However, after the movie has reached the audience, it speaks what it says, so it is considered that the movie itself is weak to keep talking about it. But sometimes, when trying to leave behind the old formula and style to communicate something deeper, the audience who are not used to the language is confused. The cinema, spread out in the square of the market, is wandering alone like a half-wit, as if something is missing, as if the line is missing. As a witness observing the concept of 'Bhuthan' cinema from the day it was completed to the day of its performance, I remember Dharma to put some points.

subject

Even if I were to make a film about a piece of fish, it would ultimately be about me – Federico Fellini

The main theme of 'Bhutan' is not the suffering of Bhutanese refugees, nor is it a depiction of their political-social ups and downs. It has tried to dig deeply into a common wound of the people of today's era. It is a matter of escape by standing on that foundation, how terrible is the spiritual crisis of today's people, who have lost their rhythm, lost their foundation, rooted in the thick circle of global capitalism, and have fallen into the chaos of materiality. Vinod Paudel was trying to live the deep pains he felt while standing in an environment. Telling a story requires setting, characters and experiences. The environment of the Bhutanese refugees was favorable. This topic could have fit in the developed country to take care of grandchildren through our own muscles, but it could also fit in the ukusmukus of an African who reached the "heaven on earth" after winning the DV lottery from the mountains of Ethiopia far away.

Bishnu Bahadur KC's longing to go to Bhutan is not only a longing to return to his country, it is a desire of the soul of a person caught in the extremes of existential crisis to hold his roots - like Tom wants to enter the womb, wants to escape from the labyrinth, wants to meet his roots. Caught up in confusion, Vinod was in search of roots, in search of origins—in the context of Bhutanese immigration.

style

Like the feeling of dreams, like the feeling of music, no other art can penetrate our consciousness like cinema. Cinema reaches directly into the deep dark rooms of our soul - Ingmar Bergman It is said that cinema is close to the feeling-dream in the various aspects of human experience. Leaving aside the formulas and styles of traditional story-telling, the style of dream-telling has been followed by 'Bhuthan'. Like the ascension of the subconscious, the series of the story comes disjointed and fragmented. Leaving aside the external reality, from time to time the letters of the subconscious begin to be dug. The whole movie passes like a long dream, like a long spasm. The creator has tried to reach the dark room of the soul by leaning on the fine membrane between the conscious and the subconscious.

Cinema's storytelling has gone beyond some basic elements required by the story to engage the audience. Cinema does not establish characters and setting. Does not establish the relationship of the characters. Neither aligns with the hero's goal, nor entangles in the mystery of the final event. Cinema has destroyed those foundations that traditional stories are told to do.

Beyond engaging storytelling, filmmakers seek answers to questions of human deviance in cinematic scenes. However, the audience could not agree with this 'less traveled by' style that the cinema tried to live by. There was a common reaction on the serious faces of the audience leaving the hall - 'It was difficult to process the movie.' Most are washed away by the market flood. However, sometimes the creator gets so attached to his creation that it becomes difficult to face many challenges. Vinod himself was not so much in the comfort zone than this story. As an outsider observing Bhutanese life, it was natural to miss the nuances of experience.

Vinod himself was going through a special time in his life when the seeds of this movie were planted. There was a wound of family grief. He was probably going through a 'mid life crisis'. The dark convulsions within the American dream were closely watching the deluded man writhing in the rapture of materialism.

was writting on the cold, snow-covered ground of Ohio—stuck in the labyrinth of life and death, religion and spirituality, conscious and subconscious, disoriented today's man.

He did not follow traditional formula and style than this story. Tried to write compelling poetry of sight and sound. This taste was strange to the Nepali audience. "Cinema" disappeared from the deserted cinema house after not being able to pay for his own narration.  It seems that there is not enough discussion about the journey that