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From the anxiety of feeling nothing is in control to the fear of not being able to leave the house, Covid-19 has made us go through a cocktail of emotions. But one thing that has kept us all sane during these tumultuous times is television and cinema. The number of Netflix viewers increased manifold during the lockdown, especially in 2020. This love for movies and television series, mixed in with the excitement to see local content on TV, is something I noticed as well. Finally, two years after the pandemic hit, we have our beloved cinema back and hopefully it's here to stay. This hope might sustain itself, given the long lineup of Pakistani movies waiting to premiere this year.

Pakistani movies were being made before this fresh wave of Covid as well, but even then, the film industry was never at a place where it could be compared to what it used to be. Thankfully, things seem to be changing now, making it the perfect time for some much-needed conversations on Pakistani cinema.

Is the increase in film releases a ray of hope for aspiring filmmakers?

As a struggling screenwriter and someone who started studying film at a time when the film industry made its first 'resurgence', I often wonder what it would have been like to study filmmaking 15 to 20 years earlier, back when there were rarely any films and television was not as appreciated. Did film students back then trust their chosen field? Did people respect their career path? I also wonder if these questions are still asked today.

Ali Abbas Naqvi — filmmaker, actor and writer of Pakistani thriller Lal Kabootar — feels people are more accepting of filmmaking as a career now. “ I think now, filmmaking as a profession is being accepted by not only the general public but also parents," he said. "But then again I wouldn’t say it’s a lot. People might have changed 30%, but the remaining 70% [still] think the same. For example, [filmmakers still get to hear] 'I get that you’re a filmmaker, but do you have a job?' So that’s an issue that will take time to change.”

Arafat Mazhar, director of the animated shorts Shehr e Tabassum and Swipe, doesn't think the increase in cinematic releases this year is enough to attract individuals to filmmaking. “I don’t think that a young boy or girl who is passionate about filmmaking would be encouraged just by an increase in production. [They'll be attracted by] iconic characters, productions that tell South Asian stories. Inspiring stories with interesting colour palettes, etc."

Naqvi feels the increase in cinematic releases should be celebrated nonetheless. "With more than 15 new Pakistani movies lining up to be released [in 2022], I can say that [those associated with the film industry] should feel hopeful for their future as part of the film industry today and have faith in their choices, [as should] young people who chose [the] field [of a filmmaker]," he said.

Has the industry actually evolved?

Imagine this in 2022 — a young kid is passionate about being a filmmaker. They can easily see the industry is producing more films than ever before, and these films are being released by not just bigger production houses but also smaller online streaming platforms. These smaller platforms may not be grand movie theatres, but they do give people a chance to tell their story to an audience. They're a welcome change, given how they are helping the industry evolve and move forward.

Online streaming platforms, whether homegrown or international, provide the audience with a variety of content to watch these days. However, just because the content is there doesn't automatically mean it will be successful. Naqvi says the audience still "needs to show up" online if this all this effort and creativity is to lead anywhere. For a filmmaker, it isn't always easy to see what sits well with the audience and what doesn't, whether on digital media or cinemas. This was true especially after Covid-19 hit.

"If a film that talks about the fall of Dhaka doesn’t do well," he continues, "it could be either because of the long pause [in attending cinemas] that we’ve gone through [because of Covid-19], which makes it difficult for audiences to come back or the fact that experimenting [with certain kind of content] is not enough and still needs time.”

Upcoming film Javed Iqbal: The Untold Story of a Serial Killer is a good example of experimenting with content. Although I’m obviously not aware of what the film is going to be like, the attention to detail I’ve seen in the posters so far is worth applauding. Casting Yasir Hussain seems to be an excellent choice. It takes courage to play a 'horrific' character in a film that is different from other films that, as the general public would say, are all about poor girl meets rich boy.

It isn't easy to make films like Javed Iqbal. "This is a risky field, there’s no denying that," said Ayesha Amir Abro — a fresh film graduate, engrossed by documentary filmmaking. "There are two things that stand in the way of aspiring filmmakers. One is financial instability and the second is social acceptance.

"Speaking of financial instability, we never know what’s going to happen and that makes us skeptical. We still aren’t able to produce large number of films or, should I say, the number of films produced is not equal to the number of aspiring filmmakers. I also feel that young people are willing to take more risks whether it’s freelance stuff or being a part of this field. Parents sometimes might not approve of this and that’s understandable. So considering this, people wish to be a part of this field and get their work out there but there still aren’t many options. You have to have contacts. You have to go through a lot of drama,” explained Abro.

We've only taken the first few steps towards creating experimental content. According to Mazhar, there is still a long way to go. "One thing that I’d like to see changing is the number of production houses willing to invest in experimental [films]," he said. "In fact not even experimental, [more like] unconventional storytelling. Producers and investors [need] to take risks. We’ve seen safe cinema, we’ve seen the same stories being recycled again and again. We [now need to see] what independent filmmaking looks like and how you can get finances for that. This depends on studios willing to take risks and that is something I’d like to see changing.”

Does the audience want unconventional content?

For filmmakers and writers, experimenting with content is a constant juggle between the kind of story they want to share and what the audience wants to see. The audience in Pakistan is tricky. Although there is a demand to see interesting new stories that don't revolve around the same old patterns, there is simultaneously a hesitancy to accept something new, something that doesn't revolve around good looking characters and dance sequences. “We (filmmakers) do not always do things impulsively," highlighted Ali.

"I have always been fascinated by stories. In fact we’re surrounded by stories. [As soon as] we are born, the story begins. This urge to tell stories, to say things that I otherwise wouldn’t be able to is what made me want to choose this field. I’m still trying to tell stories, but I don’t think I’d ever be satisfied with my work and say that 'yes, I did exactly what I wanted to'. If you’re asking me if I’m able to write, then yes of course I am, but if you’re asking if I’m able to tell stories the way I want to, then I don’t think so. It rarely happens that we get the liberty to tell stories the way we want to [as filmmakers]."

The beginning of 2D animation on mainstream platforms

Animation is an evolving art in Pakistan and these days it isn't for just children anymore. With films like Swipe and Shehr e Tabassum, content is now available for the viewing pleasure of adults as well. I feel fondness for anime has played a huge role in the rise of this phenomenon. With extraordinary series like Full Metal Alchemist, Death Note and Psycho Pass, enthusiasts are eager to create similar kinds of content in Pakistan.

Zainab Hasan, an aspiring 2D animator and cartoonist, shared her opinion on the rise of animation projects in the country. “As an aspiring 2D animator in Pakistan, I’ve seen initiatives being taken in the past four years, things that haven’t been done on this big of a scale before. This is certainly a positive sign and since there isn’t much to compare it to right now, it’s a great chance for amateur artists to step up and start showcasing their abilities, even if they aren’t polished yet.”

With anime being extremely popular among the previous and current generation, creating from inspiration is something that is not only required but also extremely beneficial. Once done, this works for not only animation, but filmmaking in general as well. Being inspired is what gives an artist of any kind the opportunity to not only experiment but to also get to work.

Hasan explained this a little more. “The top animation studio in Pakistan, Mano, takes inspiration from mainly Japanese animation. An entire community of people in this region are heavily influenced by this East Asian craft, which can be seen in the works of these [local] animators of course. [Their] story and art has a unique Pakistani touch to it. I too am extremely inspired by Japanese art. For example, I came across this picture of an empty street, buildings with hogyo (square pyramidal roofs) on each side of the road and I wanted to create a version of it.”

If 2D animated films continue to be made and appreciated, we will be giving a lot of hope not only to writers who sometimes aren't inclined towards writing elaborate narratives that can be shot in real, but also illustrators and cartoonists who might have thought that their art might go to waste. Hope is all they have now.

However, problems occur when people in animation wish to do something but are unable to find the right resources to do it. “If I talk about 2D animation as a professional preference, it was very difficult for me since I could not find a single institute that would help me learn this craft as part of my curriculum," said Hasan. "It would certainly be a blessing to have schools that would give artists some direction, artists who wish to create something unique and are passionate about this field.”

A lot of people love anime and while a certain percentage might have access to it online, creating 2D animated feature films or shorts in Urdu might attract an audience beyond anime viewers. “I think this is the absolute time to experiment with fresh ideas," said Mazhar, commenting on the kind of opportunities filmmakers have when trying to experiment with new ideas today. "We’re in such a strange time where there are varying voices, strong and unique that are in conflict with those who don’t want those voices to exist. And that makes it the right time to experiment in not just what you say but how you say it.

"Using different techniques in traditional filmmaking and using different techniques in animation and just exploring in a time where things have become more accessible to produce and explore what a Pakistani visual language would look like, whether it’s traditional filmmaking of cinematography, or animation 2D or 3D. What does Pakistani animation look like? This is the time to explore that."

The need for appreciating independent films in Pakistan

Whenever I talk about aspiring filmmakers, I also think about the need for more independent films. Of course when a writer writes something, or when a filmmaker directs something — perhaps a Short on YouTube — they will eventually want their story to be appreciated. At the very least, they want their work to be watched by someone. After all, you don’t make movies for yourself to watch — you make it for other people.

Independent filmmaking gives filmmakers a chance to be creative with real, rare, and raw forms of storytelling. Since these kinds of films are not made through huge production houses, creative freedom is possible, as is creating diversity amongst actors by introducing new faces.

There aren't many indie projects being made in Pakistan because there aren't enough screens for big budget films, let alone independent films. As far as film festivals are concerned, we should definitely have more of them to encourage filmmakers to showcase their work. "Being able to showcase your work is far more important than the financial benefits that come with it,” said Naeem Ali, a film graduate from Paris and screenwriter for the short films Full Circle, 2 SEY 5, and RoadTrip.

“When students see that studios are investing in short films or director-visioned films, that would absolutely inspire them," said Mazhar. "When that happens, finances become almost secondary. People are making independent projects but where do you put them? There aren’t enough distribution channels for that. So, they end up sending them to festivals and they stay in festivals.

"If mainstream television or streaming services make these films accessible to audiences, that would be a rewarding experience and that would inspire independent filmmakers to make more films. I mean, every other week someone sends me a film made by someone and I’m surprised that I’ve never heard of it. So, these people need to be acknowledged because in order to get these films financed filmmakers might go abroad and all of a sudden, these films end up being made by us for others.”

A great example of an independent film is Pinky Memsaab, which tells the story of 21-year-old Pinky who has never left her village, let alone travel abroad. She suddenly finds herself going to Dubai for her new job as a maid. The film makes us go through her experiences, desires and feelings throughout the story. It is not loaded with masala and the same old tired forms of storytelling. Can more independent films like Pinky Memsaab thrive when we are so attached to commercial cinema?

Abro also highlighted similar ways of boosting independent film production. "You can see independent projects on streaming platforms like See Prime, and also on Facebook and YouTube. But one or two platforms are not enough," she said. "Considering the number of people graduating and working in this field. We need to have more platforms. I’ve even seen some amazing thesis films by students. Why can’t these films be financed? Why can’t these films be screened in front of a larger audience? We have big names visiting universities so this is where the opportunity begins."