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A fine documentary film about two lonely, elderly women of Dhorpatan is about to end its splendid month-long run in a cinema theatre this Saturday. There is still time to go watch the lives of Ratima and Kalima, Bisowkarma ladies who guard a village when everyone else has moved down to the ‘aul’ for the winter.

The showing of ‘Dhorpatan – No Winter Holidays’ is at the multiplex on the 8th floor or CTC Mall, Sundhara, next to the Jagannath Temple at the top of the Thapathali slope.

The village of Pakhathar in Dhorpatan’s expansive elevated valley is peopled over the bitterly cold months by just the two women, both widows of a popular local man who died nearly a decade ago. They are adversaries forced by circumstance to support and comfort each other, living in adjacent houses in the company of a cow, a dog, a pet cockerel, and a flock of pitch-black ravens that provide constant background cackle.

And forever there is the accompaniment of clouds surging up-valley to this part of Dhorpatan. The fog bellows up from Bobang, pushed by winds that howl through the window slats and shake the rafters, and at other times bring soft snow that settle on the roof eaves and fences of stone. They also provide lovely shadows on the wide terraces that the women guard, and sometimes darkness at noon.

Dhorpatan entered national consciousness in August 1962, when a Dakota airliner of Royal Nepal Airlines headed from Kathmandu to Delhi crashed here, killing all including the Nepali Ambassador to India, Nar Pratap Thapa. A smaller Pilatus aircraft which went on a search-and-rescue mission met with a similar fate here.

Life has not changed much in Pakhathar Tole in the six decades since, other than a micro-hydro plant that brings weak electricity and a jeepable road that the village folk use for transhumance.

At a time when all the talk is of abandoned terraces and out-migration, the story crafted by documentarists Rajan Kathet and Sunir Pandey is about two who stayed. Theirs is a barter arrangement where villagers going down to Bobang give Ratima and Kolima grain and produce in exchange for guarding over their properties.

If you believe Ratima, Kolima is crafty, loud and self-centered, a ‘sauteni’ who throws rocks on her roof at nights after altercations. Ratima is unwell, walks with difficulty, and (says Kolima) drinks more raksi than is good for her. Ratima takes strength from the belief that her late husband loved her even after fathering a child with Kolima. In her dreams, she walks together with her husband towards a bridge, he crosses over but she falls into the torrent. ‘Kasto bhainthyo hola’ she wonders—how life would have been had he still been alive.

For a friend, Ratima has a stately red rooster who is tied to his mistress with a long string. When it gets cold, Ratima snuggles him inside a blanket all his own. While the elder woman mostly stays indoors, Kolima is the active one, forever chasing after Mali the Cow, tracing her up-valley from the hoofmarks on the snow. She also has her daughter for company, down in the ‘aul’, with whom she connects on her mobile phone and provides long-distance child-rearing advice.

Both ladies complain about the other to the filmmakers, who remain discreetly off camera. The elder calls the younger (nearly) a slut, and ‘drunkard’ is the counter. But they have no choice but to assist each other through the winter, sharing a hearth, meals and gossip of times past.

Filmmakers Kathet and Pandey report that Ratima is no more, a departure one could see coming in the documentary given her difficult breathing and uneasy sleep. Ratima has crossed the saangu to meet her waiting husband on the other side.

Arjun Sapkota has recently launched a new song titled ‘Nasodha Pir K Ko?’ on YouTube. The folk singer released the music video in celebration of his birthday, featuring the female vocals of singer Santi Shree Pariyar.

In the video, Sapkota himself takes center stage, with model Juna Bishwakarma appearing as his partner. Guest actors Badal Ghimire and Sreedhar Adhikari also make notable appearances. The video was choreographed and directed by Kajish Shrestha. The song’s lyrics were penned by Rabin Lamichhane.

The teaser of action thriller ‘Operation Valentine’ has been unveiled. Nepali filmmaker Phurba Sherpa handled the Line Producer role, and a portion of the film was shot in Nepal’s Langtang area.

Entitled ‘First Strike’, the teaser presents captivating visuals alongside impactful dialogues delivered by lead actor Varun Tej. The film’s narrative centers around the unwavering bravery of Air Force heroes on the frontlines and the adversities they confront while safeguarding the nation.

Based on true events, ‘Operation Valentine’ features Tej portraying Rudra and Manushi Chhillar in the role of a radar officer, emanating strength and determination in her character portrayal.

Penned by Shakti Pratap Singh Hada, Aamir Khan, and Siddharth Raj Kumar, the film is directed by Hada himself and is scheduled for release in Telugu and Hindi on 16 Feb 2024. Initially slated for release on Dec 8, the film faced a postponement.

Sony Pictures International Productions and Sandeep Mudda are the producers of the film while it is co-produced by Nandkumar Abbineni and God bless Entertainment.

Recently, the production team issued a statement announcing the alteration in the release date. “Varun Tej and Manushi Chhillar’s ‘Operation Valentine’ will now have a revised release date to ensure the audience receives the most extraordinary cinematic experience. Stay tuned,” the statement read.

Jazzmandu, an annual jazz festival that unites musicians from Nepal and around the globe, saw the participation of American accordionist Adrian Crookston for the second time. He performed the Forró, a northeast Brazilian musical genre, at the week-long event at different schools and Jazzmandu venues in Kathmandu. He says he aims to spread compassion and happiness through music and Jazzmandu 2023 was the perfect opportunity to do that in Nepal.

“It’s all about musicians expressing themselves and sharing different cultures’ music,” he says, adding he feels lucky to be able to share the stage with world-class musicians. “I’m grateful to be a part of this special cultural exchange.”

Crookston’s love for music began at an early age when he sang in a choir. During his teenage years, he learned to play the guitar. Back then, he lived in Italy, near a music store, from where he later got his first accordion. Since then, he has dedicated 14 years to playing and mastering the instrument.

Throughout his musical journey, he dedicated the majority of his time to Forró, which he describes as ‘funky and lively’. Growing up in the US, Adrian Crookston, 32, was influenced by the blues, rock, and even jazz, and being determined to explore music, he subtly incorporated them into his style. 

To truly honor the music while preserving the authentic techniques of Forró, he made it a point to learn from various Brazilian accordionists and also referred to various online resources. He says he remembers the exact moment that made him want to pursue music. It was back in 2011 when he was playing for a bunch of people and seeing their faces light up made him realize there was nothing else he wanted to do but make music. 

Crookston has taken the stage alongside numerous Forró groups such as Palouse Forró, Gente Boa Trio, Forró pé de Gringo, North Polka Experience, and others in various places, including the United States, Europe, South America, and Asia. But performing at the Jazzmandu festival beats them all, he says. The audience, he adds, has a deep connection with the music, and it makes performing a truly enjoyable experience. 

According to Crookston, jazz has transcended borders. He says, “Its unique quality lies in becoming a universal language rather than just a genre.” He emphasizes that jazz seamlessly integrates with diverse cultural traditions, despite its origins in the southeastern United States. “It’s a beast and a delicate flower and everything in between,” he says. It’s challenging to be able to fully comprehend jazz but trying to do so can be a beautiful endeavor. 

Even though he doesn’t specialize in jazz, Crookston focuses on improvisation during his jazz shows, emphasizing the need for the instrument to become one’s voice. He says dedicated practice is essential for natural and emotive sound. When reflecting on playing the accordion, he takes on a more philosophical perspective, viewing music as a means of expressing one’s emotions.

In music, he believes that time, money and energy are all finite that determine the level of success. Despite this, his passion for art has always overshadowed his desire for financial gain. His main goal has been to provide enjoyment to people and this, in turn, brings him a sense of fulfillment. “Interacting with the crowd, that moment when my accordion harmonizes with the energy of the audience is a feeling I can’t put into words,” he says.

Music is how he expresses his emotions, whether it’s teenage angst, heartbreak, or emotional connections. Forró, linked to a region that people had to evacuate because of drought and hunger, is perfect for him. He gets to explore the various emotions connected to the incident and channel them through his music.

The best part of being a musician, according to him, is the freedom to pick an instrument and play it in a way that reflects the emotions of the artist. He says he has over 100 Forró tunes in his head and he can play anything depending on his mood. 

Crookston, like many musicians, experiences a deep connection with his instrument. He says keeping the accordion close to his heart and feeling its vibration right make playing music an intimate experience. It’s no surprise that when he starts playing the accordion, the audience can’t help but be drawn toward the dance floor, swaying to the beats.

As a musician, he hopes that music enthusiasts will embrace each moment wholeheartedly, make music with compassion, and allow their emotions to radiate through their music. Above all, he wants everyone to recognize that music is an art form, not just a commercial pursuit.