The Pakistani film industry is currently going through some trying times, as is the case for motion picture setups the world over. The Coronavirus pandemic has affected the cinema industry in more ways than one. The shooting schedules of the year’s most awaited films such as London Nahi Jaunga and Neelofer’s shootings have been affected and major films that were ready to release have been delayed.

In more bad news, showbiz fraternity members such as Wrong No. 2 director Yasir Nawaz and Superstar debutante Alizeh Shah, are said to be in the line of fire of the deadly coronavirus. While the pandemic has created global turmoil for most of the world economy, it has naturally brought its own unique challenges and problems for the film industry.

If one were to take a quick look at the current dire conditions, especially in the exhibition sector, there couldn’t have been a worse time for the pandemic to wreak the havoc it has. The local film industry is still in its initial reviving state. Although new superstars and film actors have emerged from the current setup, only about twenty or so movies are being released every year, and those too usually clustered around the major holiday periods. Commercial returns for filmmakers have been said to be below par, with even films that are otherwise considered ‘successful’ barely breaking even. Half a decade or more into the revival, we are still to reach our true potential or even match the better days of the Lahore film industry. 

Prior to the current crisis, the picture was not too rosy either. Cinema-owners and distributors were already facing a shortage of Urdu film releases, and those that did manage to release beyond the usual Eid or holiday periods were largely rejected by the audience, mostly owing to their lack of audience appeal and quality issues.

The previous year presented the first opportunity for local filmmakers in over a decade to have all the theatre screens for themselves, although major Hollywood franchises with a strong local fan-base such as The Fast And The Furious continued to exert their dominance over the audience. However, what was seen was largely a mix of experimental films while the production quality of most non-Eid commercial releases was not up to the mark. Most were weak at the box office.

All of this reflects the filtering process that will work through important trial and error on part of filmmakers and is a natural outcome of Pakistani cinema’s evolution. The last few years have also seen some notable successes such as Punjab Nahi Jaungi which have gone global but then the hiccups have been quite a few.

The OTT/digital platforms such as Netflix are also providing our content transnational exposure, helping expand the market. But with more exposure comes more responsibility, and the inconsistent quality of local films has definitely affected the Pakistani cinema brand. Brand building is something that is essential towards drawing in and retaining a loyal audience base and needs to be the first priority of the local film industry.

And that is where the silver lining to the current crisis comes in.

The positive side

The current period represents a golden opportunity for filmmakers to examine the main weak links of the current filmmaking setup. First and foremost, thought needs to be given towards the creation of a joint platform for exhibitors, distributors, and filmmakers that can effectively exert their influence together as a film industry and resolve outstanding issues. The body can be used to press the government for help in creating joint ventures with other industries and most crucially for creating a transparent box office measuring system. The body can also help in the creation of a much needed joint OTT platform that caters to the Pakistani content (both film and television).

The time also presents an important break for the creative brains of the Pakistani film industry to further work on their scripts, storylines, and pre-production to present the viewers with a better end product. Projects currently under post-production meanwhile can sharpen their editing – something that usually receives much flak from the critics and the audience. 

Some of that already seems to be happening. Humayun Saeed revealed that London Nahi Jaunga’s first half has already been shot and they are using the time to edit the chunk. Fahad Mustafa and Mahira Khan starrer Quaid-e-Azam Zindabad is also being edited. Industry people also have gotten time from their chock-o-block schedules to think about more creative ideas and formulate them into films. 

This is also the right time to make decisions regarding issues relating to film releases. Perhaps smaller budget films can also initiate talks with digital streaming platforms keeping the effect of the pandemic on cinema footfalls in mind once the business resumes. If a united, cohesive film body is established, it can also use the current period to work out a mechanism for the allocation of release dates. 

Once the theaters reopen, there will be quite a spectacular line-up of quality films that will be up for release. If their opening dates are spaced out correctly, this can help with steady business throughout the year, which has been a problem so far. Moreover, having back to back quality releases will go a long way towards building the much needed Pakistani film industry brand.

Final word

While the pandemic seems to be a major hindrance as of now, it can also work in the cinema’s favor in the long-run if people involved use the time as they should i.e. productively. In this relation, we hope for some good news from the industry in the near future.