Pakistani cinema revival is as real as it can get, so what’s next?

The year began with promise, highlighted by a series of anticipated releases and hopes for the film industry’s resurgence. A handful of successful films each year seemed to affirm the revival of cinema. The success of Pakistan’s highest-grossing film, 'The Legend of Maula Jatt,' released in late 2022, continued to inspire optimism.

However, as the months passed, disappointment set in. Expectations were not met, and doubts about the industry's future grew. While some filmmakers relied on familiar formulas to attract audiences, others experimented boldly. Despite these efforts, something was missing that failed to consistently draw viewers to theaters.

The year started strong with films like Wakhri, which broke traditional boundaries. It narrated unsung stories of women, not as extensions of drama serials, but as powerful narratives reflecting contemporary struggles. Directed by Iram Parveen Bilal and inspired by Qandeel Baloch, Wakhri marked the debut of Faryal Mehmood as a widowed school teacher who goes viral on social media. The film highlighted years of pent-up rage and societal threats against strong, outspoken women. It gained recognition at international festivals and brought a fresh perspective to Pakistani cinema. While audiences may still be hesitant about such films, increased exposure could foster acceptance and pave the way for more diverse content.

With a strong, all-star cast and exceptional performances, Taxali Gate emerged as an underdog, navigating a justice system plagued by corruption. Directed by Abu Aleeha, this crime thriller explores the struggles of its residents, focusing on Muskan (Ayesha Omer), who seeks justice for Zainab, a victim of gang rape. The film stands out for its originality, social message, and focus on substance over commercial appeal. Despite technical shortcomings and gaps in writing and editing, Taxali Gate serves as a beacon of hope and potential for the industry.

Umair Nasir’s Nayab was another appreciated experiment. This sports drama followed a resilient woman passionate about cricket, defying her father’s disapproval and breaking stereotypes. Yumna Zaidi delivered a strong performance in her debut film role. However, despite its unique storyline and star-studded cast, Nayab ultimately left an underwhelming impact.

Adding to the season's commercial mix was Daghabaaz Dil, starring Mehwish Hayat and Ali Rehman Khan, directed by Wajahat Rauf. This Eid release positioned itself as a classic rom-com, incorporating elements of family drama, comedy, romance, music, and even a ghost twist. Despite its mass entertainment appeal, it failed to offer anything novel and became another run-of-the-mill plot. Other mass entertainers included Nomaan Khan’s Hum Tum Aur Woo and Kanza Zia and Amar Lasani’s Poppay Ki Wedding.

Despite the brewing talent and skills, the quality of films remains compromised. The revival period, which once allowed for missteps, is now over. The audience demands and deserves quality content. With movies now readily available digitally, competition is fierce, and filmmakers must capture attention quickly. The availability of diverse global content offers both competition and a learning opportunity. By harnessing global diversity, Pakistani filmmakers can showcase unique cultural stories and convey messages through original storylines.

A common complaint is the cyclical blame game between audiences and filmmakers, fostering hostility. Filmmakers must realize that audiences are already exposed to high-quality, diverse content worldwide. Creative stories will eventually attract audiences and reignite their interest in cinema.

Moreover, it's crucial to recognize the dedication of filmmakers who pour their heart and soul into their work. For instance, Sarmad Khoosat sold a 14 marla plot to finance his film Zindagi Tamasha, and Essa Khan sold his family home and Bitcoin stash to create Babylicious. Such artists deserve acknowledgment for their unwavering commitment to their craft.

Let’s move beyond lamenting the revival phase and acknowledge that it’s time for quality content. Successful releases and bold experiments like Wakhri and Taxali Gate show glimpses of hope, but audiences still crave more.

To truly thrive, Pakistani cinema needs to diversify its content, invest in technical expertise, learn from international influences, and build a stronger connection with its audience. By embracing these changes and fostering collaboration, Pakistani cinema can move beyond revival and become a major player, captivating audiences worldwide.