Aama movie review: Moving plot fails to quench Nepali film industry’s thirst for ‘newness’

Aama movie review
Aama movie review

Let’s start it straightaway: Aama is a shifting story acted out by confirmed artists. The film tells a typical story of the Nepali society. The plot is targeted, restricted by the rules of necessity and likelihood. It should be an excellent look ahead to lovers of realism.

However sarcastically, this specificity turns into problematic if you happen to go to the cinema after watching the trailer—the almost two-hour-long film gives you nothing greater than what you’ve seen within the four-minute commercial. The event of climax and denouement appears formulaic; it’s predictable and barely surprises you.

Total, therefore, Aama is one other common undertaking. Whereas it gives you a spellbinding story with a superb directorship, the film can not quench the Nepali cinema business’s long-awaited thirst for originality and ‘newness’.

 ‘Single-handed’ film

As a result of it’s a household story and household values play decisive roles in anybody’s life within the Nepali society, the film simply appeals to the Nepali viewers typically. Dipendra Ok Khanal has written an emotionally charged story incorporating three subplots which are intently interconnected. The three subplots cope with completely different problems with the Nepali society: from the rising exodus of the younger inhabitants to the international land, leaving the lifetime of previous folks depressing within the villages, to the woes of ‘infertile’ {couples}. But, they join to at least one theme: the parent-child relationship.

Khanal appears so cautious to not smash the vigour of his story that he has not solely directed the film, however he has held the cinematographer’s job additionally with himself. Apparently, his single-handedness has paid off. The camerawork is nearly flawless. Many issues, for instance, the couple (Surakshya Panta and Manish Niraula)’s need for a kid, are instructed with the usage of pictures, with out saying it in phrases. Separate pictures and scenes have been related effectively. Transitions are successfully marked. For the sake of readability, flashback scenes haven’t been used.

Regardless of having three subplots, which may have been developed into separate standalone tales, the film communicates effectively. Khanal, as the author and the director, deserves applause for this.

Life like appearing and presentation

Extra importantly, the characters are constructed effectively within the film. Although the title character is outwardly performed by veteran Mithila Sharma, Panta is the lead on this film. Panta has achieved a superb job; she seems to be pure in her emotionally-turbulent position. This undertaking has elevated her one step up in her profession. Sharma’s appearing can also be spectacular, however the character she acts is sort of flat that she is just not required to point out any dynamism and flexibility. The identical situation applies to the position performed by Sarita Giri. The story permits each Sharma and Giri to smile very hardly ever. Although in a unfavorable position, veteran radio drama actor Laxmi Bhusal has achieved her job effectively.

As a result of Khanal has launched comparatively a couple of characters within the story, he has not misplaced his management over their portrayal. As Nepali film critics typically say, some ‘star’ actors work on their very own often depriving the director of his/her command over the film. Nevertheless, Khanal has efficiently dealt with the problem. Even the minor characters, such because the roles performed by Aashant Sharma, Saroj Aryal and Asmita Khanal are constructed effectively.

However there are some glitches. Contemplate two scenes as examples. When Aarati (Panta) shouts at some medical doctors on the first hospital the household visits to confess her dad (Desh Bhakta Khanal), the viewers feels it’s too early to make Panta indignant. Maybe, the director may have delayed the expression of anger. Then, within the second half, Aarati’s unnamed mom (Mithila Sharma) speaks to the ailing husband (Khanal) with out ready for his response, and her speech about how the couple raised their youngsters previously lasts for multiple minute. Right here, the director has forgotten that his job is to point out, not inform.

It appears the director intentionally needs to maintain all males of the movie below the ladies’s shadow. Not solely that Khanal has been silenced, the character of Aarati’s husband, performed by Manish Niraula, can also be underdeveloped within the film. His indignant shouts on the spouse appear made-up. Whereas he’s additionally a serious character of the story and the best way he acts out considerably impacts the general efficiency of the film, Niraula’s coaching is under par compared to the efficiency of Surakshya Panta or Mithila Sharma.

Predictable story

Maybe the larger downside than the coaching of the actors is the story’s predictability. Whereas the four-minute trial sums up all the pieces that occurs within the film, a couple of components of the movie additionally allow the viewers to guess what they’re anticipating subsequent. Contemplate, for instance, the usage of rainfall as a motif. Stereotypically, rainfall suggests some imminent challenges to the protagonists. Because the curtains open, an ambulance is plying a serpentine street whereas it’s raining cats and canine. Displaying the rainfall a couple of times may have made the film attention-grabbing and symbolically wealthy, however the viewers of Aama fails to rely what number of occasions it rains after the opening scene.

So occurs with Aarati’s mom’s efforts to examine the time on her husband’s watch. Nevertheless, the usage of roasted corn as an emblem is suitable; it tells quite a bit concerning the household’s shattered goals.

After all, there are some things that the trailer doesn’t present you clearly; for instance, a Christian man’s efforts to transform folks on the hospital and the hospital’s fraudulent actions. Nevertheless, they don’t add something vital to the plot.

Khanal’s 2016 blockbuster Pashupati Prasad fared effectively within the field workplace as a result of its story was distinctive and specific. The film had handled the incidents that basic folks had hardly ever thought of. Nevertheless, his newest undertaking doesn’t have such distinctive components, besides {that a} girl shaves her head for her dad and mom’ funeral. That too has turned stale with its extreme publicity on the movie’s posters.


Maybe, Khanal is conscious of those shortcomings; therefore he has been utilizing the title and fame of Pashupati Prasad to advertise Aama. When he delivers his subsequent undertaking after a couple of years, Khanal will nonetheless want to make use of the Pashupati Prasad-fame to promote that. Although emotionally interesting, Aama doesn’t supply him something sellable to him and something ‘new’ to the viewers.


Style: Drama, tragedy

Run time: 110 minutes

Screenwriter/director: Dipendra Ok Khanal

Solid: Mithila Sharma, Surakshya Panta, Sarita Giri, Deshbhakta Khanal, Manish Niraula, Laxmi Bhusal, Tika Pahari, Padam Prasad Poudel, Aashant Sharma, Saroj Aryal, Asmita Khanal



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