Despite audiences holding onto a tinge of hope and filmmakers feeding their faith in the medium, the full potential of Pakistani cinema remains untapped.
The year began on a promising note, marked by a lineup of anticipated releases early on, coupled with hope for the industry’s resurgence. A handful of successful releases each year seemed to solidify the revival of the film industry. Echoes of Pakistan’s highest-grossing film, ‘The Legend of Maula Jatt,‘ released in late 2022, still reverberated, instilling a sense of optimism.
However, as the months unfolded, a sense of disappointment emerged. Expectations weren’t met, and shadow of doubt lingered over the industry. While some filmmakers resorted to familiar formulas to entice audiences, others took bold steps with experimentation. Yet, something was missing that failed to consistently attract viewers to theaters.
The year began with a bang, with films like Wakhri breaking traditional boundaries. It ventured into narrating of the unsung stories of women, not as extensions of drama serials, but as powerful narratives reflecting the struggles of women in our times. The film Wakhri, inspired by Qandeel Baloch and directed by Iram Parveen Bilal, offered a refreshing change. Marking the debut of Faryal Mehmood in a lead role as a widowed school teacher who goes viral on social media, Wakhri steered the narrative towards highlighting years of pent-up rage and aggression. Shedding light on how our society often feels threatened by strong, outspoken women, this movie pushed boundaries, gained recognition at international festivals, and served as a breath of fresh air for Pakistani cinema. While audiences may still harbor reservations about such films, increased exposure can foster acceptance and pave the way for a more diverse range of content.
Umair Nasir’s Nayab was another appreciated experiment. This sports drama explored the passion of a resilient woman for cricket, defying her father’s disapproval and shattering stereotypes. Yumna Zaidi delivered a strong performance in her debut film role, but even the unique storyline and star-studded cast couldn’t save Nayab entirely.
The film had a decent turnout in cinemas, but ultimately failed to fully explore its potential, leaving an underwhelming impact.
Then came the underdog that stole the spotlight in 2024: Abu Aleeha’s Taxali Gate. A crime-thriller, the film delves into the struggles of its residents and explores the life of Muskan (played by Ayesha Omer) who seeks justice for Zainab in her care who is gang-raped. With a strong cast including Yasir Hussain, Mehar Bano, and others, Taxali Gate is propelled by the exceptional performances of its ensemble, navigating through a justice system plagued with corruption.
Abu Aleeha skilfully depicts the raw realities of the power struggle between the rich and the poor without offering false hope. The film stands out for its originality, social message, and focus on substance over commercial appeal. While Taxali Gate isn’t without flaws, including technical shortcomings and gaps in the writing and editing department, it serves as a source of hope and potential for the industry. It highlights the room for further experimentation and the untapped potential that can be unlocked with more expertise and skills.
Adding to the commercial mix for the season was Daghabaaz Dil starring Mehwish Hayat and Ali Rehman Khan with direction by Wajahat Rauf.
This Eid release positioned itself as a classic rom-com, inevitably relying on familiar elements like family drama, comedy, romance, music, and even a ghost for a twist. While Daghabaaz Dil checked all the boxes of a mass entertainer, it unfortunately fell short of offering anything novel, ultimately becoming a run-of-the-mill plot. Two additional mass entertainers released this season were Nomaan Khan’s Hum Tum Aur Woo and Kanza Zia and Amar Lasani’s directorial debut Poppay Ki Wedding.
With just a handful of film releases, it’s unfortunate that the quality of films is still compromised despite the brewing talent and skills. There’s a sense of disappointment amidst all this, as we find ourselves unable to break free from the slump even after years of cinema revival. It’s high time to acknowledge that the revival period, which once allowed for missteps, is now over. The audience demands and deserves quality content.
With movies now streamed digitally or readily available at the audience’s fingertips, competition is fierce and time is limited to capture their attention. The availability of diverse content globally presents fierce competition, but it also provides an opportunity for us to learn and grow. We can harness this global diversity to our advantage, learning from techniques and lessons from film industries worldwide to showcase our own culture and convey messages through unique storylines.
A prevailing complaint is the cyclical blame game between audiences and filmmakers, fostering an air of hostility. It’s crucial for filmmakers to realize that audiences are already exposed to high-quality and diverse content globally. Stories woven with creativity are bound to attract audiences eventually and reignite their interest in cinema.
Moreover, it’s time to also recognize the dedication of filmmakers who pour their heart and soul into their work. Take, for instance, Sarmad Khoosat, who sold a 14 marla plot to finance his film Zindagi Tamasha’ or Essa Khan, who sold his family home and parted ways with his Bitcoin stash to bring his brainchild Babylicious to life. Such artists, directors, and writers deserve acknowledgment from the audience for their unfaltering commitment to their craft.
Let’s move beyond the sympathy phase, where we’re stuck lamenting that we’re still in a revival phase. While glimpses of hope emerged with successful releases and bold experiments like Wakhri and Taxali Gate, audiences still crave quality content.
To truly thrive, Pakistani cinema needs to diversify its content, invest in technical expertise, learn from international influences, and build a stronger connection with its audience. By embracing these changes and fostering collaboration, Pakistani cinema can move beyond revival and become a major player, captivating audiences worldwide.
It’s time to also recognize the dedication of filmmakers who pour their heart and soul into their work. Take, for instance, Sarmad Khoosat, who sold a 14 marla plot to finance his film Zindagi Tamasha’ or Essa Khan, who sold his family home and parted ways with his Bitcoin stash to bring his brainchild Babylicious to life. Such artists, directors, and writers deserve acknowledgment from the audience for their unfaltering commitment to their craft. Let’s move beyond the sympathy phase, where we’re stuck lamenting that we’re still in a revival phase.
