Anti-regime partisan Chandra confronts physical, social and political obstacles for his father's funeral. His search for a solution takes him to neighboring mountain villages and encounters with the police and rebel guerrillas. A portrait of post-civil war Nepal during the fragile deadlocked peace process.
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When his father dies, anti-regime partisan Chandra must travel to his remote mountain village after nearly a decade away. Little Pooja is anxiously awaiting the man she thinks is her father, but she's confused when Chandra arrives with Badri, a young street orphan rumored to be his son. Chandra must face his brother Suraj, who was on the opposing side during the Nepali civil war. The two brothers cannot put aside political feelings while carrying their father's body down the steep mountain path to the river for cremation. Suraj storms off in a rage, leaving Chandra with no other men strong enough to help. Under pressure from the village elders, Chandra must seek help from outside the village to obey the rigid caste and discriminatory gender traditions he fought to eliminate during the war. Chandra searches for a solution in neighboring villages, among the police, guests at a local wedding, and rebel guerrillas... Written by
White Sun is Rauniyar's 2nd feature film. Co-incidentally, both his films revolve around a three day period. His first feature film "Highway (2012)" is about passengers stuck in Bandha (Road Strike) and their struggle to reach their destination, which they reach on their third day. See more »
It's good to see you.
Why are you marrying my brother?
It's none of your business who i marry.
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Treading a fine line between art and entertainment
During the People's War in Nepal, art and entertainment field took quite a toll. Nepali films from the past decade were marred by ripped off story-lines from B grade Indian films, dialogues were corny, and filmmakers made films just to make their hands and mouth meet.
The country is still torn apart by the war, but with films like "White Sun", attempts to heal the country with art and entertainment has been evidently apparent. The film shows a post-war scenario and tells the story of an ex-combatant trying to make his ends meet as the country is declared Republic.
Per se, actor Daya Hang Rai has portrayed that ex-combatant's character to an optimum best. From his personal dilemma to his familial and societal convulsions, each personification has been aptly enacted. Actor Rabindra Singh Baniya has aided Rai as a counter-hero, offering the role of an antagonist without obviously doing so. The children from this film deserve a bow - without them, this film would have been a linear story. Their story and dynamism has angled the film into two dimensions.
Director Deepak Rauniyar has been able to connect the three eras of Nepali political scene: the pre-war Monarchy, the war-torn people, and the country getting prepared for a Republic State. Bringing these three elements together was already a challenge, but Rauniyar has excelled to justify 'artistic' style of film making, all the while, making it entertaining to watch also.
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