The last two films made with Dalit characters at the center made the audience cry. The audience crying now means that the film production side is successful and makes money. Two years ago, the film 'Purna Bahadur's Sarangi' made the hollow sarangi of the Gandharva community a shield to show the struggle caused by poverty between father and son.

The film 'Lalibazar', which is currently being shown after the protests, has also highlighted the deep wound suffered by the Badi community, that is, prostitution, to show the struggle of the mother and daughter.

Both these films ask the same question - why are characters from the Dalit community chosen to show the struggle of the father and son and the struggle of the mother and daughter? Although both these films were liked by the audience.

In both films, one side of the audience was also sad. Although their pain is forced to be silent in the crowd of the market. Dignity Initiative held a discussion on the recently released film ‘Lalibazar’ at Martin Chautari. A study by Binita Nepali and Amar Bishwakarma titled ‘Portrait of Caste in Nepali Films and Its Socio-Political Impact’ was presented. In the study, Binita pointed out the tendency of always showing the so-called upper class group or character that protects the Dalit characters shown in the film. According to her, no film made so far has been able to have a transformative impact on the upliftment and issues of the Dalit community. Her study concludes that Dalit characters and issues are presented only in the sense of poor characters, entertainment, helplessness and defeat. During the

research, a review was made of films made during the Panchayat period to films made during the radical political changes after 2062/63. The journey of Nepali cinema began with ‘Aama’, the first film in Nepal, made in 1964. Subsequent films including ‘Maitighar’, ‘Paralko Ago’, ‘Pandit Bajeko Lauri’, ‘Kalo Pothi’, ‘Prakash’ and others have indirectly shown scenes of Dalit characters. After that, films made on Dalit issues are ‘Simana’, ‘Bato Muniko Phool’, ‘Prasad’, ‘Sunpani’, ‘Prasad-2’, ‘Pujaar Sarki’, ‘Basant’.

Researcher Vinita, who evaluated all these films, said that the characters seen in films made under the Panchayat system were seen as more humane than the current films on Dalit issues. ‘Dalit characters were seen with human sensitivity in films made during the Panchayat period,’ she says, ‘Now Dalit characters have become characters who make people laugh and cry. There does not seem to be a deep and real study of raising the issue.’

Gopal Nepali Badi took to the streets to protest along with the ‘Lalibazar’ exhibition. He said that he returned after watching the movie wiping away his tears, saying, ‘I cried seeing other Badi women crying, I cried thinking that a girl from my community was insulted.’ Gopal also expressed his sadness that people have started posting ‘Lalibazar, Badibazar, Nalibazar’ on Facebook and statuses these days. ‘The reality of our story is not only prostitution. It is a story against injustice,’ he said, ‘But, we felt that we did not get justice even in the movie.’

As Gopal said, the movie ‘Lalibazar’ has exposed the old wounds that women from the Badi community have been suffering from in the form of exploitation, where the movie has forgotten to apply ointment to the old wounds.’

It is not wrong to portray Dalit characters in a film, nor is it a crime to raise Dalit issues. But, has the film been able to portray the issues and characters of that community in a fair manner? This issue is important.

Certainly, the Dalit community has been precious in terms of art, culture, experiences and suffering since history. There are deep wounds forcibly imposed by society on the face of every Dalit. The history of Dalits, who are entangled in the cycle of a cruel society that makes it impossible to erase them when they try to say 'I am a human being', is truly tearful.

'Lalibazar' is a film that has lost justice in the same way. The question lies in the choice of characters. Was a woman from the Badi community necessary to show the struggle of a mother and daughter? Prostitution is not a profession of passion. If a community is forced to be exploited for their own entertainment by the state and the bigwigs, isn't it the responsibility of the film to question the state system?

Film is also a kind of 'soft power' that develops culture and tradition. After watching 'Lalibazar', the audience creates a commentary on the 'poor Badi' woman. The strong struggle of the Badi female character (Madhuwala) is not seen as claimed by the film's producers. The strength of the character is not reflected in her crying or shouting. The courage and bravery she takes for change should be her own.

In the film, the red tika worn by the Narayan character on his forehead and the Dhaka-like costume indicate the upper class. After the Narayan character from the same upper class gives knowledge, Madhuwala begins her journey of struggle to educate her daughter, which is the reason why the rebellious side of the Badi woman is overshadowed in the film. The experience of Madhuwala, a mother who gives birth to a child and who has been oppressed by the Qazi, can itself be a storehouse of consciousness. Consciousness arises not only by reading the alphabet, but also by experiencing it. The director could not see that in the character of Madhuwala or did not want to. That is why the film has introduced a superior male and upper class character. This has also made an attempt to show the female character of the Badi in the film as second class. The main character of the film should be Madhuwala, but the turning point of every scene is a male character. Madhuwala, i.e. the Badi woman, has become the protagonist of that turning point.

In the film, Madhuwala is initially shown with an acceptable attitude towards sexual intercourse, which is contrary to the reality of our society. In the film, the character of the Qazi of an elite family who has been committing crimes continuously is not made to feel any kind of guilt.

The goal of the Dalit movement, which has been going on for a long time, is not just the liberation of the community - it is the end of all kinds of discrimination in society, nation and state. The cry of the Dalit appeals to a humane society. If cinema is the basis for transformation, then the characters of Dalits, marginalized and women who are at the bottom of society should not be focused only on entertainment and market aspects.

Now, instead of showing the 'lali' of 'Lalibazar', there is a need for a creative film that will break the structure of being forced to wear 'lali'. Instead of showing Purna Bahadur playing the sarangi and begging, it is necessary to give a message of respect for the sarangi. There is a need for a creative film that will force the minds of people who discriminate against people to transform. The Dalit community is seeking justice in cinema as well as in society.

[This idea was prepared based on a discussion on the preliminary research titled ‘Portrait of Caste in Nepali Cinema and its Socio-Political Impact’, which was organized by the Dignity Initiative at Martin Chautari on 1st Jestha 2083. The study paper is in the process of being published.]