Sharmeen Obaid-Chinoy, 44, has a very clear idea of what she wants to achieve through her work. She lives in Pakistan with the aim to help in building a better country. It is because of this vision that Obaid-Chinoy doesn’t just work on her own career, but through various initiatives, lays the groundwork for future filmmakers.

However, if you go to social media, you will – without question – find trolls, hating her or her work for projecting a “negative image” of Pakistan through her films and why she doesn’t make a film showing a “positive image” of Pakistan to the West. Her documentaries are not exactly fictional. The “negative” image that causes agitation en masse actually shines a light on archaic, unacceptable realities and the documentaries create awareness and a larger change.

How does Obaid-Chinoy deal with such digital hate?

“[I find I can deal with it] Because I’ve spent 20 years of my life making a body of work that has changed laws. We did a film last year Forsaken (Children of Minority) in partnership with NCHR (National Commission of Human Rights). They took that film and they lobbied the Punjab government about Christian [minorities] sweepers to remove the word ‘Christians’ from television advertisements and that film was instrumental. Rabiya Javeri of National Commission for Human Rights in Pakistan took that film.”

More interesting is that Obaid-Chinoy’s work on minorities, and various social injustices in society can be seen online.

“I’m not concerned about people sitting in pajamas in the dead of the night on a computer screen trolling me. The thing to think about is the kind of country we are cultivating for our next generation. And if that means that a few hundred trolls decide Sharmeen Obaid-Chinoy is defaming the country, my question to them is what have you done for Pakistan except sitting in pajamas in a dark room and trolling on a computer screen? What is your contribution to Pakistan? I know what my contribution is and it is out there for the world to see.”

This is what you’d call a mic drop moment.

Moving away from trolls, we’re discussing another digital aspect: OTT platforms and if the rate at which such platforms emerge lead to dissonance.

Obaid-Chinoy sees it differently.

“I think what streaming does is that it creates an equal platform for filmmakers to exhibit their work to a global audience. You can see it in Turkish dramas, the global popularity of South Korean television shows; it is democratic, it allows filmmakers an in-built audience and you’re no longer considered a filmmaker who’s making content for just one region. You can put it on a platform that is accessible to people outside your region automatically. If it is good, then it’s competing with the best.”

Pakistani content like Churails, Qatil Haseenaon Ke Naam and Mrs. & Mr. Shameem are all examples of trailblazing content to come out of Pakistan primarily because all of it was on Zindagi Originals with no binary restrictions.

On Pakistani television, slapping a woman sells, slapping a man does not, and though technologically television has advanced, it cannot compete with projects that have global appeal.

Just recently, actor, host and part-time singer Ayesha Omar confirmed as much. In other words, patriarchal ideals remain the safe bet for television.

So, then, does it make sense that some filmmakers would rather work with OTT platforms, as shared in various interviews.

“There is no cinema as restrictive as Irani cinema,” says Obaid-Chinoy thoughtfully. She is on point there since Irani films are truly beautiful and do not feel like imitation of another’s work.

“Irani filmmakers win accolades around the world. Sometimes having your hands tied against your back can lead to beautiful work,” said Obaid-Chinoy with her years of experience in filmmaking that is beautiful but has put her in dangerous terrain.

“What I find disheartening is that we are not allowing an expression of artistic creativity on the whim of certain segments in Pakistan.

“So, when a film is coming out, a filmmaker (and maybe I’ve said this before) needs to be given a medal for courage to create a film in Pakistan. But, then, to get it passed from multiple censor boards, where the film will get passed by Sindh and Punjab but then Islamabad will not pass it, I think that is ridiculous. We need to have one set of rules for the entire country and the censor board should consist of people who are a reflection of our society.

If you put people on censor board who have nothing nothing to do with film – and don’t understand artistic creativity – they will obviously look at it from a single prism.

“Pakistan likes to talk about its image a lot and that it is a reflection of the country we wish we were - but we aren’t. And so, if we truly want to do that, who are our ambassadors? If you were to travel outside of Pakistan, what are the names that would come forward?”

In Sharmeen Obaid-Chinoy opinion, it would be Malala Yousafzai, Joyland, Ali Sethi, herself, Samina Baig, Meesha Shafi (maybe) and Salman Toor.

As we’re concluding this interview, Obaid-Chinoy leaves us with a lot to think about including a simple, strong: “they’re all artists.”

Perhaps when thinking of projecting a positive image of Pakistan on the

international circuit, we should consider respecting and highlighting the achievements of the ones putting us on the map, rather than find ways to tear them down.

HIGHLIGHT

“I’m not concerned about people sitting in pajamas in the dead of the night on a computer screen trolling me. The thing to think about is the kind of country we are cultivating for our next generation. And if that means that a few hundred trolls decide Sharmeen Obaid-Chinoy is defaming the country, my question to them is what have you done for Pakistan except sitting in pajamas in a dark room and trolling on a computer screen? What is your contribution to Pakistan? I know what my contribution is and it is out there for the world to see.”

– Sharmeen Obaid-Chinoy, winner of two Academy Awards and first South Asian and first woman to helm a Star Wars film