Author chief Aaryem Nakami's involvement with many parody excursions in his initial vocation is best used here in telling a generally no-nonsense acting with liberal measurements of cleverness that comes as a guardian angel. While we have seen Nakami rehashing his little jokes in a hefty portion of his past films, Tuyumati is all the more new and a nearly an unexplored domain, in any event specifically. Nakami's moving enthusiasm to ethnic narrating in later years is the thing that loans Tuyumati its imaginative touch. This, together with the film's specialized artfulness, which can be appraised over any normal Nepali motion picture, makes the two hours fifteen minutes to a great degree watchable.
Other than making a decent attempt to be a social spectacle rotating around legacy destinations and conventional settlements with an ethno-musical supplement, Tuyumati sparkles somewhat because of impeccable acting by who can be exceptionally very much thought to be prepared on-screen characters at this point.
Indeed, even subsequent to returning to movies after decades, Manish picks a female title — Tuyumati which implies woman with clean musings — which demonstrates that it was never intended to be a limited appear, which gets emerged by the female leads imparting break even with measure of screen space to that of Manish's.