The floor looks messy with two children's toys scattered everywhere. The kitchen is the same, the basin is full of dishes, the sofa is covered with cloth. Two sons are sitting at the dining table clinking bowls as the father (Benedict Cumberbatch) is busy preparing food. Sometimes they're heating bread in the toaster, sometimes they're looking for a gallon of milk. In this hurry, they prepare their sons for school.

When he was about to go out, a son asked at the door, lost my jacket? Then the father quietly enters the room and returns with the jacket. After the father puts on the jacket, the son says, 'This is not my jacket.' Where is the father with him when he searches for his jacket? Whose jacket in the two sons! How do you know? They take their sons and run to school.  As this first scene from the

film 'The Thing With Feathers' speaks, it's a home without a mother. The mother of two young sons must have gone somewhere far away from home. Where did she go after letting her husband take care of the house? The story of this 98-minute film slowly becomes known as it progresses. A mother of two recently passed away, this young father has two children to support, as well as himself.

is living between many emotions, disappointment and the pain of losing a wife. How can this character, who is hiding the pain in his heart, distinguish between grief and despair? Or, the mental struggle of this character, who is becoming hopeless in the midst of grief, sharing with pain and every effort to get out of it, is powerfully presented through the image of a crow coming with big wings. In the

film, sometimes the pain of the husband who has lost his wife is shown, and sometimes the real situation of the father after the loss of his mother is shown from the sons' point of view. Whether it is the scene of his wife looking at her clothes and crying or the helpless father in the scene where his sons request him to tell a story like a mother before going to sleep! Many scenes of this heart-wrenching film evoke many emotions simultaneously in the audience. Laughter makes you cry.

One day the crow says - I will bring your mother back to the one of you who can make a picture of your mother. Little hands slowly begin to make the shape of the mother, this scene when the children are remembering the shape of the mother is heart-warming and brings tears to the eyes. 

Unexpected tears flowed from the right eye. Two drops of tears fell on my hand and I looked to the right. The German audience sitting next to her is sighing. Amidst the silence in the hall, the melodious voice of those who were sighing was heard, and suddenly the conscious mind spoke - you are not in Baneshwar's Wancinema, you are in Berlin. 

Participating in the world-renowned 75th Berlin International Film Festival, this hall within the 'Berlinale Palast' witnessed many different dimensions of such powerful stories, acting and story-telling. Stories of different flavors, political satire, commentary raised by independent film, walls trying to break down.

The political edge of the festival itself, which aspect does not touch with art? From invisible sensibilities through political statements, art can lead the connoisseur down a path of diversity, tolerance, inclusion, and sensitivity. Be it a hit on populist leaders through 'Mickey 17' or 'A Complete Unknown' made on Bob Dylan with a powerful performance. The Berlinale brought together all the directors who dazzle with their craft with strong voice through diverse films, stories that inspire to live life beautifully, to explore humanity in a society where humanity is disappearing. 

'The Thing with Feathers' was the house the father managed. However, the 75th edition of Berlin i.e. Diamond Jubilee Mother of the Festival hosted. The new director of the festival, Trisa, followed the legacy that the Berlinale has held for years and added new colors, new voices, new voices and new rhythms to the festival.

is an all-round event - on the one hand, the walk of the artist on the red carpet, on the other hand, the press conference. Sometimes there is a film screening and sometimes there is a bustle of the market where films are bought and sold. 20,000 filmmakers, journalists, producers, film-related guests from 150 countries. This festival, which brings together filmmakers from all over the world, is a Mahakumbh for film lovers. 

Here, no matter where you turn, talk of the film, no matter who you bump into, the gossip of the film. Crowds of movie goers everywhere. Even at 10 o'clock in the middle of the night, a large number of film watchers, young and old, are standing in line in cold weather to watch the film. Most of the restaurants in Berlinale Palastcheu, the main venue of the festival, were crowded with filmmakers. How much do the restaurants in Palast earn with this kind of activity during the festival period?

How many lives are touched by its economics. These restaurants are open even till midnight, it seems that these restaurants were also waiting for the festival. How much does tourism drive the economy of this place when thousands of visitors flock to this restaurant for 13 days and collide with neighboring businesses? When the government does this kind of festival at a huge cost in the country, not only the film industry, but how many lives will it touch directly and indirectly? Only those who understand the power and strength of Pakka Art are celebrating, Diamond Jubilee. 

Cold Berlin was hot with the rush of filmmakers, film lovers and film enthusiasts. Towards the end of the festival, Postdamer Plaza, emptying out, recalls a scene from 'Living the Land'. The film, which was shortlisted for the main competition in Berlin and won the Silver Bear for 'Best Director', has a beautiful scene.

Just as two couples are leaving the village leaving their son with their mother to earn money, the green paddy fields are waving, the couple is leaving the village by bicycle through the path between the waving crops, i.e. leaving the land. And the title of the film appears on the screen – Living the Land. The scene tells the story of the situation when they left that land. 

At the end of the festival, it seemed that the people gathered from all over the world had left the land of Berlin and returned. Directed by Huo Meng, 'Living the Land' is a story of survival quest. This is the first film I saw at Palast on the second day of the Berlinale. 

The first day after leaving his homeland through hours of travel to Berlin was spent trying to get used to the Berlinale. From the hotel to the palace, the press office next door and the press conference at the Grand Hyatt had to be dived. The first experience in ticket booking is 'Living the Land'. The online ticket booking was opened three days before the

film screening. How many movie ticket bookings were closed during the trip, how many shows were sold out. The show of 'Living the Land' came to hand. After taking the ticket, I walked the red carpet of Palast and entered the hall. This is the same red carpet, where the world's brightest stars 

showed flashes of its brilliance. Not only does a grand red-carpeted entrance always coincide with glittering stories, 'Living the Land' is the story of a colorful village, where lives are found laughing in the paddy fields. It is seen that happiness is being reaped while smiling in the water. Set in the year 1991, the film tells the story of a pre-industrial agricultural system, the lives associated with it, and a boy fighting for his survival.

In fact, through the child, the film satirizes the existence of the agricultural system in industrialization in a simple style. There is another scene in the film, where the tradition of burying the dead is going on in the fields. Just then, 10 years old Chuwang asks, and where are you going to tie me? Then one of the elders of the family says, 'This is not your place'.

With the technology and meaning brought in with the industrialization, what kind of nature of agricultural life will be taken away? How is coexistence sustained in this battle for existence? 'Living the Land' is a really lovely story, which portrays the society of that time, the impact of industrialization and the existence of women from the eyes of a 10-year-old child. 

The glamor of the red carpet 

'Living the Land' Be it Continental 25. From the main competition, the films selected in various categories were equally interesting, with strong voices. Not only the films, but the red carpet in Berlin was more interesting. Before the world premiere of the film, the world's biggest actors were present on this red carpet, the audience screamed in delight at the brilliance of these stars. The buzz on the red carpet was unmatched. The two houses in front of the Palast were visible from the outside, the glitter of the red carpet, the color red and the cheering noise of the fans. The Berlinale experience was from the red carpet. 

In the evening I reached Berlin, I was walking towards Palast, following the whispering snow. As Postdamer Platz approached, a sort of crowd noise, camera flashlights and fans' screams could easily be discerned, the excitement of the red carpet. It was on the red carpet that Timothy Samlett signed autographs for the audience in a playful mood, smiling brightly and posing for photos with fans.

From Robert Pattins, the famous Korean director Bong Joon Ho also walked the same carpet for the world premiere of 'Mickey 17'. Interestingly, when Timothy was taking a picture with a fan, the audience's attention was drawn to his statue. While Timothy was engaged with the fan, someone in the crowd showed him a statue of Timothy's stature from the crowd. The reporter's camera was there, the audience's attention was there, and in a few moments the red carpet echoed with laughter. Timothy too! The red carpet is also open for

especially the moviegoers inside Palast. However, the weight of the red carpet becomes heavier when stars from all over the world appear on the same red carpet. Before the world premiere of 'Mickey 17', the red carpet was initially open for the audience. Suddenly the cameras panned as many stars walked the same red carpet, from Timothy, Bong, Robert, Hong Sang Soo, Richard Linklater and Ethan Hawke.

The fans were shouting, Tilda-tilda. A quick look back, this time in Berlin it is Tilda Poe, the famous actress who has been honored with 'The Honorary Golden Bear'. Desperately giving way to Tilda, I watched Bong's sci-fi genre 'Mickey 17', featuring Bong and Robert. 

As many filmmakers as I met in Berlin this time, they used to talk about Meen Bham's 'Shambala' to Sourav Ghimire's 'The Sons of Love and Hate'. If only a film festival of the same level that attracts those filmmakers could be held in Nepal, stories of their films could be guffawed in Kathmandu.

And, as the Film Development Board said, film tourism would increase. Kathmandu could also be developed as a 'hub' for buying and selling films. The scene of 'European Film Marfet-EFM' at Berlinale is still lingering in the memory. 

The market of EFM was exactly like the market of Bhrikutimandap. Like the busy atmosphere seen on Dasain, what kind of crowd is there on Dasain? There are stalls of various films in every room, wall, and corner of the EFM building. People representing different countries are here, sitting at film stalls and selling their films to the world.

If there was a stall from Nepal in this crowd, the attention of the world could have been drawn towards Nepali films. But when will the Film Development Board think about it? Is it more important to go to a foreign land and spend millions to do an award show or to show the development of the film industry to the world by running a stall? This is the only thing that everyone will think about after taking this market, when will the development board understand its importance? Who will explain? I don't understand, someone explain.