Awards

‘Deemak’ Clinches Major Honours at the 4th Pakistani Cinema Awards

Yousuf Mehmood — Mon, 16 Feb 2026 06:15:59 +0000

2025 was a great year for commercial successes in Pakistan. A reliable Humayun Saeed returned to give Pakistan its biggest hit since 2022 with ‘Love Guru’, and Rafay Rashdi’s ‘Deemak’ set a record for horror films in Pakistan. ‘Sindhu Ji Goonj’ also brought the Sindhi language back to theaters again. Here are the winners of the 4^th Pakistani Cinema Awards:

Best Film: Deemak

‘Deemak’ holds the distinction of being Pakistan’s first commercially successful horror film. Its extended run in theaters proved that there is an eager audience in Pakistan for the genre. For weaving a wicked web of macabre and intrigue wherein each thread leads to the deep rooted evils within our own homes and society, ‘Deemak’ takes the crown for best film.

Best Director: Rafay Rashdi (Deemak)

There have been many Pakistani horror films before ‘Deemak’ and while several have become cult favourites, none have generated the kind of box office gold it has. For creating an unsettling portrait of a Pakistani home and the evils that propagate over generations, slowly eating away at foundations until the inevitable collapse, Rafay Rashdi takes the award for Best Director this year.

Best Actor in Leading Role (Male): Vajdaan Shah (Sindhu Ji Goonj)

Vajdaan Shah’s transformation into his various characters in ‘Sindhu Ji Goonj’ was so complete, several of our jury members didn’t even realize it was the same actor. A fisherman looking for greener pastures; a poet caught between his muse and his livelihood; a brother faced with greed and survival -Shah embodied them all. For melting into his characters as effortlessly as the Sindhu Darya flows through the land that shares its name, Vajdaan Shah wins the title of Best Actor in leading role (Male).

Best Actor in Leading Role (Female): Samina Peerzada (Deemak)

Samina Peerzada is officially inducted into the list of Scream Queens with this one, and deservedly so. For a career-best, and certainly the year’s best performance which formed the core of ‘Deemak’; unnerving the audience with a single look and a piercing stare; Samina Peerzada sahiba receives the title of Best Actor (Female) in leading role.

Best Actor in Supporting Role (Male): Faysal Quraishi (Deemak)

For essaying the role of a man caught between his duties as a son and a husband; one that many of us saw as a mirror, Faysal Quraishi clinches the trophy for Best Actor (Male) in a supporting role for ‘Deemak’.

Best Actor in Supporting Role (Female): Sonya Hussyn (Deemak)

For reaching beyond the melodramatic and effectively conveying the creeping sensation of darkness pulling even the strongest of souls under its cover, Sonya Hussyn takes home the trophy for Best Actor (Female) in a supporting role for ‘Deemak’.

Best Screenwriter: Ayesha Muzaffar (Deemak)

Horror is a niche genre in film, but we’ve all grown up listening to scary stories. They’re about the world around us; sometimes even the one right outside our doorstep. For effectively ensnaring us in a tale all too familiar, inspired not just by true events, but by the trauma that we all carry with us, Ayesha Muzaffar receives the award for Best Screenwriter for ‘Deemak’.

Best Original Song: “Toot Gaya” (Love Guru)

“Toot Gaya” goes through many stages from beginning to end, as if to signify the many stages of grief that a broken heart endures. Saad Sultan’s composition begins beautifully with Yashal Shahid’s soulful lament, is carried by Farhan Saeed as the storm brews, and is finally transported to the mystical realm of deeper understanding by Zain and Zohaib Ali. Saad Sultan and Tahir Abbas skillfully avoid cliches in their writing and give this ballad its due lyrics. An ace in the hole from all angles, “Toot Gaya” truly deserves the award for Best Original Song.

Best Playback Singer: Zeeshan Vicky for “Jaa Rahy” (Neelofar)

Zeeshan Vicky did an admirable job with the soundtrack of ‘Neelofar’. However, his voice truly stood out; sonorous and clear for “Jaa Rahy”. For articulating that a city is more than the buildings and structures within it -it’s the people; or more aptly the person in it that makes that city home -he takes home the award for Best Playback Singer.

Best Background Score: Neelofar

Lahore is rightly called the heart of Pakistan for all its culture, history, literature and art. It’s hard to articulate the feeling of living in any city through music, let alone the beating heart of a nation of 250 million people. For bringing the Lahore of millions of beating hearts to life for the audience, ‘Neelofar’ takes the award for Best Background Score.

Best Sound Design: Neelofar

Sound Designers Anser Soomro and Umer Shafqat, Sound Recordist Muhammad Absar Khan, Production Sound Mixer Qirat Kazi, and Mix Supervisor Aravind Vijayakumar all deserve kudos for delivering sound worthy of the theater experience in ‘Neelofar’. For some of the clearest, crispest sound design we’ve heard in a Pakistani film, the Sound Department of ‘Neelofar’ gets the award for Best Sound Design.

Best Production Design: Neelofar

Neelofar’s production design made the film look dreamy and ephemeral, as if one were floating through a dream. Whether it was the book readings, the eye clinic, the myriad restaurants and cafes, or even the house overlooking Old Lahore, the production design department did their part. They get the award for Best Production Design.

Best Editing: Rizwan AQ (Love Guru)

The highest grossing film of the year was also one of the longest films of the year at 2 hours and 31 minutes. Yet, Rizwan AQ’s editing ensured that tight sequences and great pacing kept the audience engaged and entertained. For his stellar editing work, he walks home with the Best Editing trophy.

Best Cinematography: Richie Yau (Neelofar)

An afternoon sun shimmering on the surface of a lake. The misty air hanging over Badshahi Masjid. The splendor of Old Lahore. It was all there on the screen in an incredible feast for the eyes. Richie Yau did a fantastic job framing Lahore in ‘Neelofar’. He takes home Best Cinematography.

Special Mention: Salman Jakhro for writing “Neem Ji Chaaon Mein” (Sindhu Ji Goonj)

‘Sindhu Ji Goonj’ brought back Sindhi cinema to Pakistan after nearly 30 years. It also brought back Sindhi poetry to the screen. Salman Jakhro’s “Neem Ji Chaaon Mein” was the thread that weaved the anthology together. In a few simple verses, it described the memory, the plight, the struggle of Sindh and the Sindhu Darya under the shade of a Neem tree. It was poignant and all-encompassing. We hope to see more of his poetry in films in the future. He gets a Special Award in recognition of his talents.

The post ‘Deemak’ Clinches Major Honours at the 4th Pakistani Cinema Awards appeared first on PakistaniCinema.Net.

‘The Glassworker’ and ‘Na Baligh Afraad’ Dominate the 3rd Pakistani Cinema Awards

Yousuf Mehmood — Thu, 27 Feb 2025 08:25:38 +0000

The year of silent experiments in Pakistani cinema produced a few gems that will probably be marked as milestones, and one that will be marked as a breakthrough. Here are the winners of the 3^rd Pakistani Cinema Awards:

Best Film: The Glassworker

There is no contest here. ‘The Glassworker’ broke new ground for Pakistani Cinema as the first 2D animated film in its history. The film is about the fragility of life, art, and the destruction that war brings to all of it. With poignant execution and a sensitivity oft not found in films in general, it’s the obvious choice for Best Film.

Best Director: Nabeel Qureshi (Na Baligh Afraad)

Nabeel Qureshi’s ‘Na Baligh Afraad’ is a return to form as well as a call back to the ‘Na Maloom Afraad’ days. Without any detours or diversions, this film kept on point, and should be a template for Pakistan’s filmmakers to follow. A no nonsense, 90 minute comedy that was a great time at the theater. For this focus and execution, he gets the Best Director trophy.

Best Actor in Lead Role (Male): Aashir Wajahat (Na Baligh Afraad)

Aashir Wajahat’s performance in the lead in ‘Na Baligh Afraad’ was made all the more memorable due to his chemistry with Samar Jafri. The lad has a bright future ahead of him if he keeps choosing scripts like these. He takes home the Best Actor award.

Best Actor in Lead Role (Female): Faryal Mehmood (Wakhri)

Faryal Mehmood’s Wakhri was the standout female performance of the year. ‘Wakhri’ required her to be seething, seductive, and somber; sometimes all in the same scene. And she made it look easy. She’s the Best Actress of the year hands down.

Best Actor in Supporting Role (Male): Fawad Ahmed Khan (Nayab)

If one actor stole the show in ‘Nayab’, it was Fawad Ahmed Khan. His nuanced performance as the caring older brother and mentor who often looks back at what could’ve been, demonstrated his caliber as a grade A talent. He sweeps up the Best Supporting Actor (Male) award.

Best Actor in Supporting Role (Female): Mehr Bano (Taxali Gate)

Mehr Bano’s international debut in ‘Churails’ showed that she wasn’t afraid to get her hands dirty. In ‘Taxali Gate’ she played the role of an oppressed minority coping with the worst injustice. Her abandon, and at the same time, restraint, brought a realness to the role. She get the Best Supporting Actor (Female) accolade.

Best Music: The Glassworker (Carmine DiFlorio and Usman Riaz)

Usman Riaz, being a man of many talents, also composed the soundtrack to ‘The Glassworker’. Along with his colleague Carmine DiFlorio, he created a soundtrack with sonorous violins echoing as the ground quakes beneath the weight of war. There is perhaps no greater metaphor for the fragility of life. They get the honour of Best Music this year.

Best Playback Singer (Male): Samar Jafri (Aaja Chal Jhoomain : Daghabaaz Dil)

Samar Jafri’s light vocals and clear diction gave this romantic number the depth that elevated ‘Daghabaaz Dil’. He earns the Best Playback (Male) win.

Best Playback Singer (Female): Eva B (“Baaghi” from “Wakhri”)

Eva B’s electric performance in “Baaghi” is the highlight of the ‘Wakhri’ soundtrack. The anthem of the film, it boosts Faryal Mehmood’s performance as the titular character. She steals the show and the Best Playback (Female) prize.

Best Lyrics: Tauqeer Bhinder for “Aakhir Jind Hai Apni” (Taxali Gate)

Once you listen to “Aakhri Jind Hai Apni”, it’s a clear throwback to the classical and Qawwali tradition of yesteryears. It’s the kind of complete song you wish you could hear every day on the radio. Ali Allahditta’s fine composition and Tauqeer Bhinder’s lyrics tell the story of ‘Taxali Gate’ in 4 minutes. And that’s what great art does, it encompasses what we struggle to put into words.

Best Story: The Glassworker

‘The Glassworker’ tells the story of a town known for its beauty and art, shaken by war as its inhabitants struggle to hold on to that beauty. It’s the kind of plot that is never touched or spoken about in Pakistan save for literature and old novels. Yes, Usman Riaz invokes Miyazaki and Makoto Shinkai more than Ashfaq Ahmed and Shaukat Siddiqui, but the sentiment is much the same. For tugging at our heartstrings and plucking them with his violin, ‘The Glassworker’ bags Best Story.

Best Screenplay: The Glassworker

A glass shop, a concert hall, a beautiful seaside, and majestic mountainside, all come together to set the scene for ‘The Glassworker’. The screenplay interweaves war, Jinns, destruction and creativity, and innocence and tragedy spectacularly well. The message could’ve gotten lost very easily due to a busy screenplay that juggles too much. But Usman Riaz’s steady hand guided everything to a bittersweet ending. Best Screenplay goes to ‘The Glassworker’.

Best Dialogues: Fizza Ali Meerza and Nabeel Qureshi for ‘Na Baligh Afraad’

For a film that fully cashes in the nostalgia of Karachi in the 90s, ‘Na Baligh Afraad’ doesn’t waste any time in self indulgence. There is no fat on this screenplay or dialogue. The creepy rainbow center shopkeepers, wedding video makers, sleazy teachers, and lazy police inspectors are all incorporated into the story without long winded speeches or unnecessary character introductions. ‘Na Baligh Afraad’ is a case study on how to do dialogue right. Fizza and Nabeel strike all the right chords here.

Best Editing: Asif Mumtaz for ‘Na Baligh Afraad’

As with a tight screenplay and short dialogues, the edit of ‘Na Baligh Afraad’ should be studied. Without any lulls or slowdowns, the story keeps moving and so does the camera. Aside from one or two scenes which could’ve been trimmed, the film is a masterclass in Editing. Bravo Asif Mumtaz. Edit all other Pakistani films from now on please.

Best Cinematography: Ludovica Isidori for ‘Wakhri’

‘Wakhri’ was the best looking film of the year without a doubt. Ludovica Isidori has a talent for lighting the nights of Karachi, whether they’re spent in the elite nightclubs, or in snug apartments. Even in the daylight, she was able to do justice to the chaos and loneliness of Karachi in every scene as required. She bags Best Cinematography for ‘Wakhri’.

Best Sound Design: The Glassworker

Sound is often one of the weakest aspects of any Pakistani film. The fact that ‘The Glassworker’ was able to nail that aspect so well is incredible, especially with the orchestral and instrumental scenes. The entire sound department of ‘The Glassworker’ deserves applause. They nailed the Sound Design.

Best Production Design: Na Baligh Afraad

‘Na Baligh Afraad’ takes the Best Product Design award by a mile due to its detailing. Fizza Ali Meerza and Nabeel Qureshi created an authentic Karachi from the 90s by paying close attention to set design, location shoots, and costume design. Every single frame transported you to 30 years ago.

Special Mention: Umro Ayyar: The New Beginning

‘Umro Ayyar: The New Beginning’ gets our special mention or delivering incredible special effects never before seen in Pakistani cinema. The look of the Ayyar castle, the battle scenes, and the appearance of the demonic forces commanded by Laqaa Baakhtar all broke new ground for Pakistani cinema.

The post ‘The Glassworker’ and ‘Na Baligh Afraad’ Dominate the 3rd Pakistani Cinema Awards appeared first on PakistaniCinema.Net.

All of Pakistan’s Submissions to the Oscars

Yousuf Mehmood — Wed, 04 Dec 2024 07:01:36 +0000

In 2024, Pakistan has sent ‘The Glassworker’, its first 2D, hand drawn animated feature to the 97th Oscars. The film’s appeal to international audiences and critical acclaim make it by far the only choice.

However, while Pakistani cinema has existed since 1948, ‘The Glassworker’ is among only a handful of the films that have ever been sent to the Oscars. Most of these films have either appealed to a niche audience, been banned or censored, or have never been seen by Pakistani audiences.

Yet, there are several gems here which should be viewed by every Pakistani. These films are part of our heritage. They tell our story to the world.

So, here are all the films which have ever been sent to the Oscars in the category of “Best Foreign Film” (now “Best International Feature Film”) from Pakistan.

Jaago Hua Savera – 1959

The first Pakistani film to be sent for the Oscars is one that very, very few people have ever seen. ‘Jago Hua Savera’ (translated poorly as “The Day Shall Dawn”/ “And the Day Came”) was directed by A. J. Kardar with a screenplay by the great Faiz Ahmed Faiz himself. The story is based on the novel “Padma Nadir Majhi” by the Bengali writer Manik Bandyopadhay.

The film is about fishermen families living in the then East Pakistan (now Bangladesh). Filmed in Urdu, ‘Jago Hua Savera’ features performances that aspire more to Satyajit Ray and Mrinal Sen rather than the theatrical sensibility found in most Pakistani films of the day. The first sweeping shot of fishing boats in the open river as well as the final shot of the boats heading out at the break of dawn show that A. J. Kardar was a master cinematographer and restrained filmmaker.

‘Jago Hua Savera’ was banned by the Ayub Khan government in Pakistan three days before its release. Shortly after, Faiz Ahmad Faiz, along with other communist artists and writers, was jailed by the regime. The film’s left leaning message and the fact that its lead actors were former members of the socialist Indian People’s Theater Association didn’t help their case.

While ‘Jago Hua Savera’ was not nominated at the Oscars, it won a Golden Medal at the 1^st Moscow International Film Festival in 1959. Nearly 60 years after its release, the film was also screened at the 2016 Cannes Film Festival in the Classics category. Today, you can find the film on YouTube

Ghoonghat – 1962

Perhaps the most well known and commercially successful film on this list, ‘Ghoonghat’ has attained iconic status in Pakistan. Khwaja Khursheed Anwar, Pakistan’s auteur filmmaker wrote and directed this masterpiece, as well as scored it.

Based on the short story “Dosheeza” by Ghulam Mohammad, the film starred Nayyar Sultana and Santosh Kumar, two of the biggest stars of their day.

The film won big at the Nigar Awards, bagging 4, including “Best Actor” for Santosh Kumar and “Best Musician” for Khwaja Khursheed Anwar. It also emerged as a major hit at the local box office.

Khwaja Khursheed Anwar’s signature eeriness is on display in Ghoonghat. It’s perhaps his best known film. Darkness and fog envelope the world in ‘Ghoonghat’, with a feeling that not all is as it seems.

The story follows a newlywed groom Shahid, on a train to his home. However, his bride, still wearing the “Ghoonghat”, escapes in the middle of the night from the train compartment, leaving him shattered. Years later, when he visits a hill station, still a broken man, he is enchanted by a woman who lives in the hills.

The film was ultimately not nominated for the Oscars in 1963, but it has become an iconic and cult film since its release. You can watch it here.

‘Ghoonghat’ would remain Pakistan’s last entry to the Oscars for nearly 50 years. It’s unknown why exactly the film industry stopped sending nominees, but the process finally resumed in 2013, when the new wave of Pakistani cinema hit theaters.

Zinda Bhaag – 2013

‘Zinda Bhaag’ came out in 2013, the year that Pakistani cinema’s new wave officially arrived. It accompanied the blockbuster ‘Waar’, the horror film ‘Siyaah’ and the sports drama ‘Main Hoon Shahid Afridi’.

While Zinda Bhaag’s box office collection was modest, it was noticed as an off-beat comedy focused on the issue of illegal immigration and brain drain in Pakistan. Starring Zain Afzal, Amna Ilyas, and Naseeruddin Shah, the film was noted for not taking itself too seriously, as well as taking the dark comedy route to explore a serious issue.

‘Zinda Bhaag’ was made as part of “Let’s Talk Men”, a project by the UN for the prevention of gender-based violence. It was the first film since ‘Ghoonghat’ that was sent to the Oscars from Pakistan.

You can watch it here.

Dukhtar – 2014

‘Dukhtar’, meaning daughter, was released to a lot of acclaim to international audiences at the Toronto International Film Festival (TIFF). Directed by Afia Nathaniel and starring Samiya Mumtaz, Mohib Mirza and Ajab Gul, the film focuses on a mother trying to save her daughter from child marriage.

Samiya Mumtaz stars as the mother, who was married as a child herself, trying to save her daughter from getting married to a much older man in her tribe. Ajab Gul stars as a henchman tasked with bringing back the mother and daughter.

The film was not a huge success in Pakistan, earning less than PKR 2 Crore, but it gained great critical acclaim.

‘Dukhtar’ was the obvious choice to be sent to the Oscars in 2014. Other than ‘Operation 021’ and ‘Na Maloom Afraad’, no other film of note was released that year. ‘Dukhtar’, having the good fortune to be selected for TIFF, was sent.

Moor – 2015

‘Moor’ (meaning mother) was Jami’s long awaited magnum opus. With some trailers for the film going back as far as 2011, when it was finally released in 2015, the hype among its niche audience was massive.

The plot focused on an old railway station master in Balochistan who is caught between his obligation to provide for his family, and his loyalty to the motherland. Simultaneously, the film focuses on his son, who is working in Karachi and facing his own moral dilemmas.

The film starred Hameed Sheikh as the station master, Samiya Mumtaz as his wife, and Shaz Khan as his son, along with Nayyer Ejaz and Sonya Hussyn.

The film made modest box office returns, but ultimately did not live up to expectations either with critics or with audiences. However, its off-beat plot, sweeping cinematography and great performances packed enough of a punch that it was sent for the Oscars in 2015.

Mah-e-Mir – 2016

‘Mah-e-Mir’ was Manzar Sehbai’s ode to the 18^th century poet Mir Taqi Mir. Starring Fahad Mustafa, Manzar Sehbai, Iman Ali, and Sanam Saeed.

Written by Sarmad Sehbai, the film follows Pakistan’s biopic formula, by dealing in symbols and allegory rather than opting for a straight narrative. As with “Jinnah”, “Mirza Ghalib Bandar Road Par”, and “Manto Rama”, the film contrasts past with present and ideals with reality.

The film switches between the lives of Mir himself as well as a contemporary writer and poet Jamal. The contrast between the lives of these two artists forms the crux of the film and its commentary on breaking norms, pursuing love, and of course, the state of Urdu poetry.

The film’s dialogue about the state of the world, art and commerce, and the madness of love is esoteric and indulgent as it should be. However, its emphasis on pure Urdu as well as certain dialogues which are even spoken in Persian, forms a wall between the audience and the artists.

The film is at its strongest when it surrenders completely to poetry and speaks in symbols. There is no greater example of this than the opening and closing sequences.

While other critical darlings were released in 2016 in Pakistan like “Dobara Phir Se”, and “Abdullah: The Final Witness”, Mah-e-Mir was selected to represent Pakistan at the 89th Oscars.

Saawan – 2017

In 2017, ‘Saawan’, a Balochi film was selected for submission to the 90th Oscars. It focuses on a young boy with polio who is abandoned by his father in the rugged wilderness and tries to make it to his family. The film flew under the radar in Pakistan and was not particularly critically acclaimed either. However, its emphasis on the issue of polio and its rampant prevalence in Pakistan made it a solid choice for the Oscar submission.You can watch it here.

‘Saawan’ starred young Karim Hussein as the titular character and though it received acclaim at different foreign festivals, it didn’t make it to the Oscars shortlist.

Cake – 2018

Asim Abbasi’s family drama was sent to the Oscars in 2018 after making a splash with critics and at the box office. Earning decent at box office and clicking with urban audiences, ‘Cake’ was a collection of powerhouse performances from both Sanam Saeed, and especially Aamina Sheikh.

‘Cake’ touched on an issue well known to those belonging to rural areas in Pakistan. When someone in the family of a landowner, feudal lord or Chaudhry gets into legal trouble, the crime is covered up, and ordinary people pay the price.

The film doesn’t treat its characters as heroes or villains and puts narrative and characters first beyond flash. The long one-take that is the climax of the film is expertly filmed. You don’t even notice the shift at first and the take seamlessly integrated into the narrative.

While it didn’t reinvent the wheel, Cake’s naturalistic approach to the family drama, while also focusing on a social evil within Pakistan made it an appropriate choice for the Oscars.

Asim Abbasi would go on to direct two web series, “Churails” and “Barzakh”, both dealing with social ills in Pakistan, though his approach to these would be much less restrained than with ‘Cake’. ‘Cake’ remains his only feature film.

Laal Kabootar – 2019

‘Laal Kabootar’ hit cinemas at a time when all Indian films had been banned in Pakistan following the Balakot air strikes. Playing in mostly empty theaters, the film managed to find a niche audience and make a modest box office total.

Starring Ahmed Ali Akbar, Mansha Pasha, and Rashid Farooqui giving a career best performance, ‘Laal Kabootar’ shines a light on the general lawlessness of Karachi, the push to move abroad for better prospects, and the sinister land mafia.

PakistaniCinema.Net gave the film a very favourable review when it first hit theaters, and it remains one of our favourites since the new wave began. In 2019, when most films were either flops or unexciting, ‘Laal Kabootar’ showcased some great new talent.

One was Kamal Khan in the director’s chair showed that he could stand toe-to-toe with the best in Pakistan and deliver a tightly edited, well shot social drama. The other was Mo Azmi in the cinematographer’s seat. Mo Azmi’s emphasis on warm colours and bright tones to accentuate his projects allowed him to paint a Karachi which was at once bright and shining, and also harsh and unforgiving.

Laal Kabootar’s entry to the Oscars, while not ideal, since it was basically a straightforward crime thriller, was Pakistan’s only option that year. Its chances were always slim, but at least it presented a realist look at the life of Karachi.

Zindagi Tamasha – 2020

‘Zindagi Tamasha’ has all the ingredients of a Pakistani Oscar entry. It’s controversial, it was banned, it tackles social ills, and it has won awards at international film festivals.

However, the story of ‘Zindagi Tamasha’ is less about tackling taboos and breaking norms, and more about a deep-seated sadness. It’s ironic that the film was never allowed a theatrical release and was only put up online on YouTube many years later in 2023.

The film is about a Naat Khwaan who, in a private gathering with friends, dances to an old song. That song is “Zindagi Tamasha Bani” by Noor Jahan. Someone records that dance and uploads it on Facebook.

From that upload, a pandora’s box is unleashed and the Naat Khwan is judged by society, his friends, and even his family. No one is willing to look beyond his profession and see that his dance was merely personal expression.

The film features a muted Lahore, somber performances by Arif Hassan (playing Rahat Khwaja the Naat Khwan), Samiya Mumtaz (the Naat Khwan’s wife) and Eman Suleiman (the Naat Khwan’s daughter Sadaf), and a beautiful rendition of “Aj Sik Mitraan”, a Naat by Pir Meher Ali Shah.

The film was first released at the Busan International Film Festival in South Korea where it won the Kim Ji-Seok Award. It also won the “Best Film” and “Best Actor” awards at the 2021 Asian World Film Festival in Los Angeles.

Other than winning awards and acclaim abroad, the film courted controversy in Pakistan right from the release of its theatrical trailer. Allusions to taboo subjects led to protests against it by certain religious political parties which led to an unofficial ban of sorts, even though the film had been cleared by all censor boards.

When it was finally released online in 2023, the general reaction was that it needn’t have been censored or banned at all.

Joyland – 2022

‘Joyland’, perhaps the most controversial entry on this list, other than ‘Zindagi Tamasha’, has been celebrated abroad and reviled in Pakistan. Its plot focuses on a patriarchal family and the tensions beneath the surface. The subplot focusing on the family’s youngest son and his obsession with a transgender dancer at a stage show theater.

‘Joyland’ won the Jury Prize and the Queer Palm at the Cannes Film Festival before its wide release. Despite censorship efforts and bans, the film was released in various Pakistani cities and received acclaim from critics and audiences. However, it also faced an extreme level of backlash from audiences as well.

The subplot featuring the trans dancer, placed front and center in the marketing, was discussed ad infinitum in Pakistan. It also brought out the discussion about laws surrounding the legal identity of transgender and intersex people in Pakistan.

‘Joyland’ eventually became the first Pakistani film to be shortlisted for the Academy Award for “Best International Film”.

In Flames – 2023

‘In Flames’, first time director Zarrar Kahn’s social horror film was a first for Pakistan’s Oscar entries. A horror film had never been submitted to the Academy Awards by Pakistan. Yet, the film’s emphasis on women’s plight within Pakistan as well as its feminist bent probably appealed to the Pakistani jury.

Well, that and the fact that it premiered at the 2023 Cannes Film Festival! In fact, it was termed Cannes’ Hidden Gem by The Hollywood Reporter. It also premiered at TIFF and won ‘Best Feature’ at International South Asian Film Festival, Canada.

‘In Flames’ was screened in selected theaters in Pakistan in a limited release that lasted less than a month. It was screened in Karachi and Lahore, for 7 days each.

The story revolves around a mother and daughter who have lost their patriarch and now the vultures are circling their inheritance. However, the mother and daughter also face challenges in the shape of the patriarchy of Pakistani society. Framing the experience of the average woman as a horror film is something new to Pakistan. It also helps that Zarrar Kahn employs modern filmmaking methods to capture the sights and sounds of Karachi and Pakistan in general to create an unnerving atmosphere.

Adding to the horror and the wonder are Bakhtawar Mazhar as the mother, and Adnan Shah Tipu as the avaricious uncle trying to get at the family inheritance.

‘In Flames’, though not nominated for the Oscar, was the perfect choice to represent Pakistan on the world stage.

‘The Glassworker’ has been sent for the Oscars from Pakistan this year. The film has made it to the Oscars’ long-list and has a real shot at being nominated. It has been featured at prestigious film festivals across the world, mostly in Japan and Europe.

We at PakistaniCinema.Net are waiting for the good news.

The post All of Pakistan’s Submissions to the Oscars appeared first on PakistaniCinema.Net.

Gunjal and In Flames Sweep The 2nd Pakistani Cinema Awards

Yousuf Mehmood — Tue, 09 Jan 2024 12:52:22 +0000

While it’s been a year of commercial disappointments for Pakistani films, there have been a few critical successes which have made it big in Pakistan. Not only that, they’ve swept certain awards in the international circuit as well.

‘Gunjal’ and ‘In Flames’, two indie features that came out at the end of the year ended up impressing the Pakistani Cinema team the most. They tackled important subjects and did it with a lot of sincerity.

Gunjal

‘Gunjal’, the Ahmed Ali Akbar starrer shone a light on the slain child labour activist, Iqbal Masih. With a no-nonsense approach to the subject which included an exploration of all angles around his murder, ‘Gunjal’ delivered a great movie experience as well as one of the best screenplays of the last decade.

The film received the awards for ‘Best Film’, ‘Best Actor Male’ (Ahmed Ali Akbar), ‘Best Screenplay’ (Nirmal Bano and Ali Kazmi) and ‘Best Dialogue’ (Nirmal Bano, Faseeh Bari Khan and Ali Kazmi).

In Flames

‘In Flames’, the other big winner also clinched 4 awards. A psychological horror film about a mother and daughter dealing with a patriarchal society, ‘In Flames’ brought the genre of elevated horror to Pakistan. Most importantly, it did so in a way that was wholly Pakistani and with sounds and sights that are familiar to us all. ‘In Flames’ was most successful in the international circuit, winning ‘Best Feature’ at the Red Sea Festival this year.

At the 2^nd Pakistani Cinema Awards, ‘In Flames’ won ‘Best Director’ (Zarrar Kahn), ‘Best Actress Female’ (Bakhtawar Mazhar), Best Editing (Craig Scorgie), and Best Sound Design (Kristi McIntyre and Brett Killoran).

Chikkar

‘Chikkar’ was also one film that we all loved at Pakistani Cinema. There were a lot of awards which it was considered for, for its haunting subject matter and great execution. There is no award however, which it deserved more than ‘Best Story’. Its effective portrayal of the scourge of mob lynching and its underlying motives in a society like Pakistan was very sincerely done. Usman Mukhtar is someone we’re all looking forward to. However, the story was written by Mr. Zaheer Ud Din who should be lauded and promoted for his talent.

Saleem Meiraj

Saleem Meiraj is an actor who has established himself as indispensable to the industry. It seems like you could probably see him in every film if you look hard enough. In 2023, he starred in several films including ‘Chikkar’, ‘13’, ‘Dhai Chaal’, ‘VIP’, ‘Dorr’ and ‘Daldal’. However, nowhere was his performance the most effective as in ‘John’. Playing a goon who does dirty work for a local gangster, Saleem Meiraj also acted a mentor and protector to young John, played by Aashir Wajahat. For his work in ‘John’, Saleem Meiraj takes home the ‘Best Supporting Actor Male’ trophy.

Zindagi Tamasha Finally Streams in Pakistan

It will always remain a tragedy that Sarmad Khoosat’s ‘Zindagi Tamasha’ was not released in its home country. However, it finally came out on streaming in 2023. A lot of people were surprised at the fact that the film was banned in the first place. Finally watching the film, they saw that all the hubbub was for naught.

What was surprising, for us at Pakistani Cinema at least, was Eman Suleiman’s performance. It was her debut role in a feature film, as the daughter of Rahat Khwaja, the local Naat Khwaan. She played it beautifully. Every emotion was sincere and none of it was overly dramatic.

For her performance, she gets the award for ‘Best Supporting Actor Female’.

The Strongest Melodies of the Year

In a year devoid of Coke studio, there were a few tunes given to us by Pakistani films which did more than entertain us. Shuja Haider beautifully render “Kahaniyaan” from the anthology film “Teri Meri Kahaniyaan”. It was his vocals that tied the experimental film together. In a rare occurrence, the film also managed to do decent business at the box office. Something which was almost a miracle this year. He clinches the award for ‘Best Playback Singer Male’.

Sanam Marvi also cast a spell with her voice in ‘Allahyar and the 100 Flowers of God’. Her sonorous voice in Meray Malik elevated the film beyond a children’s feature and sunk into the soul like her vocals often do. For her work, she deserves immense praise. She clinches the award for Best Playback Singer Female.

As for the melody makers and poets themselves, there is also much praise. Adrian David peppered ‘Babylicious’ with a lot of great melodies for which he gets the award for ‘Best Music’. Batool Fatima gets the award for ‘Best Lyrics’ for the soulful “Tu Who Qatil Hai” in ‘John’.

Strong Debuts

There were a lot of debuts and indie features this year. A lot of great talent came forward which could propel the industry into a new tomorrow. The first was Ibad Alam Sher, who played “Haaris Qadeer” in “Madaari”. The film was a tragic retelling of the chaos that surrounded Karachi in the mid to late 2000s. Ibad Alam Sher brought verisimilitude to the role that is rare to see from a new talent.

Romaisa Khan was also very impressive in her debut as a Christian girl with stars in her eyes in “John”. Her sensitive, restrained and charming performance gave the film its only bright corner.

Both of these performances receive the Best Debut Awards from Pakistani Cinema.

Special Mentions

For those that we can not neatly fit into boxes, but who do deserve praise, Pakistani Cinema has some special awards.

The team of ‘Kukri’ gets praise for delivering another product to Pakistan which the censor boards tried to ban. The story of Javed Iqbal is one that needs to be told in Pakistan, because we haven’t learned from it. Children are still abused, hunted, and murdered in Pakistan in astonishing numbers. In order to stop it, we must first look the problem in the eye. Yasir Hussain as Javed Iqbal and Rabya Kulsoom as a grief stricken mother both played their roles to perfection.

The second special mention goes to Faryal Mehmood in ‘Chikkar’. As the dancer Neelum Shehzadi who gets lynched in the beginning of the film, her character sets everything in motion. Even though her screen time in the film is perhaps 5-7 minutes in total, she casts an incredibly haunting shadow over the film. Her expressive eyes and clear delivery say a lot in very little time. We can’t wait to see what she does next.

You can find the complete list of Pakistani Cinema Awards on our Instagram (@pakistanicinemaa).

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Pakistani Films and Artists Make it Big at Mosaic South Asian International Film Festival

Web Desk — Thu, 30 Mar 2023 13:48:12 +0000

Pakistani films and artists made it big at the Mosaic International South Asian Film Festival (MISAFF) held in Mississauga, Canada this week.

All the major Pakistani entries at the four day annual festival won accolades. Starting from “Joyland” that has been a sweeping success at all the film festivals for quite some time, the film managed to bag four Awards for ‘Best International Feature’, ‘Best Screenplay’ (Saim Sadiq, Mary Margaret Briggs), ‘Best Sound Design’ and ‘Best Actress’ to Rasti Farooqi.

“Kamli”, which recently set on its journey at the international film festivals after being well received by the critics and audiences alike, won Sania Saeed the ‘Best Actress Award’ at the festival for her role of a blind woman in the film.

Apart from these two heavyweights, Balochi film “Doda”, revolving around the life of a former boxer, bagged ‘Special Jury Prize’ at the event. Moreover short film “Murder Tongu” walked away as the ‘Best International Short Film’.

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3 Pakistani Films Featured in Cannes World Film Festival 2023

Yousuf Mehmood — Sat, 25 Feb 2023 13:07:50 +0000

3 Pakistani films have been featured in this year’s Cannes World Film Festival. The first is “Noor” directed by Umer Aadil, the second is “Pehchaan” directed by Mohammad Ahsan, and the third is “Jalavaan” by Wajahat Malik.

The three films have been nominated in different categories, and the winners will be announced soon.

“Noor” by Umer Aadil

“Noor” is a film commissioned by the international NGO ‘Sightsavers’. The film sheds light on the issue of Uncorrected Refractive Error (URE), which affects over 4 million children in Pakistan.

The issue prevents children from learning and other opportunities in the future. However, the issue can be easily corrected if treatment is given.

Noor has been nominated in the category of Best Health Film. It stars Sarwat Gilani and Omair Rana, along with Mizna Waqas, Tanisha Shameem and Tasneem Ansari.

You can watch the film here.

“Pehchaan” by Mohammad Ahsan

“Pehchaan” is a thriller based on real events. The film is written and directed by Mohammad Ahsan. The trailer for the film shows a man arrested for what appears to be a false charge. Most details of the film are under wraps.

However, it’s nomination for Best Human Rights Film shows that it sheds light on an important issue. And with Pakistan’s abysmal track record of justice, the film has a lot to work with.

“Jalavaan” by Wajahat Malik

Perhaps the most fascinating of all the films featured in the Cannes World Film Festival from Pakistan is “Jalavaan”. It’s a documentary feature about the Sonewal, a group of nomads in the Karakoram who make their livelihoods by filtering gold from the rivers which flow down from the mountains.

They work similarly to the gold prospectors that you may have heard of in America. However, the “Gold Nomads of the Karakoram”, as the film calls them, are one of the least documented communities in the world.

Simply for that reason, this film deserves to be seen.

It has been nominated in the Best Documentary Feature category.

Keep following PakistaniCinema.Net for further updates on the Cannes World Film Festival 2023!

* = Please note that the Cannes World Film Festival has no relation to the “Festival de Cannes”, which is one of the oldest and most prestigious international film festivals in the world.

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Pakistani Cinema Awards 2022: Winner List

Web Desk — Tue, 03 Jan 2023 08:47:51 +0000

2022 has been a roller coaster of a year for Pakistani films and Pakistani media in general. While the year started out slow with below average grossers, a film ban, and some flops, critical and commercial successes dotted the year from May onwards. And of course, the year ended with a bang with “The Legend of Maula Jatt” crossing 1 billion PKR in Pakistan.

Here are PakistaniCinema.Net’s picks for the best in Pakistani films of the year.

Best Film: Kamli

For weaving a heart wrenching experience and spell-bounding the audience into silence.

Best Director: Bilal Lashari

For pushing Pakistani cinema leaps and bounds ahead with a single strike of the Gandasa

Best Actor Male (Lead Role): Ali Junejo (Joyland)

With his celluloid debut, Ali Junejo as ‘Haider’ in “Joyland” gave the most brilliant performance in lead role.

Best Actor Female (Lead Role): Saba Qamar (Kamli)

For speaking volumes more with her eyes than words could.

Best Actor Male in a Supporting Role: Faris Shafi (TLOMJ)

For stealing the show in a film dominated by heavyweights.

Best Actor Female in a Supporting Role: Sania Saeed (Kamli)

For giving the best performance of the year.

Best Actor (Antagonist): Hamza Ali Abbasi

For giving the character of ‘Noori Nath’ new vigour and zeal.

Best Actor Debut: Raasti Farooq (Joyland)

For her flawless performance in the role of ‘Mumtaaz’ in her debut film “Joyland”

Best Director Debut: Saim Sadiq (Joyland)

For crafting a film so close to the real life with his cinema debut.

Best Musician: Saad Sultan (Kamli)

For making the wilderness in Kamli come alive.

Best Playback Singer Male: Sohail Shahzad

For imploring us with his voice to make the most of what is and not worrying about what will be.

Best Playback Singer Female: Zeb Bangash

For conveying so delicately that wish we all have to be seen and heard by someone out there in “Kaash”.

Best Lyrics: Sohail Shahzad for “Naina” (Kamli)

For ensnaring the audience in a web of words.

Best Original Score: Sarmad Ghafoor (TLOMJ)

For an epic score to an epic film, and especially for “Chann Pichay”

Best Cinematography: Bilal Lashari (TLOMJ)

For bringing a Punjab to the screen we’ve never seen before and providing us with best visual experience in theatres.

Best Editing: Bilal Lashari (TLOMJ)

For a tight knit, thrilling experience no one will ever forget.

Best Story: Fatimah Sattar (Kamli)

For essaying an storyline so familiar, yet so original, all while drawing from local folklore and culture.

Best Screenplay: Bilal Lashari (TLOMJ)

For translating a wholly Pakistani epic on to the screen for the new generation.

Best Dialogues: Nasir Adeeb (TLOMJ)

For proving once again that he’s a legend for a reason.

Special Recognition (FILM): Doda

For bringing back the voice of the Baloch People to the big screen through a relatable underdog story.

Special Recognition (TV): Sang-e-Mah

In the world of TV, the year 2022 saw a decline in quality of our TV production and we saw some ISPR sponsored narratives, brain-less Ramazan comedies and toxic masuculinity enforcing serials topping the charts. Yet, with its brilliant writing by Mustafa Afridi, fine direction by Saife Hasan, convincing performances by all lead and supporting cast and for shedding light on a social evil ‘Ghag’, “Sang e Mah” managed to deliver quality work on TV screens.

Special Recognition (Music): Xulfi (Coke Studio Season 14)

In the world of music industry, Xulfi revolutionized the Coke Studio Pakistan by infusing new, raw and diverse talent from across the nation and making Hassan Raheem, Justin Bibis, Young Stunners, Eva B, Aroof Aftaab and Kaifi Khalil to debut in Coke Studio with a single season.

2023 has a lot to live up to both in terms of stories and box office returns. Here’s hoping that the new year surprises us with even greater films and filmmakers than before

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‘Zindagi Tamasha’ Wins Best Picture and Best Actor Awards at Asian World Film Festival

Faisal Ali H — Fri, 19 Mar 2021 20:07:06 +0000

Sarmad Khoosat’s sophomore directorial effort Zindagi Tamasha generated some noise early last year when its theatrical screening was postponed on the heels of objections made by certain religious groups. While the film was later green-lit by the censors, its nationwide rollout was halted by the closure of cinemas in wake of the pandemic.

The jinx seems to have been broken with the movie finally getting some recognition come its way. The film won two awards at the Asian World Film Festival, held online this year from March 10 to 15. Competing amongst 40 features from 20 countries, the film won the Snow Leopard award for Best Film, whereas its lead actor Arif Hassan won the Snow Leopard Award for Best Actor. According to its official description, the festival ‘predominantly screens Oscar and Golden Globe submitted films from Asia for the Best Foreign Language Film’, and Zindagi Tamasha made the cut after it was chosen as Pakistan’s entry to the Academy Awards last year.

Said to revolve around the themes of tolerance and religious extremism, the film follows the journey of a poet and naatkhwan who ends up embroiled in controversy after a video of him dancing at a wedding goes viral – a plot that ironically echoes the film’s own travails. Receiving the award for Best Film, Khoosat stated that the film’s win was the “right kind of morale boost and the emotional boost as well” for him personally, whereas Best Actor winner Arif Hassan described being “overwhelmed by the recognition.”

While we await the film to hit the theaters, you can check out its theatrical trailer below to get a whiff of what is on offer. Stay tuned to PakistaniCinema for the latest on Zindagi Tamasha and the best from Pakistani showbiz.

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South Korean Movie Parasite maintains its Winning Streak at Oscars 2020

Yousuf Mehmood — Thu, 13 Feb 2020 06:07:03 +0000

The Oscars were held on Sunday, February 9^th, 2020 and to a lot of people’s surprise, the Best Picture trophy went to Parasite. The South Korean thriller focusing on class divide and the desperation to claw one’s way to success had been winning honours all over the world since it debuted at Cannes and took home the Palme D’or. At the Academy Awards it not only took home Best Foreign Film, but Best Picture, Best Director (for Bong Joon-ho) and Best Original Screenplay.

Many thought the Best Picture trophy would go to Sam Mendes’ one take World War I drama, 1917. The film had won the best film trophies at the Golden Globes, and the BAFTAs. However, for those that pay attention to film award ceremonies year by year, it’s often the case that the Oscar winners for Best Picture are different.

As for acting honours, they were consistent with most other award ceremonies. Joaquin Phoenix won for his much celebrated and controversial role as Arthur Fleck, the Joker. Renee Zellweger won for her performance as the venerable Judy Garland. Laura Dern won for her role as a divorce lawyer in Marriage Story, and Brad Pitt won for his role as stuntman Cliff Booth in Once Upon A Time in Hollywood.

Other notable winners included Roger Deakins, taking his second Oscar for Best Cinematography for 1917, and Bombshell taking home Best Makeup and Hairstyling for turning Charlize Theron into a doppelganger of former Fox News anchor Megyn Kelly.

A surprise performance of “Lose Yourself” by Eminem was the standout moment of the night. This was apparently a rectification for not showing up to receive his Oscar for Best Original song, for the same song, 17 years ago.

What was most notable about the 2020 Oscars was the audience viewership. Compared to last year’s ceremony which brought in 29.6 million viewers, this year only 23.6 million sat glued to their screens. This only goes to show how little faith people continue to put in award ceremonies. This is not only a result of the disconnect between huge blockbusters and the films nominated for the Oscars, but between filmmakers and audiences.

Still, the Oscars are in some sense the most respected and most vilified awards ceremony in the world. Hence, they are held in high regard. That aside. Did you watch any of the films nominated for Best Picture? What were your favourite Hollywood films of the year?

Oscar winners

Best picture

Parasite

Best actress

Renée Zellweger, Judy

Best actor

Joaquin Phoenix, Joker

Best director

Bong Joon-ho, Parasite

Music (original song)

“(I’m Gonna) Love Me Again” from Rocketman

Music (original score)

Joker

International feature film

South Korea, Parasite

Makeup and hairstyling

Bombshell

Visual effects

1917

Best film editing

Ford v Ferrari

Best cinematography

Roger Deakins, 1917

Best sound mixing

1917

Best sound editing

Ford v Ferrari

Best supporting actress

Laura Dern, Marriage Story

Documentary short feature

Learning to Skateboard in a Warzone (If You’re a Girl)

Documentary feature

American Factory

Best costume design

Jacqueline Durran, Little Women

Best production design

Once Upon a Time…in Hollywood

Live-action short film

The Neighbors’ Window

Best adapted screenplay

Taika Waititi, Jojo Rabbit

Best original screenplay

Bong Joon-ho, Parasite

Animated short film

Hair Love

Animated feature film

Toy Story 4

Best supporting actor

Brad Pitt, Once Upon a Time…in Hollywood

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“Laal Kabootar” Wins ‘Best Feature Film’ at Vancouver South Asian Film Festival

Web Desk — Tue, 19 Nov 2019 11:09:54 +0000

The Kamal Khan directed “Laal Kabootar”, after a successful run in Pakistan, is now wooing international audiences. The film is making rounds at different film festivals and has won quite a few accolades. First Ahmed Ali Akbar won the ‘Best Actor Award’ at the DC Washington South Asian film festival and later the film won the Archana Soy audience award for ‘Best Feature Film’ at the Tasveer International South Asian film festival in Seattle.

Now, it has won the ‘Best Feature Film’ award at the Vancouver International South Asian film festival. There were eleven films that competed in that category and Pakistan had its representation in the form of not one but two feature films; “Laal Kabootar” and “Baaji”. It’s heartening to see Pakistani films competing not only in their home ground but also at international film festivals and bringing trophies and recognition to the country.

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