Why do some of Shakespeare's plays get more screen adaptations than others? Perhaps some filmmakers choose to play safe and stick to more familiar masterpieces such as Romeo and Juliet, Macbeth or Ham...
Naseeruddin Shah’s cameo stands out too.
American rock band Walk The Moon's video presentation of We Are The Kids by Pakistani filmmaker Shahana Khan Khalil is a heart-rending portrait of children who are forced to struggle hard to make ends...
Hamza Bangash’s ‘Rang Raaz’ revolves around a Hindu-Muslim couple that makes a bold decision to elope one night. What sets this film apart from any of its predecessors made in Bollywood or Pakistan? It dares to challenge the stereotypes that exist in our country. In a country with a Muslim majority, Rang Raaz doesn't settle with a clichéd route. For one, the male protagonist is a Hindu and the female one a Muslim…
Last week, I was mentally fatigued after watching two Pakistani films back-to-back. It was an excruciating night for me. However, the wounds were filled by a group of students from the Lahore University of Management Sciences (LUMS). Yes, I really mean it. This remarkable group has adapted Patras Bokhari's essay Mabel Aur Mein into a 40-minute film about the intellectual rivalry between a man and woman.
Jamal Shah’s directorial venture has pretensions of being an intelligent film trying to highlight a very serious issue, but it stumbles because it just tries too hard. Shah's eagerness to make the audiences cry, and to cram his film with as many tried-and-tested clichés as two hours will allow, leaves one exhausted.
This year has been brilliant for Hindi films as well as for actors. Now that we are halfway through 2016, it's a good time to document the best performances and films this year, so far at least. Here are some of my favourites.
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<em>Raman Raghav 2.0</em> puts all other films playing at the multiplexes in the shade. However, it isn't for the faint-hearted but for those who really love audacious filmmaking. There is an infectious, unfettered fearlessness to <em>Raman Raghav 2.0</em> that makes it a masterfully woven thriller.
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How does it feel to watch a highly touted film with more than a 100 cuts? Does the impact of a critically acclaimed social drama stay intact? After all, director Abhishek Chaubey clearly said, "It definitely means loss of revenue if the film is not released in Pakistan. But more than that... it would make no sense to release it with the said cuts."
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Pakistani award shows are deliciously seasoned with all the necessary ingredients of a blockbuster commercial entertainer -- bizarre dance performances, a handful of crass jokes and staged emotional outbursts. What they are sorely missing, however, is credibility.
In our films, we are not telling the stories of the cities we live in, the cities that consume us day and night, the cities that live within us no matter what part of the world we are in. Sadly, in Pakistani films today, our cities are reduced to mere stereotypical backdrops, divided by differing accents and infrastructures.
Cinema in Pakistan seems to be going through a strange turn. To be particular, most films in this new wave of cinema are fundamentally the same, featuring recycled themes of either overt patriotism or heavy-handed sexual innuendo. Of course, these are the kinds of films that the majority of the cinema-going population in Pakistan seem to embrace. A rare exception is this year's <em>Mah-e-Mir</em>.