There's no escaping Ho Mann Jahaan — posters bearing the faces of stars Mahira Khan, Sheheryar Munawar, Adeel Husain and Sonya Jehan dominate every nook and cranny of Karachi, Lahore, Islamabad and beyond, reminding us something big is in the offing.
It might be accidental, but the pervasiveness of Ho Mann Jahaan's promos hints at the kind of world the film will try to sell to us: one where familial unpleasantness is quickly glossed over and messy, real-world problems like classism and sexual jealousy gently recede into the background. Much like a glitzy hoarding covers up the decrepit building it's hung on, Ho Mann Jahaan soothes our overwrought nerves and is an escapist's fantasy come to life.
Is that a problem? In theory, no — a single film, that too one dubbed a mainstream romantic drama, shouldn't have to bear the burden of exposing our every grievance. But in practice, if you're heavy-handed with feel-good fairy dust, your film risks appearing hollow.
Ho Mann Jahaan walks a fine line between these two positions.