Singer/actor Prakash Saput's film 'Vasant' has been tagged with boycott. The news is everywhere that Nepali music superstar Saput's film did not do the expected business. The title theme of 'Vasant' says - the story of a tapka that has been shaped by the varna system for centuries. Isn't the wind of the current boycott with the same purpose? The debate continues.

It was clear with the announcement of the film - 'Vasant'- the story has been woven into the fabric of caste discrimination. With the film, Saput has registered his name as a Dalit writer/director who tells the story of the society by sitting in the trough of Dalits. Before saying more about the film, let's humbly raise two questions among the general audience who took the flight of boycott. 

Question 1: Is caste-based discrimination in the society still strong and the society is not able to digest the artistic question of Saput?

Question 2: Even if you believe that the distinction has been removed, was there any objection that should be excluded when presenting historical events? Because it is impossible to erase history and the present is possible only on the foundation of history.

It doesn't have to be answered anywhere, it just resonates in your own conscience. Rather, I have a small suggestion - if you envision a non-discrimination society and hold progressive views, 'Vasant' is a must watch film, although you are free to use your personal discretion. Now I dive into the 2 hours and 40 minutes of 'Vasant'. As repeated in the

interviews, Saput has made a sincere effort to tell the story from the perspective of Dalits in Vasant. He has raised a strong voice against discrimination and inequality. Catching the ropes of emotion, Saput has set fire to the larger canvas of the film. It seems that he has made the film a medium to express his suffocated pain, humiliation, exclusion, hatred, feeling of inferiority of being a Dalit and the vision of a society without discrimination. 'Vasant' is a film based on social realism rather than theoretical ground. Using political language is more of a movement than a film. is an artistic rebellion.

Saput has caught the wave of inter-caste love between sister-in-law girl and Kami boy and Kami girl and Chhetri boy and has thrown a thunderbolt on the many differentiating-miscultures of the society. At the center of all these events is a stubborn student with a literary mind – Vasant Vik. Despite having a strong story and issue, Saput has reached the tune of capturing every story of his time. Even if the story is not embellished with visual language, the possibility of making a great film has been missed. "Jerk" has been heard somewhere in the desire to add spice to the market rather than telling a story in rhythm. He could still tie the audience to his creations by intertwining them with sound and visuals, leaving no room for criticism.

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A village, visually beautiful and colorful. By the year 2006, electricity and combustible roads have also reached Peltisat. The village is engrossed in its own sorrows and joys. There is also a sour color hidden in the village when looking in with the naked eye - of caste and discrimination. 

Shanti Sharma (Swasthima) and Gambhir Vasant Vick (Prakash) of the village share a heart-to-heart conversation by hiding letters in the pages of books. In that world without mobiles and social networks, Prem Chhetri and Sapna Vick cross the boundaries of society and spread the rope of love. The central point of the movie is the wave created by the divided walls of the society in the undying love of these two couples.

Prem who dreams of becoming a hero and sees an uncertain future of becoming a writer is Vasant Langoutia. Love is complete. Sapna's father is beating iron on Aran. There is another benefactor of Basant, Satya (Khabpu) born in a poor Magar community, who works to prepare Baba's medicine, but cannot afford books and paper to read. On the other hand, Basant's mother is waiting for her husband who entered India to save the family's livelihood years ago. The dialogue between Vasantha and his mother makes the viewer's eyes flutter. A menstruating mother keeps her son in the kitchen in fear of the gods. When reminded of her mother, who is lying in the cold until her back hurts, Vasant says, "If I come to see your husband, nothing happens, you don't understand such things, Shanti understands." will be However, Vasant Lama-Lama tries to distance himself from peace by reminding the limits of society through literary dialogue. It is in these dialogues that the anti-discrimination consciousness of Vasant Vik is expressed. However, it seems as if director Lusukk is talking in the spring of the tenth grade.

Where is the spring that does not love? But how to gather that courage. Here, Saput has expressed the defeated and inferior mentality of the Dalits very well. How many days could Basanta endure the storm of love only in his mind? Reaching a hill surrounded by forest, they have a romantic conversation looking at the open sky and wide horizon. Shanti stomps her feet harder than Basant, 'I want to bring change in the society through our love.'

Sometimes in the forest, sometimes on the way back from school and sometimes on the suspension bridge, Basant's conflicts and love-filled dialogues continue with Shanti. Whether it is when the spring taps the water in the stream or discrimination in school, sitting outside the door of a non-dalit house to watch TV or about his own dark future - he gives up all his pains with peace. Shanti sometimes snorts and sometimes teases and keeps on filling the spring with energy. Until I watched the film, I felt that some of the plots would have been avoided if some of the dialogues had been presented through visual language and metaphors. Again, the dialogue between Sapna and her brother appears to make the audience laugh. Brother keeps asking questions - Sister, if you leave, won't you come? Why can't you do it? How does an ignorant child learn caste from an inquisitive mind? This can also be understood from the view.

Dasain season, midnight, on the hill near the village - dream and love. Below is Bhir, a canvas of flickering electric lights across the field. Chants are resounding in the village. Prem's father is trying to steal goats in Kot's house at midnight. On the other hand, they are shedding tears of compulsion on the hill, remembering the bond of love and dream society. They consider the soil more sacred than vermilion and destroy the dream of love. A nose of love is growing in the stomach of dreams. They are doomed to make unpleasant decisions. Saput's attempt is to put the very ugly picture of the society in the film in a very compassionate way.

When Basant Vik falls on the police, his mother bids farewell to her handcuffed son. The story picks up pace in the second half. Events appear one after the other. Nazir Hussain, Priyanka Karki, Keki Adhikari, Anup Baral, Arpan Thapa, Dilip Rayamazhi, Karishma Manandhar, Rajesh Hamal are also seen in small roles with the developments. This is where Saput has attacked those who do politics in the name of Dalits, raised questions about the unitary police administration, and also raised questions about Dalit non-governmental organizations. Another strong performance in the

film is Bihani (Anu Thapa), a militant Maoist comrade. She says to Vasantha – walk with us, now we have to carry pen and gun together for change. Vasant makes his point clear – I don't think the changes brought about by guns are sustainable. Today, where you are sitting with weapons, you will be sprinkled with golden water when you get up, when you lay down your weapons - tomorrow in the temple will be the same priests who were yesterday. The ruler will be the one who was yesterday.... 

Shanti appears here as a revolutionary rather than Basanta. Apart from his caste, the film does not reveal his family background. However, towards the end of the film, Shanti becomes more revolutionary than Vasantha. And he ends the film by sitting in the middle, encouraging Saput to dream.

Saput, a professional artist, gathered courage from where, strong and abandoned himself and told the story. He was ready to be scolded even though he had the space to testify that it was a different story. He worked hard in the acting of every character in the film, but in the presentation he faltered in places. Hastily ended the relationship of dreams and love. The time-frame of Basant moving abroad from home and meeting Shanti seemed unnatural. Sapna's father deserved more stories to tell. Why did the director get tempted to add dialogue till the end? However, the picture of the society was shown in a brutal manner.