Chiso Maanchhe चिसो मान्छे : All work was halted due to the Corona epidemic. Those who went for foreign employment were stopped there. But, there was no work and no income. The country had gone into exile. The pain of living here was not less.
In the epidemic, the authorities showed the ‘real face’. People were forced to walk for days from the federal capital to their homes. There were fences in some places. The road was blocked by writing ‘Don’t let strangers and outsiders in’. The situation where people had to walk with people was horrible.This scene has not gone unnoticed for a long time. For the past few months, the situation has been trying to return to normal. However, the doves left by the epidemic are still the same.
Focusing on social issues, Dipendra K Khanal’s new film ‘Chiso Maanche‘ reminds the story of the same epidemic which seems to be forgotten. The stories of the film presented at different levels depict the reality of political and social discrimination from the growing distance between people in the epidemic.
Chiso Maanchhe Movie Trailer
Chiso Maanchhe Movie Details
| Movie | Chiso Maanchhe |
| Country | Nepal |
| Release Date | 17 June 2022 (Ashar 3 2079) |
| Language | Nepali |
| Directer | Dipendra K. Khanal |
| Written | Dipendra K. Khanal |
| Produced | Sharmila Pandey |
| Cast | Arpan Thapa, Swastima Khadka, Desh Bhakta Khanal, Aashant Sharma, Prabhakar Neupane, Ram Babu Regmi, Jhaken BC, Sanjog Rasali, Puspa Awasti, Shristi Acharya, Bikash Khanal |
| Cinematographer | Dipendra K. Khanal |
| Edite | Dirgha Khadka |
| Music | Subash Bhusal |
| Production company | D.S Digital Pvt. Ltd |
Journey from Kathmandu to Bajura carrying corpses
Ashok Thapa (starring Arpan Thapa) came to the capital Kathmandu from Nuwakot and was raising chickens. However, the arrival of the epidemic disrupted the whole thing. The farm is closed. The epidemic took away his wife who was his daughter. There was also a vehicle carrying chickens. There was pain in my heart, there was bank loan. While sitting with her sister-in-law, she looked at her daughter. Thinking that he could earn some money, he took a chicken cart to the road.
Due to the epidemic, some of those who had gone for foreign employment were returning and some were stranded. It was not possible to bring the body of the deceased. However, the body of Dambar Bahadur Devkota, who had gone to Qatar, somehow reached Nepal. His wife Pushpa (played by Swasti Khadka) and his father (played by patriot Khanal) arrived in the city to collect the cold body of Dumbar.
Coincidentally, Ashoka was the one who took Dumbar’s body to Bajura. However, the journey was not easy. I had to carry more corpses in an atmosphere full of terror. People put the vision of apprehension first, the vision of humanity last. On the way, they had to face a situation of ‘no entry’ from the police in the name of the ward chairman. There was no humane treatment on such a sensitive issue as death.
The story of a journey is told by a ‘Chiso Manchhe‘ who is full of cold stories seen on the journey to Bajura. Under normal circumstances, there are no people carrying corpses in the village. The village is so full of people returning from the city due to the epidemic. However, the situation is shown in ‘Chiso Manchhe‘ until no one comes to carry the body.
The political parties seem helpless in this journey, the irresponsibility of the administration. The struggle of the common people is seen, power-centric rule. It is seen that women are seeking freedom from the prevailing discrimination in the community. The film depicts the story of a bikini (woman) who was made to collapse by not being able to run after her dream.
The story of the ‘Chiso Manchhe‘
Director Khanal had earlier directed the film ‘Aama’. The film shows the social treatment of women due to the problem of having to undergo treatment in the hospital. The film received a positive response commercially.
Khanal, like ‘Mother’, has also directed ‘Chiso Manchhe‘ by realizing the subtle issues of the society. The film manages to entertain as well as inform.
Most of the characters found on the journey of the film, which started from the capital, have a ‘cold’ mind. They are cold, like a box in a car and a cold man sleeping in a box. The dead are lifeless, but the lack of humanity in the living is cold. “
Most of the characters found on the journey of the film, which started from the capital, have a ‘cold’ mind. They are cold, like a box in a car and a cold man sleeping in a box. The dead are inanimate, but the lack of humanity in the living is cold.
Of the three main characters, Pushpa wants to be independent. She got married at the age of 15 and has a dream or interest in singing. She plans to take part in a singing competition. For that, she ran away from home and came to Dhangadhi. In Kathmandu, she tries to escape while talking to a hearse. But, her husband’s father catches her and returns her, as in the past.
The father-in-law has introduced Pushpa as his daughter-in-law saying that he will keep her as his daughter. But, due to circumstantial reasons, it cannot be felt. After Pushpa narrates his pain and experience, his father-in-law treats him like a ‘daughter’. Except for Ashoka and Pushpa, all the characters are wet. Some characters change over time.
Pushpa’s husband Dumbar treats his wife as an ‘object’ after marriage. Pushpa remembers the first night of the wedding while flying, imagining her freedom. She remembers that wedding night being covered with black shadows. She remembers holding her breath. She remembers a voice she had never heard before. Pushpa asks her husband’s father in Western language and dialect, ‘I brought her to keep my daughter. But, why didn’t you see the rape? Why don’t you hear the screams? ‘
These questions return the coldness in the in-laws. But, even if the fellow traveler returns, the other cold people do not return. Those who observe the curfew at the border from Doti to Bajura behave ‘coldly’ even if they see a corpse in a vehicle. Reaches car tires. The same behavior is repeated when Bajura enters his household. There is politics over the dead. The situation is such that the two political parties of the village municipality get into a dispute.
Reality of the Corona period in different geographies and languages:
If we look at the film history of Nepal, it seems that India is dependent on many issues. The director was brought from India to direct the first film made in Nepal. Even now we have to depend on India for some work.
However, realistic cinema has become less in Nepal like in India. In India, directors like Satyajit Ray, Mrinal Sen, Arun Kaul and Vimal Roy made realistic movies in the 1950s and 1960s. From the realist films of Vimal and Satyajit Ray to the neo-realist films of Kaul and Sen, there was a rush to establish alternative commentaries.
Despite the influence of Indian cinema in Nepal, such changes in Indian cinema did not seem to have much effect. Films were made in Nepal about revolution and change, but with a definite formula. Many things were repeated. Some directors like Dipendra K Khanal have been trying to change Nepali cinema in the last decade.
Even after the Corona period, many films were made about the epidemic in the world. In Nepal, however, such films are finally being made. Director Khanal had announced the production of the film at the end of the lockdown for epidemic control. The result is a ‘cold man’.
The ‘cold man’ is the epidemic. However, the epidemic is not just a story.
As the three main characters head towards Bajura, the masses are seen on the road carrying heavy loads and children. There is a long line of steps following the destination on the road. The scene depicts not just one of the Corona epidemics but the whole story.
The story of ‘Chiso Manchhe’ seems to fit the overall environment, but at the same time the story of the geography and language of the West is also in the film. There is a case of a dead cold man, namely, Dumbar Balkai going to India. There is a case of returning to Qatar from India. There is a presence of western language in the dialect of the characters, which in itself is new to Nepali film. From dress to shoes, the geography of the West is reminiscent. The acting of the actors is also good. In Swasti, Khadka’s hard work in love and costumes is reflected in the scene.
The visuals and music of ‘Chiso Manchhe‘ are equally strong. The scenes are also powerful as it is a film shot by director Khanal himself. For example, the saree written on the back of Ashoka’s car, which is in the throes of grief that he will do something in the country, means ‘to grow gold in the country’.
So far, realistic films have been giving a numerically encouraging presence amidst the dominance of films made by making social issues very imaginative and ‘romanticized’. Being a social subject, being responsible towards the society, Nepali cinema needs to be created like the ‘cold people’ who want to give novelty in story and art.
🔹1st Day Box Office Collection Of Chiso Maanchhe 20-22 Lakha
🔸2nd Day Box Office Collection Of Chiso Maanchhe 35-40 Lakha
🔹3th Day Box Office Collection Of Chiso Maanchhe 20-22 Lakha
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