‘Ke Ghar Ke Dera—Ghar No. 2’ tries to tell several stories simultaneously. However, it feels cluttered and emotionally shallow instead of creating a rich narrative.

The problem isn’t that the film has too many characters. Instead, their stories are presented simultaneously without proper buildup or transition. As a result, viewers are rushed from one plotline to another and unable to form a meaningful connection with any of the characters.

The film mainly follows Raunak (Aryan Sigdel), who struggles to hold onto his ancestral home. Financial burdens, emotional stress, and a growing helplessness weigh him down. Raunak’s internal conflict, such as his battle between preserving his family legacy and facing harsh economic realities, could have been the film’s emotional anchor. However, before his story has time to develop, the film introduces new characters and shifts focus.

We are soon taken into the life of Raja Ram (Khagendra Lamichhane), a man from a modest background who dreams of having a home of his own. His character reflects the everyday struggles of the working class and the pain of unfulfilled aspirations. Just as we begin to understand his journey, the spotlight moves again.

Next comes Diwakar (Nischal Basnet), a man who had once dared to dream big but failed. His failed business ventures have left him neck-deep in loans. He constantly tries to keep his head above water while dealing with the emotional toll of failure. His story, like the others, is introduced with potential but undercut by the lack of narrative space.

All three men are battling their own versions of despair, yet none of their stories are given enough time to unfold naturally. Their conflicts are relatable, but the film’s fast-paced switching between characters prevents any one story from gaining the emotional weight it needs. Instead of diving deep into each character’s journey, the film skims the surface and moves on too quickly.

The film’s attempt to explore themes of home, struggle, and identity from multiple male perspectives dilutes them. The constant back-and-forth storytelling style weakens the impact. There is potential in each arc, but the lack of narrative patience leaves all of them feeling incomplete.

Unmistakably, the film leans heavily toward male perspectives. While there are female characters like Upasana Singh Thakuri and Keki Adhikari, they are pushed to the background.

Thakuri’s character lives a quiet life with her ailing father (Prakash Ghimire) and runs a candle business. She suppresses her own desires and dedicates herself to caring for him. However, the film focuses on her father’s declining mental, physical, and financial state. Her own emotional world remains unexplored.

Similarly, Adhikari’s character, Reecha, lacks agency in her marriage. She is portrayed as a passive partner whose opinions and decisions are ignored. Raunak makes the choices, and Reecha endures the consequences. Her character serves more as a narrative tool to highlight Raunak’s stubbornness than as a person with her own sufferings.

Given that the film already revolves around the internal struggles of three male protagonists, one would expect a counterbalance in the form of strong female representation. But instead of crafting women with depth and autonomy, the film reduces them to supporting roles who are silent and sidelined.

In trying to tell too many stories, ‘Ke Ghar Ke Dera—Ghar No. 2’ ends up telling none of them well. The film suffers from emotional fragmentation and gender imbalance. It’s a story of homes, but ironically, it doesn’t offer a narrative space that feels like home for its female characters.

Because the movie introduces so many characters, the audience is left without a figure to connect with. The emotional scenes, though abundant, fall flat. Despite the visible pain the characters go through, the film fails to evoke any emotional response. It lacks the emotional pull that makes viewers empathise or feel moved. The sorrow stays on screen but never reaches the heart.

The plots in the movie unfold just as expected. The only scene that catches the audience off guard is when Ghimire’s character attempts to set himself on fire in front of Singha Durbar. What appears to be a moment of tragedy turns unexpectedly funny.

The film doesn’t take creative risks, nor does it present a fresh take on the social issues it attempts to highlight. This way, it feels similar to ‘Basanta’ by Prakash Saput. Both movies are weighed down by too many storylines. Both are socially charged films, but neither offers much originality in handling those themes.

Additionally, the ancestral home is portrayed as being in extremely poor condition. But visually, it doesn’t look nearly as damaged or decayed as the script claims. This mismatch between storytelling and visual representation creates a disconnect.

Cinematographically, the film remains mediocre. The visuals are functional but forgettable. There is rarely any creative use of lighting, framing, or camera movement that adds meaning. It simply does the job without any flair.

However, the actors’ performances do stand out. Despite the weak structure and writing, the cast delivers sincere and believable performances. Their portrayals bring some life to an otherwise disjointed film.

This movie might offer a sense of familiarity and emotional resonance. However, it disappoints those seeking fresh perspectives, creative storytelling, or cinematic experimentation.

Ke Ghar Ke Dera—Ghar No. 2

Director: Dipendra K Khanal

Cast: Keki Adhikari, Khagendra Lamichhane, Upasana Singh Thakuri

Duration: 2 hours 27 minutes

Year: 2025

Language: Nepali