5 Pakistani Films that Revolutionized Contemporary Pakistani Cinema

Khuda Ke Liye, 2007

Imagine 2007, peak wave of terrorism, there’s Talibs wilding in the North, socio-political landscape is in shambles, everyone accuses Pakistan of terrorism, particularly after 9/11 attacks. Meanwhile, Pakistanis are just confused by the bomb-blast noises followed by wailing sirens, and ShoMan is the man, the man! Man makes a movie covering many issues like: overseas Pakistanis and Desis abroad facing racism for being a Pakistani, and more specifically: a Muslim, prevailing Islamism in Pakistan, women rights and it’s objectivity and the debate of art and Islam. Well-scripted, well-directed, Rohail Hyatt leading the background score, complimented by yet again amazing performances by Shan, Fawad Khan, Iman Ali, Rasheed Naz and concluded by the legend, Naseeruddin Shah.

Bol, 2011

Many among us remember 2011 for Misbah’s missed-hitting-the-ball-outta-stadium in the semi-final of Cricket World Cup, but luckily Shoaib Mansoor spoke-up, not for cricket, that’d be Humayun Saeed, but that’d be cashing out a cricketer’s name, since that’s irrelevant so... The movie, however… kia kehney! For some very odd reason, many of ShoMan’s films conclude very well and leave you with questions, not answers. Won’t discuss the story here: JAB FILM DEKH NAHI SAKTEY, TOU REVIEW KIUN PARHTAY HOU! Shoaib Mansoor literally made a bold film and BOL’D it by addressing moral ills of the society like, patriarchy, sectarianism, transgender rights, slightly touching women empowerment. Two megastars of Pakistani show-biz made their big screen debut: Maira Khan and Atif Aslam, Humaima Malick went all in as the protagonist, Manzar Sehbayi, Shafqat Cheema as antagonists: supported by Irfan Khoosat, Iman Ali, Amr Kashmiri.

Zinda Bhaag, 2013

The life of every Pakistani middle-aged middle-class man who’s got more responsibilities than breathes to catch. To balance out family with dreams, the guy wishes to leave for abroad, and is eager to do that, and would go to any extent. Film is a setting based on narration in a story-telling setting, where alternate plots are set to make a broader picture. I felt proud when it made it to the Oscars, and was sad, critics gave it a thumbs up. The street life of Lahore incorporated with no forced music, a big yes, makes you laugh on everyday life and the struggle that goes on. Kudos to the makers (Meenu Gaur, Farjad Nabi) for making it so vibrant and fulla’ flavors, scripting, characterization and their relevance to real-life people, we all know a person like Khaldi (Khurram Patras), a talkative girl-next-door like Rubina (Amna Ilyas), and a respected local goon-cum-patriarch like Pehelwan (Naseeruddin Shah).

Manto, 2014

If I were to name the most artistic film, I’d fill my lungs, and let out air and say Manto. I guess that’d be enough for a review, but hold on, let me say more. The way Manto was presented, scripted, directed, picturized, executed, and most important feature being Khoosat’s performance. I’d rather say, Khoosat outdid even Manto, but that’d be a little bit too much… right? I’d say the same, so I won’t say it, but the depiction of Manto’s personal life, and the paranoia that went with it, incorporated with afsanay. Presenting them in a story-telling way, and Sarmad Khoosat’s performance, supported by so many characters. The music: kia he kehnay – WAH! MANTO ZINDABAD! Film was well received, and set a benchmark for years to come, on the question of why the film was never broadcasted…. Perhaps, some things are not meant for everyone and of course, industry promises… phew. Well if you’ve seen the film, and somehow this question ever struck you: “what goes inside Khoosat’s mind?”, let me give you another thought “what made Manto write”:

Mah e Mir, 2015

The film is cinema at its best, the plot revolves around a contemporary poet, who in an alternate reality also happens to be Mir Taqi Mir: who’s lost in some Mughal emperor’s (Alyy Khan) courtyard in an imaginary situation. But in both realities, the protagonist (Fahad Mustafa) seems lost, admiring the beauty of either’s beloved (Iman Ali), writing a ghazl as the moon uncover, from hovering clouds. Each performance offers a WOW factor: Sanam Saeed as famous egoistic poetess, Manzar Sehbayi as a senior poet who masks his inner-self with a yielding stoic expression. If one knows a struggling poet and the struggle of Mir, one must enjoy this cinematic depiction.