A big event does not have to happen to tell a story. The character does not have to go through a big struggle. The hero does not have to punch the goon, nor does the heroine cry! An example of how a beautiful story can be told even on a delicate subject is the film Shape of Momo (Like a Son). This film questions patriarchy through a delicate story and emotion. This Nepali language film directed by Triveni Rai deeply hits the structure of patriarchy through Vishnu (Gaumaya Gurung) and his family. And shames those who are reaping its benefits.

Let's talk about the most powerful scene in the film. First - a short story of the film - Vishnu, who is working in Delhi, returns to her home in Sikkim. Her mother and grandmother are at home. On top of that, her sister Junu (Shyama Shri Sherpa). Gyan (Rahul Nawach Mukhiya), who has just started growing a beard, comes to eat momos with his family one day. There, they joke about Vishnu not being able to make the right shape of momos. We will talk about momos later, now let's get back to the scene.

After eating momos, everyone goes their separate ways. The dishes are scattered all over the dining table. Only Vishnu and Gyan are left to eat momos. At that moment, Vishnu's phone rings. He stands up, holding the phone to his ear, and walks towards the basin. The camera shows an empty plate in front of Vishnu. On which there is a momo and pickle left by Gyan. And then the camera shows Gyan washing his hands in the basin with the same old plate in the same frame. In the background, Vishnu says, 'Gyan'. But, Vishnu cannot complete her sentences. The audience must understand Vishnu's psychology. In this scene, Vishnu is trying to tell Gyan to wash her own dishes. But, what does Gyan, who has learned that the responsibility of the kitchen is the responsibility of women, care about that? They stand on the dividends given by the patriarchy and keep their mouths shut. This scene with Gyan and Vishnu, who are preparing to do business together in Sikkim, questions the patriarchal structure in our society. The patriarchy tells men, 'You only wash your hands, Vishnu will wash the plates.' In other words, how this structure tries to suppress and suppress women within the home is presented through a single word from Vishnu, which is heard softly. Gyan does not even hear her voice. Gyan is busy with work outside the home, the phone indicates that. Talking about the

structure, this does not only show the oppression of women by patriarchy. Here are subtle stories about how it has taken root in the minds of women as well. As soon as a group of men pitch a tent near Vishnu's house to have fun, Vishnu's mother starts feeling unsafe. So she starts turning on the lights on all the floors to make it seem like there are many people in the house. More interestingly, the actions taken by the mother, known as Guruama (Pashupati Rai), to make it seem like there are some men are interesting. She dries men's clothes in the courtyard of the house. When someone from that crowd comes up to ask for water, she says loudly, 'Vishnu, tell him that his father is sleeping inside.' This dialogue also shows how the idea that only men can protect women is protected in society.

This is also reflected in some scenes with Gyan. Guruama tells a gathering about the 'fake call' that keeps harassing her from an unknown number, that too when Gyan is present. Then, Gyan is used to scare the person. Gyan also shouts down the person on the phone with great pride. Guruama breathes a sigh of relief, and feels safe in Gyan's presence.

How is patriarchy embedded in women's minds? No big dialogues are used here to show, nor does Gyan beat up those who make 'fake calls' like a hero. Such scenes that happen in ordinary daily life are shown in the film, which keeps the audience connected to the characters. Throughout the film, men are portrayed as the 'messiah' established by society. Who have grown up knowing that women should be protected and protected.

Even though the story is told from Vishnu's perspective, all the characters in 'Shape of Momo' are given equal justice. Or rather, the writing of all the characters is equally sharp, beautifully woven into the main story. Junu always praises her husband by saying 'this and that in the house of entry'. Why can't a married woman call her husband's house her own? Who has control over property? Who is in power and what is the condition of the powerless? The dependent condition of married women is shown here through Junu.

Be it a mother waiting for her foreign son in her old age or a teacher who wants to live in harmony with a patriarchal society, this film beautifully portrays the different aspects of women in society. Teacher wants Vishnu to rebel against the society that she has not been able to do. However, she has become accustomed to the rules of patriarchy. The rule of ‘you have to bear it, you have to endure it.’

Be it the female character running on the roof or the Saili Aunty (Janaki Kadayat) who has returned to Nepal, director Triveni has not even had to portray them badly, from the strength and vulnerability of women. Looking at these characters, it feels like these women are our mothers, sisters and aunties. It hurts a little when Saili, who came from Nepal, is shown negatively in the story. Again, the decision taken by a woman for her children makes it less so.

Now let's talk about Momo! The image of Momo in this film is very sweet . After all, Momo is Momo, there is no question of it not being sweet! Again, the shape of Momo is beautiful . Everyone in Vishnu's family except him knows how to make Momo in a beautiful shape . But, the Momo that Vishnu makes is always - 'Shape na Dheepko' (bangotingo). When the shape of Momo does not match, Junu teases Didi . When she makes a joke about the Momo she makes, Vishnu gives the same answer, 'What if the shape does not match, Momo is Momo .' This answer of Vishnu attacks the different view of those who do not follow the pattern of society .

The society of Guruama does not accept Vishnu, who does not abide by the rules and restrictions set for women . Instead, it says - like a son . Here, Vishnu is the reflection of the spoiled Momo . She does not fit into the shape and form of society. Vishnu does not feel that she has to endure and endure, she can question and fight the injustices that are before her eyes. Most importantly, she can make decisions. This Vishnu, who does not fit into the rules set by society, has her own rule, 'What will happen if the shape does not match?' Standing on this belief, she breaks the rules and restrictions set by the patriarchy every time. When she does not follow these rules and patterns, society calls her a son.