Written by: Hurmat Majid
Posted on: December 17, 2024 | 
(Left) Wakhri by Iram Parveen Bilal and Khimoor by Sapna Zamir (Right)
On December 14 and 15, the Arts Council of Pakistan in Karachi transformed into a vibrant mosaic of cinematic creativity, cultural dialogue, and communal celebration. The Divvy Film Festival 2024 brought together independent filmmakers, passionate cinephiles, and curious onlookers to celebrate stories that spoke volumes about identity, social norms and the human experience. Over two days, this meticulously curated event was more than a mere film showcase, and instead an ode to Pakistani voices and visual storytelling.
As I walked into the Arts Council, there was an immediate sense of energy, the kind that comes from shared anticipation and a collective love for art. Banners of the festival lined the entryway, and groups of film enthusiasts gathered over chai, fervently discussing the schedule of screenings. Filmmakers mingled with students, critics and artists—a rare space where the hierarchy of the industry dissolved, replaced by mutual curiosity and support.
The Arts Council itself served as the perfect venue. Its open-air screening area allowed for immersive experiences, especially in Karachi’s new-found chilly weather. Between films, people shared interpretations, and connected with strangers turned kindred spirits. All were united by their appreciation for cinema.
What stood out most, however, was the accessibility and openness of the festival. The Divvy Film Festival welcomed seasoned cinephiles and first-time attendees alike, proving that independent cinema is for everyone.
The curated selection of films was undoubtedly the heart of the festival. Each screening transported the audience into a new world, exploring themes that resonated deeply with both local and global realities.
Kicking off the festival was Catfish, a quiet yet unsettling exploration of loneliness. The story of a lonely office worker who "catfishes" a hyper-masculine colleague, who was tender yet raw. The protagonist’s yearning for connection, coupled with a subtle critique of societal expectations of masculinity, left an emotional weight in the air. Shahid’s ability to convey vulnerability through understated performances and minimalistic visuals was particularly striking.
Catfish by Abdullah Shahid and Zohaib Bilal
Perhaps the most impactful screening of the festival, Wakhri follows the story of a widowed Pakistani school teacher who inadvertently becomes a viral social media sensation. Inspired by the tragic yet powerful life of Qandeel Baloch, Wakhri tackled themes of identity, resistance and the double-edged nature of fame. Iram Parveen Bilal delivered a masterclass in storytelling, seamlessly blending intimate moments of personal struggle with broader societal commentary. The post-screening discussion with the audience was enthralling, as she shared insights into the creative process and the film’s broader message.
Another standout was A Ticket to Paradise, a poignant depiction of sacrifice and belonging. The film tells the story of Siraj, a member of the Pakistani Bengali community, as he gives up everything to fulfill his aging parents’ dream of undertaking a sacred pilgrimage. Awais Hameed captured not just the pain of displacement but also the strength of familial love. The film’s visuals, steeped in nostalgia and melancholy, stayed with me long after the credits rolled.
A Ticket to Paradise by Awais Hameed
Khimoor offered a gentle and heartwarming reprieve. Following the story of Goaryat, a 75-year-old artisan dedicated to preserving traditional crafts, the film was a testament to heritage and resilience. Zamir’s approach was refreshingly simple yet deeply evocative, reminding audiences of the beauty found in cultural preservation.
In Milaap, the spotlight was on the environment and the often-overlooked intersection of urban planning and women’s lives. Through three women’s stories, the film painted a powerful portrait of the social and ecological consequences of negligence. The documentary was unflinchingly honest, its visuals capturing the stark beauty of nature juxtaposed with urban decay.
Milaap by Marvi Mazhar, Abuzar Madhu and Zohaib Kazi
On the Mountain told the moving tale of Rabia, an Afghan teacher forced to leave Kabul and resettle with her family in the United States. Based on true events, the film explored displacement and the painful choices that come with survival. Raza’s storytelling was unpretentious, allowing the emotional core of the narrative to shine through. Beyond the films themselves, the Divvy Film Festival excelled in creating spaces for dialogue. Post-screening discussions provided rare opportunities for audiences to engage directly with filmmakers. Directors shared not only their artistic choices but also the challenges of independent filmmaking in Pakistan, from funding to distribution. These sessions were intimate and unfiltered, giving us a glimpse into the dedication and passion that fueled these projects.
On the Mountain by Anya Raza
The diversity of attendees also contributed to the festival’s success. I met students who were inspired to pick up a camera for the first time, seasoned critics who marveled at the fresh perspectives on display, and artists who found validation for their work. Festivals like Divvy are not just about the films; they’re about building communities and fostering inspiration.
In a media landscape dominated by commercial blockbusters and formulaic storytelling, the Divvy Film Festival is a breath of fresh air. Independent cinema holds a mirror to society, offering stories that challenge norms, amplify marginalized voices, and explore complexities that mainstream cinema often ignores.
Moreover, festivals like Divvy play a vital role in nurturing Pakistan’s film industry. By providing a platform for emerging filmmakers, Divvy bridges the gap between creators and audiences. It reminds us that storytelling is not about spectacle but about honesty, emotion and connection.
The festival also sheds light on underrepresented narratives, whether it’s the struggles of displaced communities (On the Mountain) , the fight for identity in restrictive societies (Wakhri) , or the preservation of cultural heritage (Khimoor) . These stories matter, and they deserve to be seen, heard and celebrated.
Eid Mubarak by Mahnoor Euceph
As the festival concluded, there was a palpable sense of optimism. The Divvy Film Festival is not just an event, for it’s a movement. It challenges audiences to look beyond conventional narratives, encouraging them to embrace the diverse and multifaceted stories that define us as a society.
For me, Divvy 2024 was a reminder of cinema’s transformative power. It left me hopeful for the future of Pakistani filmmaking, a future where artists are free to create and audiences are free to experience the magic of honest storytelling.
As I walked out of the Arts Council, the city’s hustle and bustle greeted me once again, but something felt different. The films, the conversations and the connections made over two days lingered, a reminder that stories, no matter how small or niche, can leave a lasting impact.
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