Corporate interview: Sachin Mehta

How satisfied are you with your Nepali presence and have you been reaching your sales target?

William Grant and Sons is a Family owned business, our partnerships with our distributors is very important for us. We work very closely with them across the globe, we are very glad of the partnership we have here.

Nepal has been a unique experience so far. We know the country has gone through a fair amount of churn and has its own challenges. The way people have evolved with the country’s political journey has been great. I think they should be proud of it. At the same time, one does realize that the journey and challenges is still ongoing, and there are needs that need to be met first. That said, the Nepalese are well travelled, aware of the global brands and trends at par with the people of other developing markets. That has a bearing on premium categories like ours. Consequently, we have grown well so far, thanks to the love for our liquid and our brands that consumers have over here.

Compared to other premium brands in the same price range and quality, your brand is relatively new and unknown in Nepal. How big of a challenge is this?

There is an inherent difference in the categories itself. Today the consumer continuously wants to upgrade to products and brands that offer higher value. What we bring to the table are unique products that offer consumers an opportunity to upgrade and enjoy our brands, which comes at a price. We have a wide range of products some of them operate in luxury category catering to those needs. Today the aware consumer is willing to pay more for better value and that is what we offer.

For most international brands in Nepal sales are usually focused in Kathmandu. Have you had a different experience?

We certainly have a presence in various parts of Nepal as there are relevant consumers across. But the fact remains that the majority of sales is centered in and around Kathmandu. Kathmandu has enormous consumption volumes for our brand compared to rest of Nepal. I think that is the same for other products in the category. I believe that there is an opportunity for nationwide sales, especially in areas with high tourism and industries.

Nepal is a small country with heavy taxes and strict alcohol regulations. How does that affect an international brand like yours?

Despite its size, Nepal is a developing nation in South Asia. A developing market always has huge opportunities. If you look at the average age in Nepal, it has a young population. People are traveling across the world, and they have high remuneration and exposure. This creates disposable incomes which means people now value products and brands and trends happening all over the world.

Alcohol is seen differently in different parts of the world. In many countries, alcohol is not the best cultural fit. What one cannot ignore is that governments also need revenue from this category, like other luxury and lifestyle categories.  People involved in policy making for alcohol need to have a medium to long term approach. Culturally, this is a country where drinking is not a taboo. Where alcohol is a part of tradition and culture there should not be too much control from a taxation or regulation point of view. Too much control is never good. We have all seen such practices becoming counterproductive. We work in many countries and always encourage responsible drinking.

With actor/producer/director from the blockbuster “Loot” fame Nischal Basnet starring in the dark comedy “Ghamad Shere,” the expectations of the audience and film critics were high. Ghamad Shere—almost a ‘film noir’—starts promisingly. But by the time it reaches the interval, it kind of loses the plot and is then unable to climb back into the entertaining spectrum.

That’s what happened with the film’s reception too, we’re told. It started well in the cinema halls with a decent number of audiences in the weekend. But the turnout fell sharply in a couple days, adding to the low spots the film actually hits. The power of word-of-mouth can’t be ignored.

Written and directed by Hem Raj BC, Basnet plays the protagonist Sher Bahadur aka Shere, a Nepali migrant worker who has returned to his hometown in Chinchu, Surkhet. Shere, a naïve yet stubborn simpleton, buys a piece of land on the bank of the local Khahare River and settles there with his wife and son. He’s just begun cultivating the land when the river floods it, and he’s left with nothing. In an attempt to get compensation for his lost property, Shere ends up filing a case against the river.

The story has an interesting albeit not entirely new premise. We’ve seen protagonists challenging the ‘act of God’ or ‘force majeure’ before: “The Man Who Sued God” (2001), “Oh My God” (2012), to recall just two of the previous international movies. Yet, unlike those movies, its extended storytelling and lack of focus on the main conflict nearly sinks Ghamad Shere. Instead, there are way too many conflicts, without any of them satisfactory resolved. This gives the film a weak body even as it has multiple arms and legs, encumbering it and making it crawl rather than sprint.

Basnet puts in an average performance as the socially crude Shere. He sounds rude most of the times, does not understand the complexities of life, and easily resorts to physical violence. But he has no malice towards anyone and is in fact a harmless creature when not provoked. Basnet as Shere is convincing, and yet the lengthy screenplay more than once exposes his mediocre acting.

His real-life spouse Swastima Khadka on the other hand performs exceptionally well as Gauri, in the film his sister-in-law and an English teacher at a local school. Khadka is brilliant as the strict, assertive, yet loving and nurturing Gauri. She has a friendly and somewhat flirty relation with Shere but it doesn’t look wrong or sexual at all. Khadka with her acting skills maintains the dignity of her character and makes the audience love her in all the situations. After her insignificant roles in multi-starrers and loud comedies, Khadka as an actor has clearly come of age in Ghamad Shere. She doesn’t divulge from her character a bit and is pleasant to look at throughout.

One commendable fact about the storytelling is that it takes the film to western Nepal. Nepali cinema is travelling in terms of locations and we are no more forced to see only Kathmandu and Pokhara, or Manang/Mustang. If you are a wee politically inclined, the film also gives you a mini-course on the functioning of the new local governments, especially the judiciary, in the country.  

Only if director BC had cut redundant sequences and focused on Shere’s fight for justice the film would have been so much better. But unfortunately the film spends too much time garnering sympathy for Shere. So much so that it becomes a borderline ‘yawn fest’ at one point. And no, irrespective of what rumors would have it, Ghamad Shere has absolutely nothing to do with Nepali Congress Chairman Sher Bahadur Deuba.

Who should watch it?

Basnet and Khadka don’t lack fans. And watching the two together on screen could be a treat for them. For others, the film is marginally below average and you may want to rethink how much spare time you have for it.

Rating: 2 stars
Length: 2 hrs 15 mins
Director: Hem Raj BC
Actors: Nischal Basnet, Swastima Khadka

Just over a decade ago, Pokhara’s underground scene was pulsating with bands from different sub-genres of metal music wreaking havoc in the otherwise placid city of lakes. With local concerts happening at all possible venues—from party palaces to community halls for the dearth of mega-bars and pubs of today—unnerving sounds from bands like “Anamesis”, “Vivex,” “Kaal”, “Chihan”, “Narsmahaar”, “Psychotic Nerves” and a few others reverberated in the pristine mountains around the valley. And for bands from Kathmandu, Pokhara was always a home away from home. The small but dedicated group of Pokhareli fans were the real heroes because of their warm hospitality and exemplary love for music.

But the scene seems to have changed entirely in just a few years. The growing invasion of bars and pubs and ever-expanding tourist hotspots have musicians from Pokhara now playing covers for money instead of making original music. Young musicians learn popular Nepali, English and sometimes Hindi numbers to play in the Lakeside area, which has musically become nothing but a facsimile of Thamel.

The underground scene is brutal. There is no money to be made. Instead, there is heavy judgement and constant scrutiny of fellow musicians and audience. Despite the difficulties and vanishing identity, a handful of metal bands in Pokhara are still barely hoisting the underground flag their predecessors proudly flew. “Born In Silence” is one of them. A band with nu-metal origins, “Born In Silence” was formed in 2011 when the Pokhara underground scene had already started to fade. After multiple line-up changes, which resulted in different creative inputs and musical influences from each passing member, the band’s sound has evolved to what band members now call “a fusion between different sub-genres of metal.” The current band members, aged 24-28, are some of the few active musicians in the ‘Pokhara Underground’; and despite the lack of opportunities and dwindling audience numbers, they have managed to create new music and plan to release an album by this November.

The founding members of BIS are Pradip Gurung (Guddu) on vocals, and Sujan Thapa and Nikhil Gurung on guitars. Since 2016 they have been joined by Bishal Pertel on drums and Ashim Gurung on bass. The band that started by covering music of international artists now has its own set-list and as it grows in confidence that comes with experience, the band has also recently experimented with DIY face masks to give its members different on-stage personas.

“It’s really sad that we don’t get to perform much these days though,” says Guddu, the front-man, as his band members nod in agreement. “We used to have underground concerts like once a month. But these days we hardly have a concert in 3 to 4 months.” The musical preference of the audience has changed too, the musicians say, but the biggest problem that has affected almost all underground bands is human migration.

“You see, we’ve had so many bands that either disbanded or became completely obscure when some band members went abroad,” says Guddu. “And we’re not even sure we won’t meet the same fate ourselves.”

The problem with the Pokhara Underground, it seems, is lack of continuity, and the BIS confirm it. “Pokhara is full of incomplete bands now because some members have migrated abroad and the remaining ones have lost interest in music,” adds Nikhil, the guitarist. The band members of BIS themselves are not sure how long they can continue with the band amid pressure from their families to go abroad for livelihood.

But until they’re forced by circumstances to forfeit the underground scene altogether, the BIS band members are committed to wringing all their endearments and frustrations into their music. Along with the launch of their album in November, the band is slated to perform at the 8th edition of the Silence Festival—one of the biggest metal concerts not only in the country but in the whole of South Asia. With American thrash metal heavyweights “Testament” headlining the Kathmandu festival, BIS are optimistic that the opening slot at the festival will give them the much-needed exposure and inspire other upcoming bands.

Every time a new edition of the Housefull series that started in 2010 goes into production, the filmmakers seem to leave a part of their brain at home when going to work. And that is exactly what they expect the audience to do too when they come to the cinema halls. What more, with Housefull 4 grossing almost NRs 3.2 billion worldwide in under two weeks of its release, the audience seems to be fully complying.

So the latest edition of the Housefull franchise with its old mascots Akshay Kumar and Riteish Deshmukh has once again minted much moola. But, for a critical viewer, this has to be the most senseless movie not only in the franchise but in the whole industry in recent times. Housefull 4 is a disaster in terms of intelligence, creativity and sensibility, but looks like the Bollywood as well as Nepali audiences don’t mind much. The movie theaters of Katmandu are still packed, booting out this past weekend’s Nepali release ‘Badhsha Jutt’ in under a week. 

Along with repeat offenders Kumar as Rajkumar Bala Dev Singh/Harry, and Deshmukh as Bangdu Maharaj/Roy, the filmmakers have roped in Bobby Deol as Dharamputra/Max as the essential third wheel which is signature to the Housefull franchise. As “eye-candies”, Housefull has Kriti Sanon as Rajkumari Madhu/Kriti, Pooja Hegde as Rajkumari Mala/Pooja and Kriti Kharbanda as Rajkumari Meena/Neha. (Housefull has always been about the pleasure of perversity and there’s nothing significant in any of its women characters.) These women show a little more skin than necessary, act painfully dumb, and are made to romance men double their age.

The story of Housefull 4 is based on reincarnation and we’re shown two different timelines (1419 and 2019) with all the major and even supporting characters getting reincarnated. The film moves back and forth between the timelines for a while and sticks to the present for a senseless climax that is so clichéd, it could have been straight from an 80’s Bollywood disaster.

But the climax is not the only cliché. The movie also spoofs past Bollywood films and recreates stereotypical Bollywood scenes to gimmick them. The dialogues, as coarse as they are, use lyrics from popular Bollywood songs to muster humor but nonetheless fails miserably in this over-used formula.

Even if Housefull 4 is meant to be a parody of Bollywood, it surpasses all logic in storytelling and the comedy is crass and disrespects the women as well as the LGBTQI+ community. The Housefull franchise always puts skimpily-clad women in machoistic men’s laps. This edition takes the insult to a whole new level by poking tasteless fun at the LGBTQI+ people. How long will we laugh at cross-dressing men and their stereotypical antics?

The pervasive lack of logic, repetitions and prejudice makes the movie difficult to watch. So much so that you lose all respect you gained for Kumar from his previous films like ‘Padman’, ‘Toilet’, ‘Gold’ and ‘Mission Mangal’. Kumar looks too old for this terrible slapstick. But it must be the power of mainstream Bollywood that Kumar is belting out one after another forgettable performance in back to back Housefull films. Even accomplished actresses like Sanon and Kharbanda who have stuck to their guns in independent and low-budget cinema have agreed to be reduced to naval and cleavage displays in this one.

Houseful 4 is sexist, racist, unintelligent and problematic in terms of what it chooses to make jokes of. The excellent cinematography, editing and set design make the film a little bearable. But again, 2h 26m for such a loud comedy is no fun.

Who should watch it?

Housefull 4 is an offensive vaudeville which challenges the audience’s intelligence. But perhaps all of us at times want to watch something so senseless that we cannot but marvel at our own intelligence, right?

Rating: 1 Star
Actors: Akshay Kumar, Riteish Deshmukh, Bobby Deol
Director: Farhad Samji
Run time: 2h 26m
Genre: Comedy

How are you feeling right now?

I feel overwhelmed. I think right now, the world has seen what a human being is capable of, given you are completely committed and dedicated. I am happy this will set a good example for the upcoming generation.

It’s an astonishing feat you have just achieved, climbing all 14 peaks in the world above 8,000m in just six months. The previous record for the same feat was nearly eight years. How did the idea even occur to you?

I did the Everest, Lhotse and Makalu mountains within five days back in 2017. I later realized I could have done it in three, had I not rested. A lot of people didn’t believe me at the time but the idea for this record came to me back then.

What motivates you to constantly keep pushing your limits? Is it something you learned, or were you born like that?

I have always had the desire to do the impossible. For that, I think you have to believe in yourself first. I joined the British Army and then became a commando and finally joined the Special Forces. But I couldn’t stop at that. I had to aim higher. I think everyone can achieve the goals in their lives if they mold themselves accordingly and believe in their vision.

How were you as a school kid? Were you very ambitious even at that time?

Very ambitious (laughs). I was the House Captain in my school (Small Heaven School, Chitwan) in Grade 7 and became the Head Boy of the school in Grade 9.

How did you end up in the British Army in 2003? Was it something you always wanted to do?

I had family in the British Army and that was what inspired me to join the force from an early age.

How hard was it for you to leave your budding military career for an uncertain mountaineering future?

I spent 16 years in the British Army. For 10 years I was actually fighting while for another six years I was in lower risk areas. I gave it up to focus on my dream. It was not only for me though. I wanted to open the avenue for other Nepali climbers as well. I wanted to challenge human limitations and open the scope for further imagination on what a human body can achieve. Of course a lot of dedication and commitment was necessary but I was prepared for it.

Are you already planning your next audacious venture?

My focus right now is on producing a feature film based on my adventures which is expected to release in 2021. I will always be doing some climbing in between but I am not targeting any records for now.

What message would you like to give to all those who supported your venture in cash or kind?

The project was never about me individually or a race or a community. It was about the limits a human being can push to, and for that, I got support from all over the world. Even China gave me the otherwise tricky permit that helped me complete my record. For all the support I got and towards all my well-wishers, I want to stay humble and respectful while I continue doing my work.

What are your other hobbies besides mountaineering?

It’s all extreme sports. I like diving (under water) and skydiving. Will you continue climbing mountains and setting new records, or are you also thinking of breaking records in other fields? I have not had the time to think about that. But you never know.

(Interviewed by Sunny Mahat)

The point “Poi Paryo Kale” tries to get across is something new and admirable, dealing with the age-old discriminations based on skin color that is still prevalent in our society. The concept that fair-skinned people are superior to the dark-skinned fellows is absurd, yet endemic. “Poi Paryo Kale”—written and directed by veteran comedian Shishir Rana—tries to convey that it’s not skin color but a person’s substance that really matters. Unfortunately, despite the strong message, the delivery is anything but.

No matter how pure the intent behind this film, there are moments when the filmmakers unknowingly mock dark-skinned people and create embarrassing situations. This leaves us with a totally different message instead. Not everything done with pure intent turns out good. Like a 10-year-old making your breakfast. You know the intent is clear, but your kitchen is still a mess in the end. That’s “Poi Paryo Kale” for you.

Director Rana, who also plays a supporting role, has made a mess of what could have been a potentially strong story. Instead, what he has managed to do is cast half a dozen recognized faces who are badly let down by lack of good screenplay and storytelling.

Pooja (Pooja Sharma) is the film’s central character who ends up hating dark-skinned people after a childhood trauma. She doesn’t even hang out with ‘black’ people, let alone wish to date or marry one and she makes that clear from the start. She even hates black coffee, just because it’s black!

But as luck would have it, some clichéd 90’s plot creates a sequence where she is unknowingly married to Gaurav Shumsher (Saugat Malla), a rich bachelor who is ‘black’. What happens then is basically the story of “Poi Paryo Kale”, (literally translated as “I got a black husband”).

The main problem with PPK is in its execution. Malla is average in his role and without a strong motif, there’s nothing memorable about his character. The same can be said of Sharma. Although she reportedly charged Rs 2 million for this movie, she clearly doesn’t prove her worth. Pooja is supposedly a beautiful but arrogant and self-centered young woman, which Sharma finds hard to portray. Instead, she over-exaggerates her scenes and ends up looking like a vamp, without any scope for the audience to emphasize with her, although the plot seemingly wants us to.

PPK also has former Miss Nepal Shristi Shrestha as Kriti in a major supporting role. But her character is poorly built as well. One thing Shrestha can be lauded is for is her ‘Pokhareli’ accent, which only she has in the whole movie, even though it is based entirely in Pokhara. There’s also Akash Shrestha as Neil, Gaurav’s best friend and a stereotypical womanizer. To be frank, he’s someone who got the looks but whose skills can be credibly questioned by even the most novice film critic.

Besides the inability to establish strong characters, the film also fails in projecting its message clearly. Instead of making the audience truly believe skin color is not important, it instead makes a mockery of dark-skinned people and certain communities. The most cringe-worthy aspect of PPK is making the Madheshi’ characters the butt of all jokes.

It's high time Nepali cinema progressed from the “Madhesi=stupidly funny” equation. The movie also suggests that all Madheshis are dark-skinned, which is not entirely true as well. We have all sorts of ‘black’ people from other communities in Nepal. And then some characters, including Gaurav and Neil, don the ‘black’ face using what looks like boot polish. Seriously. The filmmakers probably hired the worst makeup artist ever to give ‘black’ faces to the characters because…duh! They obviously couldn’t find dark-skinned actors to match their characters.

Who should watch Poi Paryo Kale?

People with ultra-thick skin against racism and find humor in racial stereotypes would love it. The rest can hold on to their moneys while they wait for “Ghamad Shere” and “Sarauto”.

Rating: 1.5 Stars

Genre: Comedy/Drama

Run time: 2 hrs

Director: Shishir RanaActors: Pooja Sharma, Saugat Malla, Shristi Shrestha

“When we first selected the band’s name, it was a random decision. We were slotted to play a show together and didn’t know what to call ourselves,” says Deepak Pradhan, the bass player and leader of the band ‘Ko?’. “Then we realized that it was after all a good name as our music is all about questioning our identities.” ‘Ko?’ (liter­ally ‘Who?’ in English) is a new band w i t h experi­enced musi­cians who have been active in Kathmandu’s live music scene for a quite a while. It was Pradhan (40), a popular figure in the musical hub of Thamel, who put together musicians aged 25 to 40 to form ‘Ko?’ With Pradhan on the bass, ‘Ko?’ also includes Manxil Shahi on vocals, Manoj Bhujel and Suzeen Nepami on guitars, and Dhiraj Jung Karki on drums— very inspired by ‘Puddle of Mudd’.

Self-iden­tified as an alternative rock band, the band actu­ally started by covering grunge, and the influ­ence can be felt in their originals too. And with the Ameri ­can rock act Puddle of Mudd as their big­gest inspi­ration, we get an idea of what ‘ K o ? ’ sound like. Their songs mostly speak of the existential angst in individuals as well as in our society. “All band members are searching for their soul and that’s what is reflected in our lyrics too,” says Pradhan.

Their latest video release “Paisa” predominantly defines the band’s sounds and what the audience can expect from them in the days ahead. “Paisa” is a hard-hitting num­ber with a straight beat and heavy guitar riffs, topped with a varied range of vocals. The music video is an abstract rep­resentation of their music and is already creating waves on social media.

The journey thus far has not been smooth, the band members explain. Forming a completely new band was difficult as they’re not young boys getting together to make music, but mature artists who have their own tem­peraments. Then came the problems of personal com­mitment, creative balance, and all sort of other difficul­ties rock musicians in Nepal typically encounter.

Making new and original music and surviving solely through it is almost impossi­ble here—and that is the big challenge for ‘Ko?’ as well. They have to carefully weigh their finances and support for their families, especially when their music is niche and results are unpredict­able. The band members thus work full time to cover their cost of living while trying to eke out some extra time for the band.

One of the guitarists, Nepami, now works in Malay­sia and all his inputs are now online. Such has been the story of ‘Ko?’. “We have to manage time for rehears­als and recording. We also have to collect funds for the expenses incurred in record­ing and making videos,” says Pradhan. “So everyone in the band has to work extra hard to fulfil their other commit­ments, and to be able to put together time and resources for ‘Ko?’.

Yet the band remains con­fident that their struggles will pay off, and plan on recording and releas­ing their debut album by mid-2020. With “Paisa” already getting the atten­tion of music lovers across the country, the band plans to increase the frequency of their performances and con­tinue writing and recording to get the album ready as soon as possible.

The popular Deepak-Deepa comic duo have proven that some things really do get better as they age—wine, cheese, and their films. Their latest release “Cha Maya Chapakkai”, a continuation of their “Chakka Panja” series that started with “Cha Ekkan Cha” in 2015, is probably the most mature of the four movies that have been made using the same numerological funda. (They do mention an astrologer in the opening credit so we’re sure some divine intervention has been solicited to make all movies in the series financially successful.)

For this installment of the “Chakka Panja” series, the duo has roped in Rohit Adhikari as the producer while Dipendra Lama is given the directional responsibilities in the story he also writes. Deepak Raj Giri plays the lead as ‘BP’, and is also the person behind the screenplay, while his onscreen better-half Deepa Shree Niraula remains invisible in the movie and only takes the humble credit of ‘direction adviser’. But we do know the brainchild behind the whole franchise, right?

“Cha Maya Chapakkai” is a film based in Ghaderi village in hilly Nepal. Comrade BP is a communist cadre dedicated to his party and his communist father’s ideologies. Unfortunately, both he and his father (Prakash Ghimire) have not had any electoral success and BP, at 42, remains a bachelor, despite his mother’s constant nagging for him to get hitched. In fact, true- blue communists, BP and his father are both averse to material love, religion, and marriage.

But things take a curious turn when BP meets Jal (Keki Adhikari), a feisty medical doctor from their rival village Todke. After a few vengeful encounters, their animosity slowly brews into love and the 24-year-old doctor decides to get married to the 42-year-old politician. Her family, also politicians of a rival party, object—of course. But this is not the only focal point of the story. The comedy-centered duo of Deepak-Deepa have finally chosen as their focal topic something that is not so ‘glamorous’ and has rarely been touched in Nepali films, while its prevalence is still pervasive—water scarcity.

The problem is undeniably real and even the most lavishly living Kathmanduites have faced it and can identify with it at some level. Take that problem to a rural, hilly village in Nepal where water has to be carried long distances by women and children, and it becomes a truly gargantuan problem. So BP with his belle Jal—supported by comrades Praveen (Jitu Nepal) and Magante Narayan aka Goli Kanchha (Kedar Prasad Ghimire)—decide to wage a battle against the water bureaucrats and politicians who have denied water to Ghaderi village for so long. The presentation is brilliant and this is probably the best screenplay Giri has ever written. The dialogues, for which the aforementioned actors can be credited, are articulate and non-exclusionary. They use the language of politics in such earnestness that sometimes it feels like it’s our own Nepali comrades speaking at Khulla Manch. (Think Babu Ram Bhattarai and Prachanda.)

Working with some of the finest actors in Nepali cinema, the ability of director Lama to get the best out of them in all situations is commendable. Maybe it’s because of him that this film is more subtly humorous and guiltlessly enjoyable than its slapstick predecessors. Diverging from their loud-mouthed, insult-based, senseless, slightly racist and unintelligent comic sequences, CMC actually attempts dark humor, respects the audience’s intellect, and doesn’t objectify women to elicit audience laughter.

The acting-screenplay-direction in CMC is as ably supported by the cinematography. Director of Photography Hari Humagain, a Nepali cinema veteran, uses all possible angles to give the best possible views. From nailing locations to establishing characters and situations, the brilliant camerawork in CMC adds to the film’s artistic richness.

On the downside, the film is that it is rather lengthy: 2 hrs 25 mins is a long time to keep the audience on the edge of their seats and as a result, the climax suffers. Despite a promising first half and an enthusiastic opening of the second, the film never really picks up and the predictable/formulaic ending is a let-down. But that’s more a quibble than a complaint. It is most certainly worth a watch.

Who should watch Cha Maya Chapakkai?

We’re sure everyone who understands spoken Nepali would enjoy the film. This is also one of the rare Nepali comedies where sexually suggestive jokes and double-meaning dialogues are not used, so you can safely take your children along.

Rating: 3 stars
Run time: 2 hrs 25 mins
Director: Dipendra Lama
Actors: Deepak Raj Giri, Keki Adhikari, Jitu Nepal, Kedar Prasad Ghimire