Pakistani Filmmakers Champion Creative Rebellion at Cannes Panel

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This week, the Pakistan Crescent Collective proudly returned to the Cannes Film Market, leading a strong discussion emphasizing how filmmaking serves as a formidable artistic rebellion against restrictive stereotypes that have persisted for many years.

The “New Wave Pakistan: Telling Global Stories, Grounded Locally” panel garnered industry focus on a cinematic trend reshaping the narrative conventions of Pakistani filmmaking.

The gathering was initiated by Rohi Mirza Pandya from Rasa Film Group. Moderating the discussion was Mohammed Ali (Mo) Naqvi, a renowned filmmaker and co-founder of Crescent Collective who additionally chairs the Pakistan Oscar selection committee. Setting the mood, he made a poignant remark concerning narrative independence. “For far too long, we’ve only been permitted to share tales distorted through a Western perspective: terrorism, suffering, poverty,” Naqvi remarked. “Now, we are reclaiming the liberty to narrate our own stories – ones filled with joy, horror, romance – in our own way.

Naqvi’s recent creation, “Hanging By A Wire,” showcases this change. He described it as a significant deviation in his work – it is an intense action-thriller crafted with a mainstream filmmaking approach. This change, he believes, is a conscious act of rebellion. We aren’t accustomed to seeing stories from Pakistan told in such a manner – grand, exciting, designed for a worldwide audience.

At the American Pavilion gathering, the idea of innovative defiance echoed strongly. Fawzia Mirza, director and writer of “The Queen of My Dreams,” openly discussed the significant implications of truthful narration. “For a long time, I’ve been making films not seeking praise,” this queer South Asian filmmaker stated. “I’ve always recognized that by sharing these tales of daring self-admiration, I was moving myself closer to the flames.

For the breakout filmmakers Aleem Bukhari and Irfan Noor Khan, whose “Karmash” marked the first Pakistani short film chosen for Cannes Directors’ Fortnight, their process continues to be highly individualistic. They stated, “You create a movie for yourself or a specific group of people; it’s an intensely personal act. You don’t think about festivals like Cannes when you’re making it, and that’s not the correct approach to filmmaking. Instead, you simply do your best.

On a shoestring budget of around $180, this independent film demonstrates the power of ingenuity over limitations. As a movie critic, I’ve seen many productions, but this one truly showcases how resourcefulness can transform even the smallest investments into captivating cinema.

The London-based filmmaker of Pakistani descent, Hammad Khan, who gained fame with his satirical movie “Slackistan”, emphasized the importance of creative autonomy. Talking about his surrealistic second project, “Anima State”, Khan mentioned the initial reluctance towards unconventional work. “Primarily, it was Fantasia in Canada who welcomed it. At that time, there was a strong resistance to anything out of the ordinary,” he shared. “Hence, my advice now is – make the film for your own self. That’s how you break barriers – by not seeking approval.

The gathering additionally applauded recent triumphs, such as Saim Sadiq’s inclusion in their ranks after he won the €20,000 ($22,620) Baumi Script Development Award for his upcoming film “Little Men,” which was chosen by Oscar-winning director Edward Berger. Previously, Sadiq’s work “Joyland” received both the Un Certain Regard Jury Prize and Queer Palm at Cannes 2022, and represented Pakistan in the Oscars’ international category, making it to the shortlist.

This second year of our group at Cannes suggests a maturing social trend, skillfully connecting budding Pakistani artists with global collaborators, all the while defying conventional views by crafting daring narratives that push boundaries.

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2025-05-22 14:46