Paaniphoto Nepali Movie Review 2022: Earlier in Nepal, as many films were made based on the armed conflict, they were pressed by the agenda of some party, but Paaniphoto tells the story by remaining neutral from the side of the conflict. 12 years ago, watching the play ‘Paaniphoto‘ staged in Gurukul, my mind was shaken. At that time, two things kept spinning in my mind like a film reel. First – The touching moment of feeling the pain of the families of those who disappeared in the armed conflict and the eyes crying in the hope of the return of their loved ones during the reporting.
People find it sweet to indulge in ‘illusion’. “When he tries to return to reality, he suffers” is the famous statement of the Italian philosopher Gia Parle Satra. It reminds me of a sister I knew whose husband disappeared in the conflict. Even now, she dresses in red sari and vermilion in the hope that her husband will come. I think the husband will come soon and hug her.
The sister’s husband did not return nor did she get justice. Instead, transitional justice has become more entrenched. The peace process has not reached a conclusion and the families of the disappeared are waiting for their loved ones to return.
After 12 years, watching the same ‘Paaniphoto‘ play in the film reminds us of the time of the biggest ‘tragedy’ we have ever lived through. While superheroes and romantic films are dominating the theaters, Khagendra Lamichhane has embarked on a directorial journey with a dimension of conflict. Earlier in Nepal, as many films were made based on the armed conflict, they were pressed by the agenda of some party, but Panifoto tells the story by remaining neutral from the side of the conflict. However, film is not a story, but a visual language.
◾ Paaniphoto Movie Cast and Character
“Paaniphoto: tells the story of a couple who spend their days hoping that their only son Krishna will return after the then rebel side disappeared on charges of suraki.
The couple (Anup Baral and Menuka Pradhan), who are adamant about not performing the last rites until the status of their son is found out, go on a journey of hope to find their son, facing social pressure. Waiting for Radha (Malika Mahat) who is hoping that her lover will return and get married is touching.
The characters of Thuldai (Prakash Ghimire) who lives in the superstition that his illness will be cured only by performing the Kashkiriya of the missing Krishna, Buddhi Tamang who ran away from the village during the conflict and runs a meat shop in the city and Khagendra who escaped from the war to India and got married there and returned home are interesting characters.
Listening to the news on the radio in the background, “Paniphoto” was made in the period when the peace process has started, the Truth and Reconciliation Commission has been formed and internationally, former US President Donald Trump has broken the peace agreement with the Taliban. This is the first directorial effort of Lamichhane, who has told stories in radio plays, theater and books.
The story of ‘Panifoto’ is strong. The aspects of acting, cinematography, editing, background sound, color combination are also strong. The description of characters and events, regionalism and dialogues also attract the audience
However, the weak screenplay and directorial absence did not allow the film to excel. The main character’s goals and struggles are in the shadows after the interlude when the conflict does not develop. Due to the lack of development of the incident, the film has lost its rhythm.
When the film depends only on acting and dialogue, the audience thinks, are we watching a play or a movie? Instead of creating a comprehensive and broad psychology that is created by the scene, the visual structure is oriented towards the self-conceived ‘mise-en-scene’ of the stage. Although the story is realistic, poignant and powerful, it seems that there has been less effort to mold it into a screenplay structure.
When there is no conflict, there is no interaction with the audience. The audience feels the feelings of the characters and events to a certain point, but when the plots are repeated and the struggle is carried forward in such a way that the main character is overshadowed, it creates confusion in the audience. In ‘Paniphoto’, director Lamichhane still had plenty of room to make the craft better. Despite having a strong storyline, strong cast and crew, Khagendra has failed to shape ‘Paaniphoto‘ into a film.
The problem is not only about ‘Paaniphoto’, it is a common problem of Nepali films with fifty years of history. The main thing to understand is that there is no story in the film, there is a screenplay. The film is not only for the ears, but for the eyes.
Films are not made only by computers, but also by heart. Since the introduction of theater in domestic films, from that point on, ‘punchline’ started to become a hero in Nepali films. From the day ‘Loot’ was released, cinematography became a hero in Nepali films. There was a combination of the screenplay with these aspects that should have been.
The spectacular aspect of ‘Paaniphoto‘ is its acting. Anup Baral, Menuka Pradhan, Prakash Ghimire, Khagendra are excellent in character. After ‘Yatra’, there is development in Malika’s acting.
The conflict within the character, the internal conflict has strengthened the acting and character establishment. The portrayal of the pair of main characters bound by the twinge of grief and hope when they are away from their children is the latest powerful casting of the domestic film.
The relationship between the characters and the conflict between them engages the audience. The acting of the main character Menuka can be considered as the powerful acting of her film career. Anupka is in two sad films. A change in his character can be seen before and after the interval.
Deepak Bajracharya has carried it on his shoulders. As a cinematographer, he knows the visual structure he creates.
Deepak believes that the camera also acts and has shaped the scene accordingly in Paaniphoto. Deepak has done the job of giving meaning to the main character of the film who is only in the picture. Editing by Nimesh Shrestha is another beautiful aspect.
Diksha Thapa’s makeup has brought the character to life. Sujita Chaudhary’s costume design is a commendable aspect. Manoj Shrestha has weaved amazing VFX in the fictional satma.
Probably, after ‘Kalopothi’, we are seeing mise-en-scène shots in Nepali films in Paaniphoto. This kind of visual composition brings depth to the character. The watercolor sketches included in the casting have increased the intensity of the film. Panifoto explained that casting is not just the name of the artist and technician.
Be it Chaman Magar of Rolpa, who is incompetent in army adjustment, or Tanneri, who spends his days playing carom board in the village. Whether it is the news of women’s empowerment playing on the radio or their great revolution to overthrow the feudal state as the Maoist commander said in the film.
The detailing of the screenplay questions the system, aspects of war and society. Through ‘Open Ending’, the director questioned the authorities on behalf of the families of the disappeared: When will we get justice?
The film does not carry the agenda of the parties, instead, it is the voice of the citizen in the middle. At least ‘Paniphoto’ is not a story imported from abroad, it is a window into the tragic times lived by our generation. Viewers should watch this film to know our recent history.
Paaniphoto (2022) Box Office Collection |Budget |1st Day
According to our view the total collection is not less than 10 lakh NPR on the first day of release. Let’s have a look at the comimg day collection and we will definitely go for the paniphoto film life time collection.
PaaniPhoto is remote film movie. This is also a social drama based on the real life of a character who did not back down during the Maoist conflict. Water photo is NPR 1 original (portion). This market is not clear. We update this information.Panifoto film needs to earn double milk to hit the Nepali box office.
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