f you follow Pakistani film and television, Poppay Ki Wedding might have popped up on your Instagram feed. Khushal Khan Khattak seems to be the main draw, most likely due to his heartthrob status. The film itself appears to be another offering from Pakistan’s mainstream industry: a wedding comedy. It’s hard to say definitively what audiences crave right now. Perhaps, in hindsight a clearer picture will emerge. The national mood is undeniably grim, with a pervasive sense of hopelessness. In such times, maybe people simply need a break. While I’m not entirely pleased with films like this occupying local cinema slots, I do see a place for Poppay Ki Wedding. These wedding-centric films, filled with color, dance, and humor, are demonstrably popular in Punjab and/or across the border. Perhaps this is exactly what a weary nation needs right now.

In an attempt to understand the appeal from a different perspective, I decided to speak with someone involved in the film, but not the star. Instead, I reached out to Shamyale Nasir, the supporting actor and comedian. Shamyale, with his background in theatre and acting education, seemed like someone who could offer valuable insight into why films like Poppay Ki Wedding dominate Pakistan’s mainstream cinema.

I caught Shamyale amidst promotional activities for the film’s upcoming release.

Instep: So, film industry. The Pakistani film industry has faced its share of challenges, but what does the future hold in a post-covid world?

Shamyale Nasir (SN): We millennials, didn’t we all dream of making our own Citizen Kane? But the reality of film in Pakistan today feels like a tough sell. On top of that, audiences have a vast global selection at their fingertips. Local adaptations used to hold some appeal, but now that audiences can access the originals, is there a place for them? Competing with the world is a fierce challenge for Pakistani films. The economic realities of Pakistan are another hurdle - people just aren’t as willing to spend money on movie tickets.

Instep: Why not, do you think?

SN: You need to be spending a lot of money to take your family to a movie. With that amount, people want an experience. The Legend of Maula Jatt did that.

Instep: Pakistan boasts a talented pool of marketing professionals within the corporate sector. Why are these skills seemingly not translating to marketing films?

SN: I think most of the money and effort goes into making the film. It’s gotten really expensive. I think some people do put a lot of money into public relations (PR) and marketing. I also think that we don’t have a star. That’s our issue. You know, like how Fawad Khan can pull a crowd. We don’t have a lot of those. We need more stars, I guess.

Instep: What do you think makes a star?

SN: (laughs) D**n if I know!

Instep: Most of the films that have been coming out have been based around weddings, there’s a conflict with the girl and there’s dance, music and comedy. What do you think is the reason for that?

SN: I think in places like India or the United States, there’s a lot of room to make different films. There is a massive industry where people experiment with all sorts of things. Most importantly, there’s a well-oiled machine behind it all. I think there’s still time before Pakistan gets there. I think most filmmakers here don’t have the time and luxury to smoothen films out like the director for The Legend of Maula Jatt, for instance. I think the anime film, The Glassworker, is coming out too and took something like eight years to make. I guess not a lot of directors have that luxury. It’s expensive.

The question is always, is there money? Will it be profitable? Those are the financial considerations we have to make. In situations like these, there’s no room for parallel cinema and exploring other genres.

Instep: I don’t mean parallel cinema specifically. I mean most film studios are basically TV channels. You see serious themes on TV but cinema is starved of it. Why?

SN: Just check the numbers of Laal Kabootar, Gunjal and Nayaab and compare them to what mainstream films make. If the latter make money, investors will only invest in them. And again, because there are no domain-specific investors in Pakistan. So, these investors are looking for returns only, they don’t care about the content. I think it’s a little more nuanced than that but that’s my understanding.

Instep: Is there anything you’d want to close this with?

SN: I just really hope people watch my film and enjoy it. I think this was the first time I questioned myself less in terms of performance. The chemistry was amazing. I think every actor gave their best so my hope is that people really like it.

– Uneeb Nasir writes on culture and identity in Pakistan. He can be reached at uneeb.nas@gmail.com

“The reality of film in Pakistan today feels like a tough sell. On top of that, audiences have a vast global selection at their fingertips. Local adaptations used to hold some appeal, but now that audiences can access the originals, is there a place for them? Competing with the world is a fierce challenge for Pakistani films. The economic realities of Pakistan are another hurdle - people just aren’t as willing to spend money on movie tickets.”
– Shamyale Nasir