Written by: Mahnaz Shujrah
Posted on: December 06, 2021 | 
| 中文
A scene from Raqs
Last Saturday, film and visual storytelling enthusiasts gathered at The Last Word for the Independent Short Film Festival. The Last Word is both a bookstore and a space which curates and hosts events covering a variety of different topics. It was the first time that they hosted a short film screening event, which took place in Lahore on 4th December 2021. The ambiance was welcoming, with the audience seated on the floor and across the room. The screening was followed by an informal Question and Answer session and a discussion with the directors of the films. All SOPs were strictly followed throughout the evening.
Three films were screened during the evening: Raqs, City of Men, and Gunjayish. Although the essence and aims of the films were different, they were all social commentaries which reflected on the past, represented the present, and raised questions about the future of Pakistani society.
Raqs, which was directed by Anusheh Rahim, showcased a day in the life of Ara, an aspiring actress, and her maid Rukhsana, who was a dance teacher. However, it was set in July 1977, on the day that General Zia Ul Haq announced martial law—which changed the fate of Pakistan forever. The film revolved around the theme of self-expression and freedom. The cinematography, costumes, set, and design of the film were commendable, and they compensated for its’ abrupt ending. The film was funded by British Arts Council and was a directorial debut for Rahim.
Ara and Rukhsana in Raqs
The second film, City of Men, was written and directed by Hira Yousafzai, a Pashtun filmmaker. It was set in Peshawar and was part of Yousafzai’s final year thesis at the National College of Arts (NCA). The plot centered around two girls who were coming of age, had highly piqued curiosities, and lacked exposure due to their confined lives, which led them to fantasize about running away. The film represented a female perspective and offered insight into the minds of two young girls who grew up in a conservative household in a patriarchal society. The dialogues were entirely in Pashto, which added credibility to Yousafzai’s work and gave it a cultural context. The actors did a phenomenal job with their lines—which were improvised in certain cases. The film offered glimpses into the minds of the characters and great attention was paid to detail in it. Yousafzai revealed that the project was very close to her heart and a part of her was reflected in the characters. Zayan Agha produced the film, Taseer Ali handled the cinematography, and Sajjad Gohar oversaw the editing.
A scene from the 'City of Men'
The last film, titled Gunjayish, was equally, if not more, captivating. It was brilliantly directed by Hamza Faraz Karamat, a filmmaker and an academic, who is currently a Teaching Associate at NCA. The film highlighted a sensitive issue and was inspired from the infamous motorway case that occurred in 2020. Taseer Ali was the cinematographer for this film as well, while Ibrahim Kosar Baksh served as the editor. Raza Ali Abid played the role of Abid, the protagonist, while the renowned Samiya Mumtaz played the role of Abid’s mother.
Raza Ali Abid in Gunjayish
Karamat disclosed that very little was known about Abid, the main character, which went against the basic principles of scriptwriting and character development. However, the purpose was to highlight that anyone was capable of committing such a heinous crime. The audience no doubt felt uncomfortable, but that was by design. The director stated that “several people mentioned that the film ought to have shown the victims’ perspective, which is a view I fully endorse, but not one that I wanted to employ this time around. In films where the audience is encouraged to sympathize or empathize with the protagonist, we wind up getting a model of audience absolution because the audience feels that they are on the right side of the narrative. This notion ignores the systematic nature of such crimes and the collective responsibility we bear for them as a society. By making Abid both the villain and the protagonist, I looked to highlight these structural issues while using his character as a vessel to exhibit these ideas.”
Raza Ali Abid in Gunjayish
The use of color theory and music, which were beautifully intertwined throughout the film, added multiple layers to it. The use of mundane objects and activities also added depth and intricacies to the movie. Even though the director engaged with the audience afterwards and answered queries related to the film, he left the interpretation to the viewers—as should be the case for any good work of art.
Mishaal Shafi singing to conclude the event at The Last Word
In conclusion, the evening of the Short Film Festival was intriguing, introspective and refreshing. The Last Word plans to host similar such events in the future, including book launches and musical evenings.
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