n 1920, when Lahore witnessed the premiere of its first film, the city’s cinema industry embarked on a journey that has seen many highs and lows, experiencing both prosperous and challenging times. From that moment until January 2025, Lahore’s cinema landscape has undergone significant transformations.

To commemorate 100 years of Lahore’s cinematic history, the University of the Punjab’s Department of Graphic Design recently hosted a grand three-day festival from January 27 to January 29. The event featured diverse activities, including panel discussions, workshops, paper presentations, book launches and cultural performances.

The ambience aptly reflected the significance of the occasion. The department was adorned with vintage film posters from the 1970s and 1980s. Students contributed to the festivity by decorating the lawns and open spaces with pavilions showcasing various themes related to the film industry. Adding to the nostalgic charm, renowned cinema persons such as Syed Noor, Nasir Adeeb, Iftikhar Thakur and Shahzad Rafique shared their memories and anecdotes, offering valuable insights into the golden era of Lahore’s cinema.

The question of the revival of cinema and cinema culture was addressed by Dr Sarmed Cheema, a passionate filmmaker and academic who has dedicated himself to revitalising Pakistan’s dwindling cinema culture, particularly in Lahore.

Cheema discussed his latest project, Cinematic Catastrophe, that delves into the decline of cinema culture in Lahore, focusing on the abandonment of historic cinema houses, such as the iconic Metropole. On the day Metropole was demolished, Sarmed documented the event, capturing the erasure of Lahore’s cinematic history.

“Cinema is not just a medium of entertainment; it is a powerful tool for education and social change as well,” he said.

“Today, the poor can no longer afford to go to the cinema. Ticket prices in malls are excessively high. A ticket often costs around Rs 1,000, which is beyond reach for many. What we need to do is find ways to revive the cinema culture so that everyone, regardless of their economic status, can enjoy films.”

Dr Sarmed discussed the deep emotional connection people still have with cinema. He recalled how even rickshaw drivers and labourers can recite dialogues from classic films like Maula Jatt.

“The love for cinema is still alive in people’s hearts,” he said. “But access to it has shrunk. We need to find ways to bring it back.”

One of the ideas Dr Sarmed, a faculty member at Beaconhouse National University, is exploring is the concept of cinema on wheels – a mobile cinema that can travel to various places, particularly where people lack access to entertainment.

He draws inspiration from the old Kachitaki system, where mobile cinemas would travel to remote areas, bringing films to people who could not visit theatres.

A model similar to Lucky Rani Circus, a mobile circus that travels across Pakistan, could be part of the collaboration in a mobile cinema project.

“Imagine a setup where 100 to 200 people can gather to watch a film in their neighbourhood,” Dr Sarmed said. “It is a sustainable model that can bring cinema back to the people. If we can make this work, it can be a game-changer.”

The festival notably lacked participation by cinema owners, of whom many have kept their units intact. However, cinema owners today are more focused on profits than on preserving the art form.

“They see cinema as a business, not as a cultural treasure,” Sarmed remarked. “They don’t understand the importance of this medium. If it’s not making money, they’d rather shut it down and use the space for something else.”

While Dr Sarmed focused on practical steps to revive cinema, a session titled The Art Scene (Akailay Na Jana) featured panellists such as Prof Dr Rahat Naveed, Prof Quddus Mirza, Zulfiqar Zulfi, Amir Nawaz and Prof Elaine Shemilt, who discussed the relationship between cinema, theatre and visual arts.

Cinema is not just a medium of entertainment; it is a powerful tool for education and social change as well.

There is no doubt that cinema is a unique art form that integrates various kinds of artistic expression. Cinema flourishes when the overall art scene is in good health. Conversely, when cinema thrives, it contributes to the broader artistic landscape.

Prof Naveed addressed this interplay, emphasising that art and society are deeply connected. She explained that artists draw inspiration from their surroundings. When the socio-political climate is strained, it inevitably affects their work. However, she noted that visual arts tend to thrive under two contrasting conditions: first, when artists receive ample support and patronage, and second, in times of extreme adversity, when they, unable to remain silent, use their craft as a form of protest.

Cinematic arts, however, are heavily dependent on funding and material resources. Unlike other visual arts, which can emerge even under dire circumstances, cinema struggles without financial backing.

Ahmed Nawaz, an experienced theatre practitioner, discussed the fine yet significant line between theatre and cinema. He said that theatre could nourish cinema, making it more accessible to audiences by allowing them to connect with stories first on stage and later on screen. While acknowledging that this transition is possible, he emphasised that it requires structured efforts and strategic planning to successfully translate live performances into compelling cinematic narratives.

Prof Elaine Shemilt, an artist working across multiple mediums, said that the boundary between cinema and other art forms is often non-existent. She pointed to artists like Derek Jarman, Peter Greenaway and Steve McQueen, who transitioned from painting and sculpture to filmmaking.

She stressed that the ability to move between artistic disciplines fosters innovation and leads to a richer creative output.

Another crucial aspect discussed was the role of institutions in nurturing young theatre practitioners and their potential contribution to cinema. Zulfiqar Zulfi, a seasoned mentor in the performing arts, shared his experiences at Alhamra.

He noted that when societal conditions deteriorate, the arts often undergo a transformation, resulting in more mature and thought-provoking work. He highlighted Alhamra’s role in preserving and promoting theatre, ensuring its survival even during challenging times. Today, the Punjab alone has 20-25 active theatre groups, of which many started with college-level competitions. These platforms provide young artists with opportunities to hone their skills as writers, directors and actors.

The discussion also explored the evolving relationship between technology and traditional art forms, particularly theatre and cinema. The speakers examined how modern technology is reshaping these art forms and considered what the future holds for artists in this rapidly changing landscape.

Artificial intelligence was identified as a major force shaping the future of art. AI is already influencing various aspects of filmmaking and theatre, from scriptwriting to acting and directing. The speakers predicted that the next five years would witness a surge in AI-driven creativity and interactivity as audiences increasingly demand more immersive and personalised experiences. This shift will require artists to continuously adapt and innovate.

The discussion also touched on the economic realities of being an artist. While technology offers new possibilities, it also comes with financial challenges. Many artists struggle to balance their creative aspirations with economic constraints. The speakers reflected on historical examples, such as Charles Dickens, who serialised his novels to earn a living, highlighting that the tension between commercial success and artistic integrity is not a new phenomenon.

The three-day festival balanced both festivity and academic discourse. It featured a mix of cultural presentations, discussions on the past, present and future of theatre, cinema and music, as well as academic paper presentations.

At times, however, it felt as though the organisers had packed in too many paper presentations as some of the scholarly speakers struggled to complete their presentation within the allocated time.

Time management remained an issue at other panel discussions as well. Several sessions were disrupted by the absence of panellists, forcing the organisers to merge sessions at the last minute to salvage the schedule. Despite these shortcomings, the conference covered key issues surrounding the local cinema.

The festival marking 100 years of Lahore’s cinematic history was more than mere entertainment. It not only honoured the century of Pakistani cinema but also served as a vital platform for a dialogue about its future.

Ahsan Malik is a media veteran interested in politics, consumer rights and entrepreneurship