ere is a law in Physics which says that all matter tend to change from a state of order to complete disorder. Once pure and natural, the matter then perpetually heads towards a state of chaos from which it can never go back to its original form. It’s only natural that this is applicable to director Bikash Raj Acharya’s Nai Nabhannu La 4, the fourth installment in a series of vaguely-related movies of the same name. The movie continues the series’ tradition of exploiting romance by glorifying it and then reducing it to a device to put in a smattering of comic sketches, mawkish songs sequences and badly-timed pop cultural references in a two-hour runtime. Add to that, a sense of self indulgence and complete disregard for subtlety, and you get Nai Nabhannu La 4. It could very well be a case study of what is wrong with most Nepali movies.