Cinema of Pakistan

The film industry of Pakistan, comprising motion pictures, has significantly influenced Pakistani society and culture since the country's creation. Pakistani cinema includes various sub-industries, with Lollywood being prominent for producing films in Urdu and Punjabi. Lollywood is one of the largest film industries in the country.

Pakistani cinema encompasses films produced in various languages, reflecting the country's linguistic diversity. The largest language-based film industries include Punjabi, Urdu, Pashto, Sindhi, and Balochi cinema.

The cinema of Pakistan has played a significant role in shaping the country's culture. In recent years, it has experienced a resurgence after a period of decline, appealing to audiences both domestically and among expatriates abroad. Several regional and niche film industries operate within Pakistan.

In 2022, Joyland made history as the first Pakistani film to be screened at the Cannes Film Festival. It was also selected as Pakistan's entry for Best International Feature Film at the 95th Academy Awards, where it was shortlisted for the award.

Since 1948, over 14,000 Urdu feature films have been produced in Pakistan, along with more than 10,000 in Punjabi, over 8,000 in Pashto, over 4,000 in Sindhi, and around 1,000 in Balochi. The first-ever Pakistani film was Teri Yaad, directed by Daud Chand in 1948.

From 1947 to 2007, Pakistani cinema was primarily centered in Lahore, which housed the country's largest film industry, known as Lollywood. During this time, Pakistani films gained significant popularity, attracting large audiences and developing a strong fan base. They became an integral part of mainstream culture and were widely accessible, often imitated by the public. In the early 1970s, Pakistan ranked as the fourth-largest producer of feature films globally.

However, the situation changed in the second half of this period, from 1977 to 2007, due to martial law, stricter censorship regulations, and declining quality standards. This led to a decrease in the industry's production and cultural influence. Throughout the 1980s and 1990s, the film industry experienced fluctuations, largely dependent on government funding and support. By 2000, the Lahore film industry had largely collapsed, prompting many actors, actresses, producers, and filmmakers to move from Lahore to Karachi.

By 2007, the wounds from the collapse of Pakistan's film industry began to mend, with Karachi emerging as the new hub of Pakistani cinema. In the following years, a fresh wave of producers entered the scene, introducing innovative storylines, shorter films, and advanced technology. This transformation contributed to the rise of a new type of Pakistani cinema, which many view as a key factor in what is often called the "resurgence of Pakistani cinema". Despite the challenges that started in the mid-1970s, Pakistani films have preserved much of their unique identity and have successfully regained their audience since the industry's move to Karachi.

History (1947-1959)

In 1947, following the creation of Pakistan from British India, Lahore became the center of cinema in the country. At that time, there were about 80 cinemas in East Bengal. In March 1948, when Mohammad Ali Jinnah, the Governor-General of Pakistan, visited East Bengal, radio broadcaster and filmmaker Nazir Ahmed was tasked with producing the informational film In Our Midst, with assistance from film technicians based in Calcutta. This film marked the first informational feature for the province, now known as Bangladesh. However, after the creation of the country, the film industry faced challenges due to a lack of funding and filming equipment, which initially hindered its progress. Despite these difficulties, the first Pakistani feature film, Teri Yaad, premiered on August 7, 1948, at the Parbat Theatre in Lahore.

The 1950s marked a turning point for the Pakistani film industry. In the earlier years, films from Pakistan received only a tepid response and struggled at the box office. However, this changed with the release of Do Ansoo on 07 April 1950, which became the first film in the country to enjoy a 25-week run and achieve silver jubilee status. Noor Jehan's directorial debut, Chanway, premiered on 29 April 1951, and also found commercial success, making it the first Pakistani film directed by a woman. In the latter part of the decade, the production of higher-budget films began, a trend initiated by producer Faqir Ahmad Shah in 1955 and carried on with his film Jagga, released in 1958 and directed by his son Saqlain Rizvi. However, Jagga did not perform particularly well in theaters.

As cinema viewership grew, the Pakistani film industry experienced increasing success. The 1954 film Sassi, produced by Eveready Pictures, achieved golden jubilee status, while the 1959 film Umar Marvi became notable as the first Pakistani film made in the Sindhi language. This period also marked the beginning of playback singer Ahmed Rushdi's career, who sang his first song for the film Bander Road Se Kemari.

To honor these achievements, film journalist Ilyas Rashidi established an annual awards event on July 17, 1957. Known as the Nigar Awards, this event has since become Pakistan's most prestigious awards ceremony in the realm of filmmaking.

The golden era (1957-1977)

The 1960s are often referred to as the golden era of Pakistani cinema, during which the first generation of legendary figures in the industry emerged. As black and white films became outdated, color films started to take prominence, with notable releases including Munshi Dils Azra in 1962, Zahir Raihan's Sangam (the first full-length colored film) in 1964, and Mala, which was the first colored CinemaScope film. Also released in 1962, Shaheed introduced the Palestinian conflict to Pakistani audiences and quickly became a hit, while Charagh Jalta Raha marked the debut of the influential actor Mohammad Ali, premiering on 09 March 1962, at Nishat Cinema in Karachi, with Fatima Jinnah in attendance.

In September 1965, following the war between Pakistan and India, a complete ban on Indian films was instituted. Although a lighter ban had been in place since 1952 in West Pakistan and from 1962 in East Pakistan, the enforcement became stricter in the aftermath of the war. Interestingly, Pakistani cinemas did not suffer significantly from this ban; rather, they saw an increase in attendance.

Recognising the potential for success in the film industry, Waheed Murad made his entry during this period. His charismatic persona earned him the nickname "chocolate hero." His 1966 film Armaan is celebrated as one of the most beloved Urdu films, credited with giving rise to Pakistani pop music by introducing playback singing legends such as composer Sohail Rana and singer Ahmed Rushdi. Armaan became the first Pakistani film to achieve a 75-week screening across cinemas, attaining platinum jubilee status. Waheed Murad was also featured in a song for the first time in director Saqlain Rizvi's film Mamta, released in 1963. Another rising star of the decade was Nadeem Baig, who gained instant fame with his debut film Chakori in 1967.

Decline (1977-1990)

Pakistani cinema experienced a significant decline during the regime of Muhammad Zia-ul-Haq (1978–1988), who initiated a process of Islamisation across the country. One of the first casualties of this sociopolitical shift was the film industry itself. The introduction of new registration laws mandated that film producers hold degrees, a requirement that many filmmakers could not meet, leading to a steep decline in industry activity. Additionally, the government forcibly closed numerous cinemas in Lahore, and new tax rates were implemented, further reducing cinema attendance. Other factors, such as the rise of VCRs and rampant film piracy, adversely affected the industry's growth. The film Aina, released on March 18, 1977, symbolized a distinct break from the more liberal years of Zulfikar Ali Bhutto to the increasingly conservative and revolutionary regime of Muhammad Zia-ul-Haq.

Aina enjoyed remarkable success, remaining in cinemas for over 400 weeks, with its final screening at the Scala in Karachi, where it ran for more than four years. It is widely regarded as the most popular Pakistani film of all time. However, the total output of films plummeted from 98 in 1979, including 42 in Urdu, to only 58 films in 1980, with just 26 in Urdu.

By this time, the film industry was on the brink of collapse as audiences began to turn away from cinema. Nevertheless, some filmmakers continued to produce hits, such as the Punjabi cult classic Maula Jatt in 1979, which depicted a gandasa-wielding protagonist embroiled in a blood feud with a local gangster. This film set a precedent for productions centered on rural themes and violent anti-heroes, contrasting sharply with earlier representations of heroes and national ideals. Another notable film from this period was Aurat Raj, also released in 1979, celebrated for its feminist narrative.

Increasingly stringent censorship policies targeting displays of affection rather than violence dealt a significant blow to the industry. As a result, violence-laden Punjabi films gained prominence, overshadowing Urdu cinema. The middle class began to shun the "dilapidated and rowdy" cinemas, leading to the emergence of a sub-culture known as "gandasa culture." In Punjabi cinema, icons such as Sultan Rahi and Anjuman became emblematic figures of this movement. Meanwhile, Pashto filmmakers circumvented censorship by incorporating soft-core pornography into their films to boost viewership, often with the support of influential politicians.

Collapse (1990-2002)

At the onset of the 1990s, Pakistan's film industry faced a bleak future. Out of several dozen studios operating across the country, only 11 remained active, collectively producing around 100 films annually. By this time, the annual output had dwindled to approximately 40 films, all from a single studio, while other productions were typically independent, financed directly by the filmmakers. This number continued to decline as studios shifted focus toward short plays and television commercials. The death of Waheed Murad in 1983 marked the beginning of the decline of iconic stars from the 60s, further diminishing audience interest. Notable figures like Anjuman stepped away from playback singing, Sultan Rahi was murdered in 1996, director Sangeeta paused her career for family commitments, and Nazrul Islam passed away. Controversy erupted over the 1998 film Jinnah, produced by Akbar Salahuddin Ahmed and directed by Jamil Dehlavi. The casting of Christopher Lee as Muhammad Ali Jinnah and Shashi Kapoor as the archangel Gabriel raised objections, particularly due to the experimental nature of the script. Imran Aslam, editor of The News International, criticised the script, suggesting it was written in a "haze of hashish."

However, by 1999, a resurgence of new films began to emerge. Haathi Meray Saathi, produced and distributed by Eveready Pictures, celebrated its Golden Jubilee, drawing audiences back to cinemas for 66 weeks. Other successful films included Syed Noor's 1995 release Jeeva, Saeed Rizvi's Sarkata Insaan, and his 1997 film Tilismih Jazira. In 1998, Noor's Choorian, a Punjabi film, grossed an impressive 18 crores Pakistani rupees. The following year saw a Russian-Pakistani joint venture and Samina Peerzada's Inteha hit the screens. Late 90s productions like Deewane Tere Pyar Ke, Mujhe Chand Chahiye, Sangam, Tere Pyar Mein, and Ghar Kab Aao Gay attempted to break away from formulaic and violent narratives, sparking predictions of a revival for Pakistani cinema.

Despite these optimistic signs, public response was lukewarm, with low attendance recorded at cinemas as lower middle-class audiences shunned these films. By the start of the new millennium, the industry was effectively pronounced dead. The early 2000s saw a drastic decline, with an industry that once produced an average of 80 films annually struggling to release more than two films per year. However, some partial successes were noted with films like Larki Panjaban and Javed Sheikh's Yeh Dil Aap Ka Huwa, both of which grossed over 20 crores Pakistani rupees.

Revival and resurgence (2003–2011)

By 2003, a wave of young filmmakers in Karachi began to experiment with film, producing low-budget productions that showcased the potential for high-quality content in Pakistan despite limited resources. During this time, cinema houses faced decline across major cities, prompting calls for a revival within the media. The privatization of television stations led to the launch of Filmazia, a new channel that aired both classic Pakistani films and newer, low-budget projects. In this evolving landscape, celebrated Indian director Mahesh Bhatt visited Pakistan seeking talent, particularly singers for his upcoming films in India. His visit coincided with the third Kara Film Festival, where he screened his film Paap in Karachi. Bhatt's trip would yield fruitful collaborations, leading him to hire Atif Aslam for the soundtrack of his film Zeher and to cast Pakistani actress Meera in a lead role in one of his projects. By 2005, a notable shift was underway as Karachi began to replace Lahore as the hub for Urdu filmmaking in Pakistan. Previously, Lahore had been the center for both Punjabi and Urdu films, but many filmmakers, producers, and directors migrated to Karachi in search of new opportunities.

A significant milestone occurred in August 2007 when Shoaib Mansoor directed and released Khuda Ke Liye. The film was an unexpected box office success, attracting middle-class audiences back to cinemas thanks to its controversial themes addressing social issues in Pakistan. It also marked a historic moment as it was released internationally, including in India, becoming the first Pakistani film to do so after a four-decade hiatus. The release of Khuda Kay Liye is often regarded as a pivotal moment in the revival of Pakistani cinema, solidifying Karachi's status as the country's film and showbiz capital.

Despite the optimism surrounding this revival, progress remained slow. In 2009, alongside Geo Films, the "Pakistan New Cinema Movement" was established, boasting around 1,400 members who aimed to facilitate networking and stimulate new film productions. Following Khuda Kay Liye, several films were released that achieved limited success, including Shaan Shahid's directorial venture Chup, Syed Noor's Price of Honor, Iqbal Kashmiri's Devdas, and Mehreen Jabbar's Ramchand Pakistani, among others.

However, it was once again Shoaib Mansoor who made a significant impact in 2011 with his film Bol, which broke box office records in Pakistan, further contributing to the momentum of the industry's revival.

New wave (2011–present)

Between April and October, several notable films were released in Pakistan, including Ishq Khuda directed by Shahzad Rafique, Josh: Independence Through Unity directed by Iram Parveen Bilal, Main Hoon Shahid Afridi directed by Syed Ali Raza Usama, Zinda Bhaag by Meenu Gaur, and Seedlings by Mansoor Mujahid.

Main Hoon Shahid Afridi was an action-drama film produced by Humayun Saeed and Shahzad Nasib, featuring a cast that included Humayun Saeed, Javed Shaikh, and Noman Habib in lead roles. The film also starred notable actors such as Nadeem Baig, Shafqat Cheema, Ismail Tara, Ainy Jaffri, Hamza Ali Abbasi, and Shehzad Sheikh, with special appearances by cricket star Shahid Afridi and actress Ayesha Omar. Upon its release, the film garnered Rs. 22 million (approximately US$76,000) in its first week. However, industry commentators noted that categorizing a film as a 'hit' or 'flop' is contingent upon comparing its budget to its box office returns; thus, many of Pakistan's top-grossing films were not technically classified as hits. The limited box office performance of Pakistani films was often attributed more to the scarcity of screening venues rather than the quality of the films themselves.

Zinda Bhaag (Run For Your Life) received critical acclaim, with reviewers hailing it as "the best film to have come out of modern-day Pakistani cinema" and a "new metaphor for Pakistani cinema," suggesting promising prospects for significant Pakistani film imports in the future. The film went on to become Pakistan's official submission for the Oscars, marking the country's first entry in fifty years, though it ultimately did not make the final shortlist of nominees.

The resurgence of new Pakistani film productions during this period was largely facilitated by the adoption of digital equipment and the use of more affordable distribution methods. The emergence of DCP-compliant cinemas began around 2011, and by 2014, approximately 30 cinemas nationwide had made the transition, contributing to the revitalization of the film industry in Pakistan.

Film festivals

• Kara Film Festival
• LUMS International Film Festival (FiLUMS)
• Pakistan Film Festival - New York
• Pakistan International Film Festival
• Lahore Eurasia Film Festival – University of Lahore

See also

• List of cinema of the world
• Lists of Pakistani films
• List of highest-grossing Pakistani films
• List of Pakistani male actors
• List of Pakistani actresses
• Shahnoor Studios – one of the oldest film studios in Lahore
• Bollywood