Pakistani Film Cake Breaks Sindhi Stereotypes
Pakistani movie "Cake" is a Sindhi family drama set in Karachi and rural Sindh. I had the chance to see it on a Silicon Valley theater screen in California.
Cake is nothing like the usual Bollywood fare featuring an "item song" included in a series of song-and-dance sequences. It tells a story accompanied with a great soundtrack showcasing the classic Sindhi poetry of Shah Abdul Latif Bhitai and Shaikh Ayaz, some of it sung by Allan Fakir in his mournful voice.
Directed by Asim Abbasi, the movie has an interesting plot and it tells a good story. What makes its plot especially relevant to the Pakistani diaspora is that it involves a theme familiar to them: Ailing elderly parents (Jamalis ably played by Mohammad Ahmed and Beo Raana Zafar) in Pakistan with two of their three children living overseas. It also defies the stereotypical depiction of patriarchal Sindhi men as cruel landlords oppressing their women and peasants.
At the center of the story is Zareen (Aamina Sheikh) who takes care of her aging parents in Karachi and their land in rural Sindh. She is joined by her sister Zara (Sanam Saeed) from London when their elderly parents' health suddenly deteriorates. Many long unresolved family issues come to the surface as they spend time together. Some of the issues are triggered by the arrival of Christian nurse Romeo (Adnan Malik) who helps the sisters in providing care to their parents.
Except for a few sentences spoken in Sindhi by Aamina Sheikh, the rest of the movie features Urdu as the primary language spoken by the main characters in the movie. It shows how widely Urdu has been embraced by all ethnic groups as the lingua franca binding Pakistanis together as a nation.
Cake is a well-made and beautiful movie featuring great acting talent that breaks old stereotypes. It is yet another confirmation of the renaissance that the Pakistani cinema has seen in the last decade.
Related Links:
Haq's Musings
South Asia Investment Review
Bollywood Revenue in Sharp Decline
Bollywood Eyes Pakistan Market
Peepli Live Destroys Indian Myths
Bollywood-Hollywood Combos
Indian Bollywood Seeks Cultural Dominance
US Mortgage Fraud Funded Bollywood Movie
Directed by Asim Abbasi, the movie has an interesting plot and it tells a good story. What makes its plot especially relevant to the Pakistani diaspora is that it involves a theme familiar to them: Ailing elderly parents (Jamalis ably played by Mohammad Ahmed and Beo Raana Zafar) in Pakistan with two of their three children living overseas. It also defies the stereotypical depiction of patriarchal Sindhi men as cruel landlords oppressing their women and peasants.
At the center of the story is Zareen (Aamina Sheikh) who takes care of her aging parents in Karachi and their land in rural Sindh. She is joined by her sister Zara (Sanam Saeed) from London when their elderly parents' health suddenly deteriorates. Many long unresolved family issues come to the surface as they spend time together. Some of the issues are triggered by the arrival of Christian nurse Romeo (Adnan Malik) who helps the sisters in providing care to their parents.
Except for a few sentences spoken in Sindhi by Aamina Sheikh, the rest of the movie features Urdu as the primary language spoken by the main characters in the movie. It shows how widely Urdu has been embraced by all ethnic groups as the lingua franca binding Pakistanis together as a nation.
Cake is a well-made and beautiful movie featuring great acting talent that breaks old stereotypes. It is yet another confirmation of the renaissance that the Pakistani cinema has seen in the last decade.
Related Links:
Haq's Musings
South Asia Investment Review
Bollywood Revenue in Sharp Decline
Bollywood Eyes Pakistan Market
Peepli Live Destroys Indian Myths
Bollywood-Hollywood Combos
Indian Bollywood Seeks Cultural Dominance
US Mortgage Fraud Funded Bollywood Movie
Comments
https://www.thenews.com.pk/print/284797-cm-vows-to-make-karachi-the-hub-of-film-production-again
Sindh Chief Minister Syed Murad Ali Shah has said his government will assist in every possible way in promoting the cultural cause to make Karachi the hub of film production in the country again.
“In the 50s ad 60s, Karachi used to be the centre for film production in the country, but later on this activity moved to Lahore. Now Karachi once again has started becoming the centre for film production,” he said as he inaugurated the four-day Asia Peace Film Festival at Expo Centre on Friday.
“The Government of Sindh would definitely be part of this activity. We would assist in every way possible the cause to bring the film production back to Karachi so that we can add to the rich culture of our province.”
The chief minister called upon the film-makers and other people associated with film industry to help the provincial government to adopt the first-ever provincial films’ policy.
He said that after the 18th amendment, films had become a provincial subject, and the Sindh culture department had been striving hard to adopt a films policy for the province.
“God willing, we will come up to the expectations of film industry by formulating a policy which would attract film-makers and which would give them more incentives, and which would also promote film industry in the province.”
Shah was of the view that input from the film-makers and other people associated with the industry would greatly help the culture department to adopt this policy. He said the chosen theme of the festival “Karachi for all” was closest to the truth because Karachi and the province of Sindh had always welcomed people from all over the world.
“I am glad to know that more than 50 countries are represented in this festival. A total of 109 Asian films will be screened in the festival along with 24 Pakistan films. This is a great opportunity for everyone here to get together and share views to promote the film industry,” he said.
Shah added that the festival would greatly benefit students, amateur and budding film-makers and would help them learn a lot from the experience of seniors and seasoned professionals in the field of film production.
He said “peace” as the chosen subject for the film festival was most appropriate given the nature of the city and the place where it was being held. “Sindh is the land for Suifism. Sindh is the place of peace. We have always promoted peace as it is our very culture that we are the promoters of peace and friendship. We are a pluralistic society as we will always be known for this.”
He said his government would continue to assist in holding such conferences and festivals to promote cultural activities in the province. “By the end of March, there will be another such event with the name of Karachi Film Festival as the provincial would also provide help to conduct this festival to promote the cause of culture.”
Amjad Bhatti, convener of the Asia Peace Film Festival, also spoke on the occasion and shed light on the objectives of the event.
Maariya Syed, an independent film-maker from India, Fatemeh Moosavi, film-maker from Iran, Prof Nend Dizdarevic, belonging to Bosnia, and other international participants also spoke and shared their experience of being part of a days-long cultural activity in Karachi featuring active involvement of the film-making talent of several regional countries.
http://newslinemagazine.com/magazine/an-industry-awakens/
With the aim to be one of the largest film festivals in the country, the Pakistan International Film Festival (PIFF), a project of the Karachi Film Society – its parent body – was held in a four-day whirlwind programme (March 29 – April 1) comprising an impressive line-up of seminars, premieres, exhibitions, workshops, star-studded gala dinners and a glamorous closing ceremony at Karachi’s Frere Hall. In the process, with an aim to give an open platform to local independent filmmakers, they were invited to submit their stories, some of them compelling, thereby discovering new talent in the country. The festival also welcomed international filmmakers to share their best and award-winning films.
More than 1,500 submissions from 93 countries were received by PIFF for consideration, out of which 210 from 30 countries were shortlisted for screening at the festival. The PIFF jury selected an immense diversity of films that showcased the formidable talents of local and international filmmakers. During the festival, a series of screenings of documentary shorts, feature films, documentaries and virtual reality (VR) films were shown across Karachi at select cinema halls and institutions including the Nueplex Cinema , Goethe Institut, Iqra University Defence, Iqra University North Nazimabad, Alliance Française and The Second Floor (T2F).
Simultaneously, three-day seminars were conducted at the Ziauddin University Clifton Campus, comprising discussions that touched on a wide range of subjects related to the cinema industry. What made the discussions particularly interesting was the fact that the largest international delegation was from our neighbouring ‘enemy’ country, and the one with the world’s largest film industry, India.
A 23-delegate strong Indian contingent arrived with visible and vocal enthusiasm about being part of something new and important emerging in Pakistan. ‘Collaborations across borders: Possibilities and Future Directors’ was among the first sessions held on day one of the festival and featured renowned Indian actor/director Nandita Das, screenwriter Anjum Rajabali, musician Harsh Narayan, Pakistani director Asim Raza and actor Sajal Ali. The discussion was moderated by Asif Noorani.
The PIFF encompassed pre-Festival activities such as the three-day Digital Storytelling Workshop, in which young participants were asked to develop their ideas for short films, and finalise their storytelling processes before heading out to shoot their stories. The workshops included talks and training by professional directors, producers and writers on various aspects of filmmaking, such as Rasheed Noorani; Salman Sirindhi, Nadeem Baig and Sarmad Khoosat, film editor Rizwan AQ, and post-production training by Ali Ijaz and Salman Sirhindi. The workshop concluded with a certificate distribution by the chief guest, academy award-winning director/producer Sharmeen Obaid Chinoy, a member of the board of directors of the PIFF.
The workshop was followed by another pre-Festival activity: Mobile Screenings organised by PIFF at six venues across Karachi, starting with the Indus Valley School of Arts and Architecture; the Abdullah Haroon Community Centre in Khadda Lyari, the Szabist Auditorium at 90 campus; the Memon Goth Community Hall in Malir; the main campus of Iqra University, and the Murshid Auditorium in Muachh Goth Hub.
The founder/President of PIFF, Sultana Siddiqui, also hosted another pre-PIFF event titled ‘The Celebration of Women in Film’ to coincide with Women’s Day. The event was a seminar, the first of its kind to celebrate the contributions and challenges of Pakistani women in film, particularly female directors. In the course of the insightful panel discussions, some renowned women fimmakers shared the obstacles they faced in the entertainment industry and how they overcame them (see ‘Celluloid Queens’).
Western Illinois University Associate Professor of Music Education Richard Cangro recently returned from visiting and teaching in Pakistan as part of his 2018 Fulbright Teaching Specialist grant award.
This is Cangro's second Fulbright award. He worked with teachers and students at the National Academy of Performing Arts (NAPA) in Karachi and the Beaconhouse National University (BNU) in Lahore for two weeks.
"I am very fortunate to have received this award and had the opportunity to visit Pakistan," said Cangro. "One of my goals was to break down stereotypes and misconceptions about the country. I was warmly received, and generously cared for during my visit, and made some great new friends."
Most of the students and faculty were proficient in English, so there were no issues in communication. Cangro presented on topics including music education in the US, assessing learning in the arts and his research area of cooperative learning. He also introduced and demonstrated the trumpet and had the opportunity to jam with a sitar artist and students at both colleges.
Goals for this trip included sharing information on arts education and cultural exchange; however, a new connection for WIU was at the top of the list. Both NAPA and BNU are very interested in collaborating with WIU to create a music degree program. Meetings with faculty and administrators at both institutions opened the door for future collaborative projects, as well as consultation for creating degree programs not currently available in Pakistan.
A contrast in socioeconomic conditions, Pakistan is a young country that is developing and building its identity through education. BNU and NAPA are deeply committed to their students and to building their programs to address 21st century ideals and developing global thinkers in the arts, while preserving their unique culture.
Cangro hopes this trip will be the beginning of a long-standing relationship for WIU that encourages study abroad opportunities, student and faculty exchanges and partnership degree plans.
When the then Interior Minister brought Mr Lashari he announced that he is “a gift for Islamabad”. A gift, truly, he was. Mr Lashari was a man of mega projects and that was the age of extravaganza. President Musharraf, for all the debate about the legality of his rule, knew well the art of creation of money and had a taste for aesthetics in monumentalisation of the city.
------------------
Mr Lashari was made CDA chairman in the early days of the government of President Pervez Musharraf and he stayed at office for five years until in 2008 he was made the chief commissioner of Islamabad.
Bennett-Jones, Owen. The Bhutto Dynasty (pp. 23-24). Yale University Press. Kindle Edition.
https://variety.com/2020/film/asia/pakistan-oscar-selection-circus-of-life-1234841690/ via @variety
The Pakistan Academy Selection Committee has selected Sarmad Khoosat’s “Circus of Life” (aka “Zindagi Tamasha”) as the country’s entry in the 2020 Oscars’ international feature category.
The film had its world premiere at the Busan International Film Festival in 2019, where it won the prestigious Kim Ji-seok award.
Set in Lahore, the film chronicles the chaos that ensues in the life of a staid, devout elderly man when a video featuring him gets uploaded onto social media.
After being cleared by the censor board, the film had its release in Pakistan in January disrupted when a political party said that the content was blasphemous.
“I did not make ‘Zindagi Tamasha’ to hurt, offend or malign anyone. It’s a story about a ‘good enough Muslim’ – there was/is no mention of a sect, party or faction of any sort,” Khoosat said in a letter he wrote to Pakistan Prime Minister Imran Khan in January.
“What was most important to me was exploring the idea of tolerance. Tolerance not just to others (to allow people to exist the way they are) but also tolerance to self – and this is where the concept of shame, need for approval, etc. come in to play,” Khoosat had told Variety at Busan. “I have been in situations where I have felt I should have been more tolerant of others and more accepting of my own self.”
The Academy Selection Committee was chaired by Pakistani filmmaker Sharmeen Obaid-Chinoy, who has twice won the Oscar in the best documentary short subject category. She won in 2012 for “Saving Face,” sharing the award with Daniel Junge, and in 2016 for “A Girl in the River: The Price of Forgiveness.”
“All the heartache that ‘Zindagi Tamasha’ gave me has somehow restored my faith in the power of art too: the sheer, almost physical power of art to make life imitate it,” Khoosat told Variety. “This announcement, for me, is a very bright light shining at the end of this dark tunnel of a year. No matter how far we go with this official selection, ‘Zindagi Tamasha’ will be representing all of us – our Pakistan. I feel honored on behalf of my entire team and I am extremely grateful to the committee for finding it worthy enough.”
Pakistan submitted films for Oscar consideration in 1959 and 1963 and then stopped. It began submitting annually again from 2013, but has yet to secure a nomination.
A reboot of the 1979 cult Punjabi classic, Maula Jat, Bilal Lashari’s The Legend of Maula Jatt is coming off of a record-breaking weekend for a Pakistan-made or Punjabi-language film. Opening on over 500 screens in 25 markets, the action fantasy grossed PRK 51cr ($2.3M) globally, a new benchmark launch for a Pakistani title worldwide. Check out the trailer below.
The movie (which The Guardian called Game of Thrones meets Gladiator) follows the titular Maula Jatt, a fierce prizefighter with a tortured past who seeks vengeance against his arch nemesis Noori Natt, the most feared warrior in the land of Punjab. Loyalties are challenged and families torn apart in an epic tale of truth, honor and justice. Fawad Khan (who appeared in Disney Plus series Ms Marvel), Mahira Khan, Hamza Ali Abassi and Humaima Malik star. Brian Adler (Avatar: The Way of Water, Avengers: Endgame) served as VFX supervisor.
From Encyclomedia and Lashari Films in association with AAA Motion Pictures, and overseas distributor Moviegoers Entertainment, this is said to be the largest-mounted Pakistan-made, Punjabi-language film to date.
In Pakistan, it took $517K, and in the UK picked up $355K from 79 locations. The latter is the highest opening weekend for any Pakistani or Punjabi film in the market where it entered at No. 9 on the chart.
In the U.S., The Legend of Maula Jatt grossed $290K and in Canada $235K, kicking off at No. 6. The UAE saw a No. 1 start with over $515K. In Australia, it opened at No. 6 with $160K. Other releasing markets included Norway, Germany, Netherlands, Spain and South East Asia.
The filmmakers tell us demand has been extraordinary with exhibitors adding screenings throughout the weekend and into the week.
Lashari — who directed, co-wrote, lensed, edited and produced the movie — enthused, “I’m beyond overwhelmed by the love the film has received from audiences and critics alike the world over. We are so proud that The Legend of Maula Jatt has been instrumental in putting Pakistan-made cinema on the global map as it continues to win over hearts in theaters across the world.”
Producer Ammara Hikmat said, “The Legend of Maula Jatt has been our labor of love for a number of years. The pandemic came and returned but we knew we had to hold out for a theatrical release, as the film is undoubtedly a big screen experience… We’re so delighted that our film has broken previous records and set a new benchmark for Pakistan-made cinema, loved and lauded not only domestically but by audiences and critics globally.”
https://variety.com/2022/film/global/iram-parveen-bilal-pakistan-wakhri-social-media-1235449884/
U.S.-Pakistani director Iram Parveen Bilal has wrapped principal photography at Pakistan locations on her fourth film “One of a Kind” (aka “Wakhri”).
Inspired by and offering tribute to unapologetic social media influencers like the slain Qandeel Baloch, the film is set in the world of patriarchal social media trolling and the burgeoning underground scene of the so-called “misfits” in modern-day Pakistan. It follows a Pakistani schoolteacher who accidentally unleashes the power of social media, unabashedly challenging the patriarchy. As she tries to keep her online identity a secret, she’s gradually exposed to society’s dangerous underbelly and forced to manage the repercussions.
Bilal describes the project as a “grounded masala” film that promises thought-provoking subject matter whilst also featuring loud Punjabi-language club tracks and Urdu-language rap songs to dance and chant with.
Bilal was named one of the directors to watch by the Alliance of Women Directors in 2020. Her previous film, “I’ll Meet You There,” was in the Grand Jury competition at SXSW in 2020 and hopes to overturn the ban on its release in Pakistan.
“Wakhri” was a 2018 Locarno Open Doors selection, where it was one of two Pakistani project selections, the other one being what is now Saim Sadiq’s Oscar contender “Joyland.” It was subsequently invited to the 2019 Cannes Cinefondation L’Atelier, becoming the first official selection of a project from Pakistan there. The project is also a Coalition of Asian Pacifics in Entertainment (CAPE) and CAA Foundation Full Story Initiative grant recipient and recently participated at the Busan Asian Project Market.
“Wakhri” features Pakistani actors Faryal Mehmood and Gulshan Majeed alongside well-known social media influencers. It is being produced by Abid Aziz Merchant’s Sanat Initiative banner (“Sandstorm”) and “Delhi Crime” producers Apoorva Bakshi and Monisha Thyagarajan’s Awedacious Originals, whose extensive slate was revealed by Variety at Busan, alongside Bilal’s Parveen Shah Productions (“Josh”). Roman Paul (“Paradise Now,” “Wadjda,” “Waltz With Bashir”) of Razor Film Produktion is co-producing.
Ludovica Isidori (“Sanctuary”) has shot the film, which has production design by Kanwal Khoosat (“Joyland”). The music of the film features celebrated Pakistani talent including Meesha Shafi, rapper Eva B (“Ms. Marvel”) and is being produced by Abdullah Siddiqui (“Coke Studio,” “Joyland”). Aarti Bajaj (“Sacred Games”) will be serve as editor.
Bilal is represented by Suchir Batra at CAA, Hannah Mulderink at Goodman, Genow, Schenkman, Smelkinson & Christopher, LLP and publicist Sam Srinivasan of Sechel PR.
@Profitpk
In 2016, Netflix entered Pakistan and quickly proved the country was more than ready to shift from television to streaming. But despite the early success, Netflix has been dethroned as the leading OTT platform in the country by Tamasha. This is that story:
https://x.com/Profitpk/status/1866726498310185060
-------------------------
Profit
@Profitpk
The answer is simple. Tamasha’s success, and indeed the success of other platforms such as ARY Zap and Tapmad, has been through streaming cricket. But what do the numbers look like? For the full picture, read on at:
https://profit.pakistantoday.com.pk/2024/12/09/streaming-wars-has-jazzs-tamasha-cracked-the-code-on-monetizing-content-in-pakistan/
https://x.com/Profitpk/status/1866726500742865192
--------------
The days of passive television consumption are long gone. Viewers now command their entertainment destiny, summoning favorite shows with a mere tap on a smartphone or click of a remote. Streaming giants like Netflix, Amazon, HBO, and Disney have revolutionized how we consume content, transforming television from a scheduled experience to an on-demand universe.
Binge-watching has become more than a trend—it’s a cultural phenomenon. Viewers no longer wait for weekly episodes; entire seasons are devoured in marathon sessions, reflecting an insatiable appetite for storytelling that transcends traditional media boundaries.
For countries in South Asia, this digital content revolution arrived fashionably late. Limited internet access and prohibitive subscription costs initially kept the region on the periphery of the global streaming landscape. But that was then.
Today, digital content consumption has evolved into a nuanced, immersive experience. Unlike fleeting digital interactions, Over-the-Top (OTT) platforms now offer meticulously curated content that commands viewers’ undivided attention. The average OTT session now stretches far longer than traditional digital engagements, signaling a profound shift towards intentional, quality viewing.
This transformation has birthed a fascinating global content ecosystem in Pakistan. K-pop and K-dramas from South Korea sit alongside Japanese anime, while American psychological thrillers and Turkish historical narratives serve as a testament to the borderless nature of modern entertainment. Platforms like Netflix have become global cultural conduits, offering libraries that reflect this rich, diverse content landscape.
While Netflix dominated the Pakistani market since 2016, the post-COVID streaming landscape has become a battleground of emerging platforms. Amid numerous launches and quick exits, one player has emerged distinctly: Tamasha, Jazz’s OTT platform, which has carved a remarkable niche in merely three years.
But has Tamasha truly cracked the code of Pakistan’s streaming market? To understand its strategy and the broader competitive dynamics, Profit dives into the intricate world of streaming platforms.