Some time ago, one of our colleagues happened upon Citizen Khan, a BBC sitcom series set in Sparkhill, a small town in South Birmingham, UK. The title, a sarcastic nod to Orson Welles’ Citizen Kane, follows the story of Mr. Khan, a British Pakistani man portrayed by the humorous Adil Ray, and his family. Mr. Khan, a loud-mouthed loose cannon, is patriarchal, cricket-loving, and believes the entire world revolves around him. Despite the show’s somewhat dated production style, it remains a comedic delight. Citizen Khan was not produced in Pakistan, but still drew the ire of hardliners from the country for its carefree portrayal of a Pakistani family. After viewing multiple seasons and witnessing Mr. Khan’s eccentric but conservative ways and his daughters’ desperate attempts to cope, our colleague remarked, “Just like us! Quintessential India!”
Rooted in Lahore, Pakistan’s cinema industry has been portraying stories of people strikingly similar to us since Partition. The Bombay film industry, closely linked to Lahore, influenced content creation in Pakistan and vice versa. While figures like Shafi Muhammad Shah (Shah Jee), Zia Mohyeddin, Talat Hussain, and filmmakers such as Shoaib Mansoor or the younger Afia Nathaniel may not be household names in India, film enthusiasts from the subcontinent have closely tracked trends in Pakistani cinema, particularly how filmmakers navigate various forms of censorship. Despite political upheavals in Pakistan exerting evident pressure on filmmakers (something Indian creators can easily relate to today), Pakistani cinema has produced outstanding works, both locally and internationally. Indeed, Pakistani cinema has undergone a remarkable transformation in recent years, marked by defining moments that have indelibly shaped the industry.
From addressing social issues to embracing diverse genres, Pakistani filmmakers have adeptly navigated the cinematic landscape, crafting works that resonate with both local and international audiences. The catalyst for this cinematic renaissance is often considered the groundbreaking film Khuda Kay Liye (2007), directed by Shoaib Mansoor. Tackling sensitive topics like religious extremism and cultural clashes, the film served as a wake-up call for the industry, prompting a renewed focus on bold and thought-provoking storytelling. Shoaib Mansoor continued to be a driving force with his film Bol (2011), addressing issues such as women’s rights, gender discrimination, and religious intolerance.
Bol further solidified the industry’s commitment to engaging with socially relevant themes, garnering success both nationally and internationally, and highlighting the demand for cinema that entertains while sparking meaningful conversations. Then came Dukhtar (2014), directed by Afia Nathaniel, adding another layer to the evolving cinematic landscape. The film, which focused on a mother and daughter’s journey to escape a forced marriage, received acclaim for its poignant storytelling, beautiful cinematography, and powerful performances. It demonstrated how Pakistani cinema could successfully navigate not just political pressures but also complex narratives with finesse and emotional resonance.
It is in this milieu that Zindagi Tamasha (The Circus of Life), the official Pakistani entry for the 93rd Academy Awards, deserves a special mention. Initially set for release in Pakistan in March 2022, the film faced indefinite delays when hardliners in the Pakistani political establishment, backed by some religious leaders, protested and allegedly issued death threats to the director, Sarmad Sultan Khoosat, forcing the makers to release the film on YouTube. As Devina Dutt notes in the latest edition of Frontline, Zindagi Tamasha is a marvellously crafted critique of life in a theocratic society. It resonates deeply with viewers not just in the subcontinent but globally. Read Dutt’s insightful essay but do watch the film as well. And, as always, tell us what you think.
Wishing you a great week ahead,
Team Frontline
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