credibility when the heavy dialogues and the love held by the actors do not match. Let's look at the scene of the same neighborhood for example

 . When Maddy and Subhas are about to pray to God, the beggar says in a loud voice, 'Today is Kartik Purnima  Special day . Today, everything chosen, thought, sought will be fulfilled' . In this film, the characters continue to speak heavy dialogues in a style different from the story and situation, which cannot connect us to connect with the scene and situation.  The film is weak in terms of

acting. Coming to this film, Anmol KC looks a bit more mature than other films. However, his acting still lacks clarity. Similarly, Jasita Gurung has not reached the depth of Saira's character. When the emotions of the character are revealed, she seems superficial, which may be the result of a weak screenplay . However, the social, political, and psychological aspect of character portrayal still needs to be practiced.