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Since the release of Nayab in 2024 and following its international recognition along with Lux Style Awards for Best Actress and Best Film Director this year,  I’ve been asked a question again and again, in passing conversations, at screenings, even in the most unexpected places: “When and where can we watch Nayab? We’ve heard very good things about it. We’ve heard so much about Yumna’s performance.”

People keep asking, ’“Is it available online, or will it come to Netflix?” It’s a reassuring question, because it tells you the film has travelled through word of mouth, through conversations, through people. But it also reveals something important. In today’s world, discovery begins with access. Before audiences engage with a film, they need to know where to find it.

They are asking where it exists. And increasingly, that “where” leads to one place — Netflix.

Federal Planning and Development Minister Ahsan Iqbal’s recent statement is encouraging because it recognises that the issue is not the quality of Pakistani content, but the route through which it reaches global platforms. Our industry has already produced films that meet international creative and technical standards.

India, meanwhile, continues to put out all kinds of content globally, while projects like the upcoming Operation Safed Sagar also present its own side of the region’s history. Streaming is, therefore, not only about entertainment; it also decides which stories the world gets to see and remember.

Now that this conversation has started at the right level, I hope it leads to real and direct access for Pakistani content on global platforms.

Why Netflix matters, especially in Pakistan

In Pakistan, we are not yet a fully subscription-driven market. Local OTT platforms exist, and some are doing serious work. Yet, the average viewer still hesitates to subscribe to multiple services.

But Netflix is different. Netflix has become a habit. A reference point. There is a certain psychology attached to it, a quiet fear of missing out. Viewers who might hesitate to pay for other platforms often make an exception for Netflix, which is why presence on Netflix today is not simply about distribution. It’s about belonging to the global conversation. And absence from it is equally telling. 

The question we are not asking loudly enough is if Pakistani actors enjoy loyal audiences beyond Pakistan, if our music travels effortlessly, if we share the same meme culture, then why are our films not finding consistent space on Netflix for global audiences?

This is not a question of talent, it’s not even a question of audience. It is a question of access.

South Asia, as a streaming region, is largely managed through India. That means content from Pakistan often enters a system shaped by India’s market priorities, their regulatory environment and India’s political sensitivities.

The situation was not always this way. After Modi’s government came into office, cultural exchange between the two countries became almost impossible. And in recent months, particularly following heightened tensions between the two countries, that shift has become even more visible, reflected not only in policy decisions, but also in symbolic moments, whether in the absence of collaboration, cancelled engagements, or even gestures as simple as players choosing not to shake hands.

This does not always translate into direct rejection. It works in subtler ways. Projects get delayed. Decisions remain pending. Risk outweighs opportunity. And gradually, absence becomes normalised.

At the same time, India being the dominant market continues to supply a steady stream of content to global platforms. And not all of that content is exceptional. There are many examples of films that secured immediate global placement despite modest reception, titles such as Ginny Weds Sunny, The Girl on the Train, Jaadugar, Jewel Thief, Maa Behen, Tu Yaa Main, Do Deewane Seher Mein, Happy Patel: Khatarnak Jasoos and Toaster, among others.

That difference in visibility is where the imbalance becomes visible.

Why is access to platforms not direct? 

One of the realities filmmakers face is that access to platforms such as Netflix is rarely direct.

You cannot simply submit a film and expect it to be evaluated. Access typically happens through distributors, aggregators and regional decision-makers, in this case India.

While filmmakers can approach distributors and aggregators, the distribution pathway for Pakistani content is frequently routed through regional decision-making structures based in India. Individually, it is extremely difficult to navigate this system, which is why this is no longer just an industry challenge — it’s a structural one.

Pakistani cinema today is not short on high calibre stories.

Films like Nayab, Kamli, The Legend of Maula Jatt, Luv Guru and the recent Aag Lagay Basti Mein reflect the breadth of storytelling emerging from the country, grounded, character-driven narratives, alongside films that have demonstrated strong audience appeal and numbers. This is an industry that understands both storytelling and spectatorship. This is not an industry lacking range. This is an industry lacking reach.

A large number of Pakistani viewers have watched films such as Dhurandhar, Article 370, Raazi, and Fighter, films that engage directly with themes of nationalism, security, and regional conflict.

Whether one agrees with the narrative or not, these films succeeded in placing their perspective in front of global audiences. That is the real achievement, because once a story reaches viewers, the conversation begins. And once the conversation begins, the narrative takes shape, making all other debates secondary.

Visibility matters. And visibility does not happen by accident. It happens through planning, coordination, and access.

When global audiences repeatedly see narratives about Pakistan but rarely see narratives from Pakistan, a certain image begins to form. Over time, that image becomes reality for those who have never experienced the country themselves. This is not about competing with another industry, it’s about ensuring that our voice exists alongside others.

Here our producers operate in a challenging ecosystem, with limited financing, unpredictable distribution, and a narrow theatrical window. Provincial and federal governments have supported filmmakers through grants and incentives, and those efforts deserve recognition.

But grants alone cannot build a sustainable industry. What we need is a self-sustaining ecosystem. In many countries, films generate revenue even before reaching cinemas through pre-sale agreements with streaming platforms and broadcasters. These deals provide financial stability, reduce risk, and allow filmmakers to invest in stronger production values.

Streaming platforms are not just distribution channels. They are economic engines. They bring revenue. They extend audience reach. They strengthen the industry. And they allow stories to travel.

This challenge cannot be addressed through individual effort alone. A formal engagement between the Pakistani government and global streaming platforms is necessary.

This is not about lobbying. It is about representation. Pakistan must present itself as a content market, not merely a content consumer. Rather than informal outreach, a structured Pakistan content showcase should be organised, which should include curated film screenings, meetings with filmmakers and producers, presentation of audience data and ready-to-license content.

The goal is clear: to create direct visibility and build relationships beyond regional filters.

A mid-level Pakistani film can often be produced at a budget of around $250,000, delivering quality that meets international technical standards. At this level, Pakistan has a competitive advantage  producing strong content at a fraction of the cost seen in many larger markets.

With the right support, this cost efficiency can become a strategic strength.

A national strategy should focus on structured engagement with platforms such as Netflix and Amazon Prime, distribution partnerships and international marketing.

These steps are not theoretical — they are practical and they are achievable.

India recently held a national-level AI summit that brought together global companies, policymakers, investors, and industry leaders to build direct partnerships and signal national intent.

Pakistan’s content industry needs a similar national-level conference on distribution, one that brings key platform decision-makers directly to Pakistan, reduces dependence on regional gatekeepers, and allows us to engage global partners strategically across multiple fronts.

Because the reality is simple: efforts are already being made on many fronts. But without coordinated, diplomatic engagement at the national level, those efforts remain fragmented.

Such engagement should not be reactive. It should be strategic, it should be diplomatic and it should be consistent.

Cinema has a quiet but enduring power. It carries the texture of a people, the rhythm of a city, the dreams of a generation. When films travel, they do not just entertain, they represent.