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Why do Pakistani films struggle to reach global platforms and what can we do about it?

In today’s world, discovery begins with access and people do not have direct access to Pakistani films yet.

By Umair Nasir Ali

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• July 16, 2026

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 A hsan 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 normalized.

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-caliber 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.

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.

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.

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Although creating a visually stellar TVC has its own charm, storytelling gives you a real high.

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• Although creating a visually stellar TVC has its own charm, storytelling gives you a real high

• July 10, 2018

How did you begin your career in advertising?

Avinash Luxman: How did you begin your career in advertising?

Umair Nasir Ali: My first project was the launch TVC for Silk Bank. It was shot in northern Pakistan nearly 10 years ago and I worked as an assistant director with Jami for this TVC. After that, I assistant directed several commercials, and also directed a short film and a music video. In 2011, I directed my first TVC; the client was Lifebuoy, and the TVC featured Wasim Akram.

Avinash Luxman: How do you think advertising has changed over the years?

Umair Nasir Ali: When I began working in advertising, narrative-based TVCs were more or less unheard of. The focus was more on aesthetics, be it lighting, frames or art direction. Although creating a visually stellar TVC has its own charm, storytelling gives you a real high. To my delight, realistic, narrative-based TVCs are now becoming a trend.

https://www.youtube.com/watch?v=pGquI78OPVwhttps://www.youtube.com/watch?v=OXLbbCxxGrk&t=2s

Avinash Luxman: Would you consider Bank Alfalah’s Rising Talent campaign to be one of these?

Umair Nasir Ali: Yes, and the series is very close to my heart. The first TVC of the campaign featured Adnan Sarwar, the director of Shah. I was inspired by the director’s passion and conviction which enabled him to make Shah a reality, and the TVC was a great success. The Rising Talent campaign consisted of two more TVCs. The first was based on cricketer Anwar Ali’s journey to success; he used to work at a small factory which made socks before he became part of the Pakistan team. My job was to bring his struggle to life, and it went viral on social media. The second one was called ‘Carnama’ and centred on five college students who created Pakistan’s first formula electric car. The best part about this series was the fact that it dealt with real people and their dreams.

Avinash Luxman: What were the challenges when it came to directing the Blue Band TVC Achayi Barhnay Do which featured a handicapped boy?

Umair Nasir Ali: It was a beautiful concept with great insight and a joint venture between MullenLowe Pakistan and MullenLowe India for Unilever. I got the job because they liked the treatment I suggested. The concept was so powerful that it clicked with me immediately. It was a sensitive topic, and the biggest challenge was to direct the film in a manner that the viewer didn’t think of the boy as a “bechara”.

https://www.youtube.com/watch?v=qYuE6vxSyW0https://www.youtube.com/watch?v=gSOqzM2kEs8

Avinash Luxman: What is the most challenging campaign that you have directed so far?

Umair Nasir Ali: There have been a couple; Bank Alfalah’s Carnama is one of them but a more recent one is a series of TVCs for USAID’s campaign “Seeing is believing." The TVCs were based on three real beneficiaries of USAID: a truck driver in Quetta, a farmer in DI Khan and a homemaker from a village near Bahawalpur. The first challenge was to identify the people we would focus on and then shoot the TVCs in a realistic manner. This was a difficult task because the people who were featured in the TVCs were not actors; they were real people and were not very comfortable in front of the camera.

Avinash Luxman: How did you begin your career in advertising?

Umair Nasir Ali: Yes, I have been working on two scripts for the last year and a half; one is almost ready and we are in talks with the cast and working on the budgeting. Although I’m excited about it, I am in no rush to make it to the big screen. My aim is to enjoy the whole process and create something I’m 100% confident about.

Avinash Luxman: How do you think advertising has changed over the years?

Umair Nasir Ali: Jami, Asad-ul-Haq, Zaheeruddin Ahmed and a few other veterans who have strengthened Pakistani TVC industry. Shoojit Sircar from India is a favourite due to the versatility of his work. He treats each film in an original manner, instead of having a signature style, and that is how I believe things should be.

https://www.youtube.com/watch?v=z_sKg7FHcT0

What advice do you want to give to the new generation of filmmakers?

Umair Nasir Ali: I have been a coordinator at the Visual Studies Department at Karachi University for the last five years and have a close-knit relationship with students as a result. I seriously feel that institutes and students need to focus on content more than technique. Content will take you places while technology will keep on getting obsolete. And the only way to create good content is by reading.

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It’s not surprising that many cinemas are closing down in Pakistan — we’ve turned cinema into a luxury

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• It’s not surprising that many cinemas are closing down in Pakistan — we’ve turned cinema into a luxury

• March 17, 2025

he recent news circulating online that 46 cinemas have closed in Pakistan in the past few years is unfortunate but not entirely surprising. As a filmmaker, I see this not just as a business setback but as an anthropological and cultural shift — one that we have failed to address over the years.

The conversation often revolves around high ticket prices and declining audience numbers, but the real issue is that cinema-going is a habit, and, like any cultural practice, it takes time, accessibility, and consistency to develop. Over the years, we have transitioned from single-screen cinemas — where film-watching was a communal and affordable experience — to high-end cineplexes in shopping malls. While this shift modernised infrastructure, it also excluded a large segment of society from the cinema experience.

From an anthropological standpoint, malls are not neutral public spaces; they are designed for a particular economic class, with security checks, social hierarchies, and an environment that reinforces exclusivity. For someone from a lower-income background, entering a mall is not just about purchasing a ticket — it’s about overcoming an unspoken social barrier. This psychological divide means that cinema, once an accessible cultural activity, has now become a luxury that many cannot afford, not just financially but socially as well.

In addition to these structural barriers, audience behaviour has evolved. People have become accustomed to convenience in all aspects of life — from ordering food and shopping online to consuming entertainment at home. The rise of streaming platforms has further reinforced this shift, making cinema-going seem less necessary. If we want to rebuild this habit, we need to rethink how and where we exhibit films.

Rather than relying solely on multiplexes, which are expensive to build and maintain, we should use existing community spaces for film screenings. Over the past year, we have seen strong audience turnouts at cultural and literary festivals, proving that people are still willing to engage with public events when given the right opportunity. If films were screened in community venues — arts councils, cultural centres, and public auditoriums — at affordable prices, audiences would attend. These venues already exist across the country but remain underutilised. The real challenge is not just pricing — it is about creating a habitual, accessible, and socially inclusive cinema culture.

However, accessibility alone is not enough — cinema also needs content. Without a steady flow of compelling films, even the most affordable and well-placed screenings will struggle to sustain audiences. But this works in a cycle: if people have access to regular, low-cost screenings in familiar spaces, their engagement with films will grow. And as demand increases, the industry will naturally respond with better and more frequent content.

We often hear that Pakistani audiences don’t go to the cinema but the real question is: where is the cinema for them to go to? If the only option is an expensive cineplex in a mall, then of course, many will opt to stay home. This is not just a matter of ticket prices, it is an anthropological issue of access, social dynamics, and habit formation.

Cinema closures are not just about financial loss; they signify a wider cultural disconnect. If we want to sustain a film industry, we must first ensure that watching films remains a shared public experience, not an occasional privilege. Before we question ticket prices, we need to ask: have we truly made cinema accessible to the people?

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Director Umair Nasir Ali on Nayab and why Pakistani cinema fears its own stories

The Lux Style Award-winning director reflects on casting, craft, commercials and the confidence crisis shaping local films.

By Eefa Khalid

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• Feb 13, 2026

When I arrived in Karachi in December, the city was already buzzing with anticipation for the Lux Style Awards. The very next evening delivered a moment that felt quietly significant: filmmaker Umair Nasir Ali won Best Director for his debut feature film, Nayab. The film had released earlier, but the win felt like the perfect reason to finally sit down with Ali—not simply to revisit Nayab, but to talk more broadly about storytelling, commercial filmmaking, creative risk and the evolving landscape of Pakistani cinema.

An NCA graduate, Ali is widely regarded as one of Pakistan’s most accomplished commercial directors. Over the years, he has delivered several memorable campaigns and also directed the official video of Pakistan’s national anthem for the country’s 75th anniversary—a historic commission in itself. Soft-spoken and deeply reflective about his craft, Ali believes strongly in the power of narrative, whether it unfolds in 30 seconds or over two hours on the big screen.

His Lux Style Award win for Nayab has only further cemented his transition from commercials to cinema as one of the most promising creative journeys in the industry.

Ali often describes himself as belonging to a generation shaped by stories. In his home, narratives of Partition, displacement, and the past—passed down by grandparents—were not distant history but lived memory. Words, poetry, and music were part of everyday life, quietly drawing him towards creative expression long before he considered filmmaking as a profession.

His formal journey began at the University of Karachi, where he studied communication design and made a short film titled Kalapul during his first semester. It was a small but meaningful first step into visual storytelling. A more decisive turning point came when the National College of Arts launched Pakistan’s first film and video programme. Ali joined its very first batch and still speaks about that time with genuine affection.

Looking back, the early 2000s now feel like a formative moment for Pakistan’s creative landscape. The launch of HUM TV, along with the presence of NAPA and the Kara Film Festival, created an environment where experimentation felt possible. Ali was volunteering at the time, observing closely and absorbing everything around him. Those years were not about certainty or carefully mapped careers, they were about learning how to see — a process that continues to shape his filmmaking today.

A world that keeps revealing itself

Winning the award, he says, has not altered his relationship with Nayab so much as deepened it. Each time he revisits the film, the connection feels different. Nayab exists as its own world, with its own emotional rhythm and internal logic. Spending two to two and a half hours inside that world allows viewers to experience the relationships at their core: the bond between siblings, the passion, the energy. There remains a personal connection to all of it, and he still finds himself enjoying the film every time he watches it.

That emotional honesty, he believes, was inseparable from casting. Some characters were locked in his mind from the very beginning, particularly Fawad Khan’s Akka, Nayab’s brother. While other names were discussed over time, Fawad always felt integral to the film’s emotional spine and ultimately became its backbone.

For the titular role, Yumna Zaidi was his first choice from the outset. She instinctively felt right for the character, and her preparation only confirmed that instinct. Ali recalls how she spent hours practising with her coach, Tango, working on physicality, expressions and emotional rhythm. That effort translated directly onto the screen — in her silences, her body language and the way she carried Nayab’s inner conflict. While deeply instinctive, Zaidi also brings immense discipline to her work, ensuring that nothing feels forced or performative.

He speaks just as warmly about Usama Khan, who plays Zain, describing him as a classic hero archetype. “Agar hero ka archetype banaya jaye, toh woh proper hero hai: screen presence, structure, personality, sab kuch [If you create a hero archetype, he’s a proper hero: screen presence, structure, personality, all of it].”

Pakistan’s anthem, finally given a visual language

Before Nayab reached audiences, one of Ali’s most consequential projects arrived in a very different form: the official video of Pakistan’s national anthem. It marked the first time the anthem had ever been formally visualized by the state, and with that came a responsibility few creative commissions carry.

The project was approved by the government and overseen by a committee led by writer and filmmaker Javed Jabbar. Rohail Hayat recreated the anthem’s audio strictly within its original composition and duration, bringing together more than 150 singers. Ali and his team were entrusted with creating the visual language—a task he still speaks about with quiet gravity.

The project was approved by the government and overseen by a committee led by writer and filmmaker Javed Jabbar. Rohail Hayat recreated the anthem’s audio strictly within its original composition and duration, bringing together more than 150 singers. Ali and his team were entrusted with creating the visual language—a task he still speaks about with quiet gravity.

A national anthem, he believes, carries a sanctity that goes beyond cinema or commerce. The challenge was not spectacle, but restraint. The aim was to create something peaceful, timeless and inclusive—something that could resonate equally with people in villages and cities, across class and literacy levels.

The brief demanded a sense of permanence, an image that would not age quickly or feel bound to a particular political moment. If his name is remembered alongside Hafeez Jalandhari and AG Chagla in connection with the anthem, he says, there could be no greater honour.

Why Pakistani cinema often plays it safe

Despite spending years mastering storytelling within the tight constraints of advertising, Ali sees no real divide between commercials and cinema. Everything, he believes, follows the same basic structure: a beginning, a middle and an end. The only difference is length. Commercials taught him precision — how to communicate clearly and economically — a discipline that carries naturally into long-form filmmaking.

When the conversation turns to Pakistani cinema at large, Ali speaks candidly about why it often feels trapped in formula. At its core, he believes, the issue is confidence. Films may begin with creative intent, but as they move forward, they become crowded with stakeholders: financiers, distributors and marketers, each guided by what they believe has worked in the past.

Even films like Bol, he points out, carried visible commercial safety nets. While it was a strong blend of social commentary and mainstream storytelling, its viability was reinforced by recognisable elements such as Shoaib Mansoor’s brand, Atif Aslam’s presence and Mahira Khan’s star power. If you deconstruct the poster, Ali notes, you can see how star power is visually emphasised, even when the narrative weight lies elsewhere.

The fear of risk pushes filmmakers towards safe narratives. For Ali, true storytelling lies in balance. Films should intellectually engage while emotionally connecting with audiences. He points to filmmakers like Zoya Akhtar and Rajkumar Hirani as examples of that equilibrium. Not every story is meant to be commercially viable, he acknowledges, but the effort to evolve remains essential.

Research, representation and distance

The lack of confidence he spoke of becomes most visible when cinema avoids complex systems altogether. Romance and romcoms dominate because they require very little research. Stories involving institutions such as politics, governance or legal systems demand time, patience and courage. Writers need to understand these systems deeply before attempting to portray them.

On the question of narrative ownership, Ali believes Pakistani filmmakers have long attempted to tell their own stories that are rooted in lived realities. The real difference lies in scale. Foreign productions operate with massive budgets, technical polish and global reach, allowing their versions of reality to travel further and shape perception more powerfully.

What often gets labelled as exaggeration in Indian portrayals of Pakistan, he suggests, is sometimes simply distance. Cultural markers like shalwar kameez, adaab or janab stand out more to outsiders because they are unfamiliar. Much of what is perceived as distortion is, in fact, surface-level research shaped by online visuals rather than lived experience.

Looking ahead

As for what comes next, Ali remains measured but quietly optimistic. All three of his upcoming projects, he says, are built around a balance of purpose and entertainment. They are audience-friendly stories that still have something meaningful to say. At present, they are in advanced development, with active pre-production underway and scripts being shaped carefully in close collaboration with their producer and writer.

Rumours about future casting, including whispers of Durefishan Saleem, prompt a smile. Conversations have taken place, he admits, but it is still early. Casting, for him, remains a thoughtful and deliberate process.

Walking out of the interview, I found myself thinking about how rarely conversations around Pakistani cinema return to fundamentals: story, research and emotional honesty. Ali’s reflections, much like Nayab itself, resist easy formulas, suggesting instead that cinema evolves slowly—through patience, depth and fearless storytelling.

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Nayab A Strong Melodramatic Debut For Yumna Zaidi

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• Published Date: 18 Feb 2024

At a time when the Pakistani film industry is actively seeing a slump in the release of films, there are a few filmmakers out there who are braving the storm and putting out stories for the silver screen. However, despite even the best of efforts, only a few seem to make their mark on the audiences, who still are finding it hard to come back in droves to the cinemas.

This year, however, there seems to be one film and one filmmaker who are proving their potential to bring about a change in the trend, and that’s director Umair Nasir Ali and his film, Nayab.

Featuring Pakistani television industry’s current reigning superstar, Yumna Zaidi in her debut, the movie produced by Kenny’s Films and Num Films is an exploration of unfulfilled dreams, societal norms, and deep down, the bonds in our lives that help us continue in a world that is both harsh and unforgiving. The eponymous character, Nayab’s story is such too.

With dreams of becoming a cricketer who will one day get to beat India for the trophy, Nayab (Yumna Zaidi), lives in a household that rarely understands her dream – save, her brother. Her parents, played by Huma Nawab and Jawed Sheikh, are any run-of-the-mill pair who have a society to ‘answer to,’ while her elder sister lives a marital life of luxury in Dubai. Her brother, played brilliantly by theatre actor Fawad Khan, and dotingly known as Akka in the film, is the one true saviour.

Fueled by his own failure of becoming a national level cricketer, he continues to support Nayab in a dream to one day reach the heights he now only dreams of in the face of harsh realities, crippling finances, and a family that he has to solely sustain. Sometimes if that even means sacrificing the needs of his own kin and wife.

The film, in the way it executes all of this – at least in the first half, is quite strong. The narrative builds slowly and everything takes its right time to reach the level where it has to. Even the complementing ‘love angle’ between Nayab and her supportive football-playing-cum-entrepreneur minded boyfriend Zain (played by Usama Khan) adds a fresh vibe to the film. Their pairing too, surprisingly works rather well, as both the actors have a palpable chemistry on screen.

However, Nayab seems to be more than just the right things done, it seems. The story, in which cricket in Pakistan, and its troubled state seem to be shown as the forefront plotline, are quickly entwined into a web of different narratives taking the film elsewhere. On one side, the film continues to track the eponymous character and how her training takes her on a perilous journey of its own, the story side tracks into a melodrama involving family matters and everything in between.

The film, in short, starts off with such a strong footing where apart from the strong narrative, everything from the palpable energy of Karachi – captured beautifully by cinematographer Shahjee Hassan – to the art direction and sets – made to come to life by Nouman Akhter – had been done up to perfection. It almost felt too real at points – which in a filmmaker’s world, is nothing short of a good compliment. Unfortunately, the film does have its own set of problems.

Starting off post-intermission, Nayab finds itself in some manageable trappings. It almost goes into an overdrive, where just about everything happens in the film – without having enough time to flesh out the story. Which goes to say a lot, given that the film already has an above-average runtime.

The film, which had already established strong nuanced family ties in the narrative before the intermission, seems to rely even more on it in the latter. This, instead of giving it a fresher approach, turns into a melodramatic saga. Without giving any spoilers, the fact that Nayab goes into the depths of emotional heaviness, really does affect the audiences.

Due to this, the film, which up until that point had a quite effectively grasped the story of Nayab and her goal to become one of Pakistan’s top sportspeople, becomes weaker in its story telling. Perhaps, effective editing to reduce the film’s runtime, along with minimizing the reliance on additional songs and patriotic lingo, would have made the story much crisper.

That said, the film is nowhere a bad attempt. Nayab even with its shortcomings, is a strong story that was needed to be told.

Amidst the number of films and series released on sports in Pakistan, Nayab comes off as a strong contender for a story that is not banal. It explores how a goal could be connected to a number of narratives that are beyond just the world of cricket. Most importantly, it succeeds in humanizing the character instead of just caricaturizing them. Be it Yumna Zaidi as Nayab, Usama Khan as Zain or Fawad Khan as Akka, all the leading characters have been a given character development which one could resonate with.

All in all, Nayab holds its ground, looks like a film, and breathes life into a narrative that has all the potential to inspire men and women alike to work for their goals. If there’s a film that could do all of this in Pakistan, and make the audiences root for the underdog, that’s more than half the work done. And for that, the film must be watched and appreciated.

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Premiere Night of Our Film Nayab

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• Published Date: 14 Feb 2024

Prepare to be captivated by the moving tale of ‘Nayab’ – a cinematic experience that revolves around the lives of Nayab and Akber, a brother-sister duo faced with societal restraints while pursuing their dreams.

‘Nayab’ the film starring Yumna Zaidi, Usama Khan and M. Fawad Khan, Noreen Gulwani for the first time in a film is a touching coming-of-age story set in the heart of Karachi, premiered at an exclusive screening held recently.

‘Nayab’ features veteran actor Jawed Sheikh, with Yumna Zaidi as the titular Nayab, and Usama Khan and M. Fawad Khan in lead roles. The film also stars Adnan Siddiqui, while the cast also includes notable names such as Ehteshamuddin, Noreen Gulwani, Faryal Mehmood, Mahdi Qasmi, and Hani Taha. ‘Nayab’ promises a larger-than-life story that is sure to resonate with every Pakistani along with a peak towards patriotism and is the first Pakistani film based on women’s cricket set to be released in cinemas nationwide on 26th January 2024 and globally on 2nd February 2024.

Team Nayab Speaks To Media :

“Nayab is a project very close to my heart and we have poured our best efforts into making this film. I’m looking forward to bringing it before the world and hope my fans and all of you love it as much as I do”, stated the ‘Nayab’ star Yumna Zaidi while speaking to the media.

“I believe that the key to the audiences’ hearts lies in making them believe that what unfolds on the screen is a reflection of their own lives. So, our characters come to life in a way that audiences will not only feel they know them intimately but also fall in love with their authenticity”, commented Umair Nasir Ali, the director of ‘Nayab’.

“This film is very close to my heart as we have tirelessly worked to bring a cinematic masterpiece to you, which we hope will bring about the revival of Pakistani cinema and push the industry towards new heights”, said Agnes Kenney, the CEO of Kenneyz Group while speaking on the occasion.

People Who Were The Part Of Nayab Premiere :

The stellar premiere was attended by a string of notable names including directors Asim Raza, Nadeem Baig, Saqib Malik, Nabeel Qureshi, Fizza Ali Meerza, Wajahat Rauf & Shazia Wajahat, actors Humayun Saeed, Azaan Sami Khan, Asif Raza Mir, Umer Alam, Komal Meer, Ayaz Khan, and many more, along with the stellar cast: Yumna Zaidi, Usama Khan, M. Fawad Khan, Adnan Siddiqui, Ehteshamuddin, Noreen Gulwani, Faryal Mehmood, Shaheera Albasit, renowned director Umair Nasir Ali, and the ‘Nayab’ team.

“This film is very close to my heart as we have tirelessly worked to bring a cinematic masterpiece to you, which we hope will bring about the revival of Pakistani cinema and push the industry towards new heights”, said Agnes Kenney, the CEO of Kenneyz Group while speaking on the occasion.

Kenneyz Presents :

“Kenneyz Productions is pleased and proud to present our feature film ‘Nayab‘ at a star-studded red carpet Premiere event in Karachi. We have crafted a story for the big screen which showcases Pakistani writing, directing and acting talent for local and international audiences. We also acknowledge here the many skilled and hardworking people behind the cameras who helped us to bring ‘Nayab’ to life. We are excited by the potential of the Pakistan film industry; rest assured Kenneyz Productions will continue to be involved in world class content creation in Pakistan, whether that be full length movies, featurettes, dramas or music videos.”Said ‘David Kenney’ the chairman on Kenneyz Group Holdings.

Kenneyz Films, owned by David Kenney, the Chairman of Kenneyz Group and Agnes Kenney, the CEO of Kenneyz Group, is engaged in spectacular content creation, from tele-vision-commercials, music-videos, short-films, dramas, to full length feature-films. Num Films has been in the industry for 12 years now and has produced numerous top of the line tele-vision commercials, many of which have won Effie Award and has proudly produced and directed the new official video of National Anthem of Pakistan. Together Kenneyz Films and Num Films aim to bring to the heart touching story of ‘Nayab’ to life with a skillfully crafted cinematic experience.

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Nayab The Film’s Premiere Night Opens With A Bang In Karachi

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• Published Date: 11 Feb 2024

Prepare to be captivated by the moving tale of ‘Nayab’ – a cinematic experience that revolves around the lives of Nayab and Akber, a brother-sister duo faced with societal restraints while pursuing their dreams. ‘Nayab’ the film starring Yumna Zaidi, Usama Khan and M. Fawad Khan, Noreen Gulwani for the first time in a film is a touching coming-of-age story set in the heart of Karachi, premiered at an exclusive screening event on 25th January 2024 at Nueplex Cinemas, Karachi.

The stellar premiere was attended by a string of notable names including directors Asim Raza, Nadeem Baig, Saqib Malik, Nabeel Qureshi, Fizza Ali Meerza, Wajahat Rauf & Shazia Wajahat, actors Humayun Saeed, Azaan Sami Khan, Asif Raza Mir, Umer Alam, Ayaz Khan, Zainab Shabbir, Saman Ansari, Angeline Malik, Sana Shahnawaz, and many more, along with the stellar cast: Yumna Zaidi, Usama Khan, M. Fawad Khan, Adnan Siddiqui, Ehteshamuddin, Noreen Gulwani, Faryal Mehmood, Shaheera Albasit, renowned director Umair Nasir Ali, and the ‘Nayab’ team.

‘Nayab’ features veteran actor Jawed Sheikh, with Yumna Zaidi as the titular Nayab, and Usama Khan and M. Fawad Khan in lead roles. The film also stars Adnan Siddiqui, while the cast also includes notable names such as Ehteshamuddin, Noreen Gulwani, Faryal Mehmood, Mahdi Qasmi, and Hani Taha. ‘Nayab’ promises a larger-than-life story that is sure to resonate with every Pakistani along with a peak towards patriotism and is the first Pakistani film based on women’s cricket set to be released in cinemas nationwide on 26th January 2024 and globally on 2nd February 2024.

“Nayab is a project very close to my heart and we have poured our best efforts into making this film. I’m looking forward to bringing it before the world and hope my fans and all of you love it as much as I do”, stated the ‘Nayab’ star Yumna Zaidi while speaking to the media.

“I believe that the key to the audiences’ hearts lies in making them believe that what unfolds on the screen is a reflection of their own lives. So, our characters come to life in a way that audiences will not only feel they know them intimately but also fall in love with their authenticity”, commented Umair Nasir Ali, the director of ‘Nayab’.

“This film is very close to my heart as we have tirelessly worked to bring a cinematic masterpiece to you, which we hope will bring about the revival of Pakistani cinema and push the industry towards new heights”, said Agnes Kenney, the CEO of Kenneyz Group while speaking on the occasion.

“Kenneyz Productions is pleased and proud to present our feature film ‘Nayab’ at a star-studded red carpet Premiere event in Karachi. We have crafted a story for the big screen which showcases Pakistani writing, directing, and acting talent for local and international audiences. We also acknowledge here the many skilled and hardworking people behind the cameras who helped us to bring ‘Nayab’ to life. We are excited by the potential of the Pakistan film industry; rest assured Kenneyz Productions will continue to be involved in world-class content creation in Pakistan, whether that be full length movies, featurettes, dramas or music videos”, said David Kenney, the Chairman of Kenneyz Group Holdings.

Kenneyz Films, owned by David Kenney, the Chairman of Kenneyz Group and Agnes Kenney, the CEO of Kenneyz Group, is engaged in spectacular content creation, from tele-vision-commercials, music-videos, short-films, dramas, to full length feature-films. Num Films has been in the industry for 12 years now and has produced numerous top of the line tele-vision commercials, many of which have won Effie Award and has proudly produced and directed the new official video of National Anthem of Pakistan. Together Kenneyz Films and Num Films aim to bring to the heart touching story of ‘Nayab’ to life with a skillfully crafted cinematic experience.

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Five recent campaigns that created a buzz Blue Band Achai Barhnay Do

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• Feb 22, 2021

The Creative Director of Manhattan Communications Sharjeel Ahmed reviews five recent local campaigns.

Finally! The dark ages of advertising are coming to an end. One after another, Pakistani advertising agencies are producing award-winning, meaningful, socially-responsible and out-of-the-box campaigns.

https://www.youtube.com/watch?v=qYuE6vxSyW0

Is this because brands are losing effectiveness due to over branding and hard-selling, or is it the Ad Mad Dude’s pressure to learn something from Indian advertising or even perhaps the opening of a dozen design and media schools and the departure of old-school marketing and advertising techniques? Whatever the reasons, it is a fresh start and we should keep pushing our limits to make our work relevant. On this note, here is my critical analysis on some recent campaigns.

Effectiveness:

Effectiveness: Prasoon Joshi in his recent article for The Economic Times rightfully wrote: “Today’s companies need to ensure that being socially responsible is part of the brand’s DNA.” The recent Blue Band campaign has lived up to the above suggestion. We have been seeing motivational video clips and commercials on social media for quite some time; for example, the Guinness Beer Wheelchair Basketball TVC or the TED Talk about Lizzie Velasquez. Yet, it never occurred to us that connecting a brand with a strong social message can help change societies. The concept is simple and leaves a deep message with minimal, yet solid branding.

• Brand: Blue Band
• Agency: MullenLowe India, MullenLowe Rauf Pakistan
• Campaign: #AchayiBarhneDo
• Message: Given that Blue Band’s focus is on children’s health, the campaign emphasises the need to pay attention to the development.
• Verdict: A great move!

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Surf Excel’s Neki Nahi Rukegi in Ramadan 2020

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• Surf Excel’s Neki Nahi Rukegi in Ramadan 2020

• Feb 22, 2021

Surf Excel’s “Neki Nahi Rukegi” in Ramadan 2020 Even with the social distancing due to the COVID-19 pandemic, Surf Excel’s ad shows that neki nahi rukegi in Ramadan 2020.

Surf Excel’s advertisements are a must in Ramadan, as they always showcase good deeds that can be done – this time was no different. Even with the social distancing due to the COVID-19 pandemic, Surf Excel’s ad shows that neki nahi rukegi in Ramadan 2020. The company has always used child actors to emphasise on the impact of children on society as a whole.

http://youtube.com/watch?v=SK0aFhkyka8&source_ve_path=OTY3MTQ&embeds_referring_euri=https%3A%2F%2Fnumfilms.com.pk%2F

The background song Rahmat Ki Baarish‘s melodious vocals were provided by Shafqat Amanat Ali, which were the perfect addition to this beautiful TVC by Surf Excel.

Surf Excel’s Neki Nahi Rukegi starts off with a father having a discussion with his son about doing good deeds. When his son inquires regarding the environment nowadays and how to help others in such times, his father tells him that when there is a will, there is a way.

We see the child, Aadil, send a basket, full of food, tied with a rope down the window for his security guard, as well as another girl painting a picture for her neighbor (a nurse) to show her appreciation for the nurse. Aadil also left food for another one of his neighbors, all the while hiding behind a wall to see his reaction. Another child helps out in cleaning up a room where a policeman sits for his duty.

The idea behind Surf Excel’s Ramadan 2020 TVC Neki Nahi Rukegi is to show that one can commit good deeds even in the times of quarantine, earning the appreciation of others while helping time. While it may end messy and put stains on our clothes, it won’t matter – after all, daag tou achhe hotay hain!

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NumFilms collaborated with Pakistan Photo Festival

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• Feb 24, 2022

Arab News covered The Pakistan Photo Festival Fellowship Exhibition

The Pakistan Photo Festival (PPF) on Saturday launched its three-day street exhibition in Lahore showcasing creative documentary photography on pressing social issues. The creative work of nine young talented photographers from across Pakistan and abroad drew the attention of commuters and the general public at the Kalma Chowk and the Canal metro stations in the city.

Arab News The photographers, who participated in a seven-month long fellowship in Lahore, produced thought-provoking projects on some of the most pressing social, economic, legal and rights struggles of the country, said a press release issued by the PPF last week before the exhibition.

World-renowned photographers Matthieu Paley, Asim Rafiqui, Didier Ruef, Mahesh Shantaram, Wendy Marijnissen and Shah Zaman Baloch mentored the aspiring young artists through extensive brain storming sessions in a bid to “contribute to the social fabric of society through the art form of photography,” read the Facebook page of the organization.

Mentored by Matthieu Paley, a National Geographic contributor from France, PPF participant Salman Alam Khan captured the colorful diversity of Narayanapura — one of Pakistan’s most significant compounds situated in Karachi city — in his project “Knitted Beliefs.”

"The Walled Street Journal” by Ema Anis presented life inside the gated community while Nida Mehboob undertook a compelling project named “Shadow Lives” on the discrimination faced by minority communities of the country. Her mentor was Wendy Marijnissen, a freelance documentary photographer from Belgium.

The PPF organizers have a strong reason for shifting the exhibition from traditional art galleries to metro bus stations.

“Only the elite visits the art galleries and common people have no access to those places. Metro stations are frequented by people of all classes and social backgrounds, by about 1.3 million people a day,” said Faizan Adil, a participant and organizer of the exhibition while talking to Arab News.

Adil produced a thought-provoking project titled “Industry of Dissolving Portraits” about nursing homes in Pakistan, mentored by Matthieu Paley.

London-based visual artist, Shaista Chishty, titled her project “One Pound in My Pocket,” which retraces one family’s journey from Pakistan to the UK after partition (secession of Pakistan from United India under British rule). She was mentored by Wendy Marijnissen.

Maryam Altaf, a Lahore-based photographer, put together a project on how ride-hailing services have subtly changed the economic landscape of the country. Her project, based on the stories of several drivers, is named “Conversations in Transit,” and was mentored by Asim Rafiqui, an independent photographer.

Aziz Changezi, from Quetta, completed a project titled “Scavenging for Wealth” on how recycling provides livelihood to families in Pakistan. His mentor was Didier Ruef, a documentary photographer based in Switzerland.

Faizan Ahmad, a storyteller who completed his project “From the Metro Bus: The Uncommon Stories of the Common People,” in which he highlighted the voice of the ordinary people. His mentor was also Didier Ruef.

Ramis Abbas is a Lahore-based artist. His mentor was Mahesh Shantaram, a photographer from India. His project, “The Past that Could Not Be,” is for students to help them imagine a kind of campus where they have a collective, consolidated, and legal political space.

In Pakistan, where most photography exhibitions are attached with the stigma of niche audiences and lack the trend of exhibition in public spaces, the PPF exhibition has achieved through this fellowship the goal to build a stronger social documentary photography practice in Pakistan by helping these selected individuals, note the organizers.

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