The director has an element of wonder in his film that binds the audience. The main character has a big dream/goal. To reach that goal, the character has to climb many mountains of struggle. However, those mountains are not easy to climb. So whenever the characters struggle to climb such mountains to achieve their goals, the audience feels - Oh!

This character would have reached the target easily. Or we think, this character does not have to face obstacles and hardships when he climbs the mountain of sorrow, how often! But where is it as expected? When the character is struggling like this one after another, the audience keeps wondering what will happen next? Not being able to follow this style of storytelling, 'Gunyocholo: The Dress' has to attract the attention of the audience. 

Even now women, Dalits, sexual and minority communities are being 'misrepresented' in Nepali films. If it is a Madhesi character, Panipuri is sold or the face is shown with a black colored character. Regarding the portrayal of women's characters, women are still given the character of being awkward, weak, angry, stuck in the kitchen. Or the hero is only shown as a supporting character. Sexual and minority communities are always being used in films just to make the audience laugh. 

In that sense, making a film on such a complex subject is a strong step taken by director Samundra Bhatt. In the film, Samudra has given the main role of the film to the sexual and minority community instead of being a laughing stock.

Transgender women are shown in the film to show the pain, struggle and their lives of transgender and minority communities. Dev Thapa, who was born in a male body, how did he become a transsexual woman  become What kind of struggle does Dev Thapa have to fight with his family, society and relatives to become pink amid his father's dream of becoming a colonel? Gulabi, who became a transgender woman in 'Gunyocholo: The Dress', what kind of situations does she face to live with her gender identity away from home in Kathmandu? The story is included. 

However, the superficial screenplay does not lead to the depth of such a serious issue of the sexual and minority community. The film has covered their issues superficially. In real life, many pink people are still struggling to live with their sexual identity. They do not open up to the family soon, because the family has not yet created such an environment. In that sense, their struggle is not only within themselves, but with a cruel view of family, society and this community.

However, the film cannot show the struggle they are going through. When a 2-hour long film has the power to show the pain and hurt they are experiencing,  That too in a way that can shock us! However, when the writing of the film is thin, this film fails to present the serious issues that the subject matter can touch upon. If this kind of sensitive subject is raised, study research and sensitivity to the subject matter is paid attention to, such a film which is rarely made would be remembered for a long time. However, this opportunity has been missed by Samudra this time! 

For example, most of the film revolves around Gulabi and her family. When Gulabi tries to live with her sexual identity, what kind of contempt, disdain and opposition does she face in the family, especially from her father? It has taken a long time to establish that. While a few scenes would have been enough to show how the sexual and minority communities live a miserable life amidst such contempt of the family. Again, in this film, the main character is not shown to struggle much. Gulabi has to struggle for her sexual identity amidst the disdain and contempt of her family. He struggled for his sexual identity  If it was shown, the audience would have been glued to the film.

However, in this film, Gulabi gets everything easily. Mother sends Gulabi to Kathmandu to protect her from her father's scorn and contempt. Even in Kathmandu, he does not struggle much. There too, they easily collide with Sheetal's character. This character does not have to do anything for his stay in Kathmandu and love with his lover Indra. What if the main character of the film started to get everything easily without any struggle? Reading such a story does not attract the attention of the audience. And, the movement of the audience in the hall begins, the attention is finally diverted from the screen!

The use of sound in this film is not loud, this is another strong aspect of the film. Sound is used in the film according to the character's mood and situation. Except in some scenes, most of the dialogues are balanced. 'This society either gives jobs to boys or girls', Sheetal's dialogue sounds strong.  

Samudra's attempt to bring actresses like Sanchita Luintel back to the screen is also commendable. Sanchita, who was seen on screen after a long time, is seen in the role of Gulabi's mother in the film. This character of Sanchita, who is seen in the role of a mother who is happy even in the different identities of her children, is another major character in the film. However, in many places this character is 'loud'. Between Sushil Sitaula and Nazir Hussain's balanced acting, the characters of father and mother sound 'loud' more than necessary.