Last year's Dasain was unique. Dasain has become a 'big day' not only in Nepali homes, but also in the film industry. Because of the three films that were screened at that time, it seemed as if a crowd of Nepalis returning to their village gathered in the hall. Which film is also a house full, ticket drought for weeks! Among the filmmakers to earn crores of money!

This time also Dasain came, but there was not much excitement for Nepali films. This time, before Ghatasthapana and Phulpati arrived, the Gen-Ji movement, the political instability it created, arrived . The Nepali film Phoolpati Peinkeh saw the government's ban on social media this time . The closure of the platform, which is becoming the main weapon of propaganda, seemed to have more water on the forehead. The ups and downs of the country kept drawing the audience's attention towards unstable politics. However, the filmmakers screened the film during Dasain holidays and left. Now along with Dasain comes a long holiday. On this holiday, three films of actors Sameer Bhatt, Dhiraj Magar and Harivansh Acharya, who made their debut on the Nepali silver screen since last December, will hit the theaters . It seems that Dasain has started in Nepali films with life returning to normal after the flood. 

Now let's talk about the movie "Maitighar" that was screened. Milan Tamang directed this film which contains the story of Tamang community. Rohit Adhikari produced the film based on the story written by Ram Sharan Pathak, the director of Prem Geet 2. The film has a love story, a struggle for love. There is a great effort to find love in the midst of family conflicts. In the background, there is an attempt to blend the Tamang community and culture. However, with a weak screenplay, horrendous narration and traditional style of dialogue, 'Maitighar' has not been able to get that flavor, which the sweet story carries. 

Sonam (Prakash) falls in love with Marsyang aka Poornima (Upasana Singh Thakuri). However, the family becomes an obstacle in their love . Since her parents passed away at a young age, Marsyang grew up with her uncle's (Buddhi Tamang) family. On the other hand, the father who adopted Sonam and brought him up is a close cousin of Marsyang's uncle. After Sonam was adopted, her cousin's sister disappeared. Uncle  is not ready to marry Marsyang to the family that made her sister disappear. Therefore, he promises to marry Vinay (Dhiraj Magar), the Lahure son of Yudhveer (Shishir Wangdel), who came home with Pong (a drink taken when he goes to ask for a girl in Tamang culture). The story of the promise giver is in the movie, if you want to know that, watch the movie itself! 

If you look at the story, the story of the film flows smoothly, tell me where is the problem? Especially the main problem of the film is love. For example, throughout the film, Marsyang and Sonam sometimes endure family obstacles to save their love, and sometimes avoid the modesty that comes in between. Whatever happens in the film, it is based on Sonam and Marsang's struggle to find their love. However, director Milan has made a mistake in showing the love of these two . The deep love between the two is not established in the film, their love is shown in some songs and flashbacks. Therefore, the audience cannot feel the love between them. Now when that kind of love is not shown between the two, how much will the audience be touched by their struggle for the same love? If director Tamang had established the love of these two deeply, we would have experienced the pain, anguish and tears that Sonam and Marsyang endured for love. And, we could sympathize and sympathize with them in their struggle for love. If this is not the case, the audience's attention will gradually be distracted from the story. 

On top of that, there is nothing new in the film . The scene of him going to ask for his daughter's hand with Pong is also taken from Kirant culture. There are a lot of Tamang-cum-Kiranti-loves in the dialogues and words spoken in that scene. The audience has seen this scene many times in the story of the Kirant community. If Tamang Loves, their culture and beauty could be mixed in it, 'Maitighar' would have really become a document of the disappearing culture of the caste that made up 'Masinya'. The film would have been stronger if they had touched the rimathim and lovez that the Tamang community was practicing while taking Pong. 

However, story writing does not seem to be sensitive to this culture and community. For example, the core issue of the film is related to the challenge that Marsang faces for family honor . However, whether it is a marriage relationship or a decision to be made for themselves, Tamang women are independent. For their happiness, they run away and marry their lovers. Only after that, according to the culture, the practice of entering the house is prevalent . But while writing the character of giving respect to the family to the same unmukt Tamang woman, it seems that the writer has imposed the Hindu belief on this character . Looking at the idea that the film gave, the recognition that was held at that time, the hollow ideal carried by 'Maitighar' starring Mala Sihna, which was made by a private organization, is repeated in this film. Showing the women of the tribal and tribal communities helpless, victimized, voiceless and connecting them with family, honor and the value of the matriarchy, it seems that this film, directed by Milan Tamang, has not risen above the idea carried by 'Maitighar' 30 years ago. According to Tamang Rimthim (Chardam), a community that gives decision-making rights to daughters, this community that prioritizes women even in marriage, if writers from other communities had paid attention to such subtle aspects, "Maitighar" would have become dearer than life to the Tamangs.  In the

Dhan film, actors from the non-Tamang community have been carefully cast in their characters. For example, even though Prakash Saput's character is raised by the Tamang family, his name and surname are shown to be unknown. On the other hand, Dhiraj Magar and Upasanasingh Thakuri have also been arranged in the same way. However, even though these artists are shown in Tamang characters, their efforts are not visible in the customs, language and dialogue of this community. The words 'asyang' (uncle), 'jeojyo' are pronounced differently in the dialogue. When assuming the character of a different community, if the artist works a little hard on the character's love, language, and emotions, then the trust in the character will be awakened! Dialogue is also used in a traditional style. It would have sounded beautiful if it had been translated into colloquial language. The Tamang language spoken by artists other than Buddhi Tamang also sounds awkward. Instead, in some scenes, the Tamang language and love spoken by the "Magne Budha" sound beautiful . The song of 'Maitighar' has been forcibly kept for the title of the film. The cello song sung while playing the damfu is beautifully used in the film . The tune of tamang baja mixed in the background sound is powerful in reciting the story. The use of flashbacks is beautiful .