It is of utmost pride for any country to produce individuals as talented, accomplished, and capable as Sarmad Khoosat, an actor, a director, producer, and screenwriter. Having been recognised throughout his impressive career as someone who is not afraid to take risks, his works have always been daring and impactful.
From directing popular dramas such as Humsafar and Shehr-e-Zaat to flawlessly portraying Saadat Hasan Manto in his film Manto, to his film Zindagi Tamasha being submitted as Pakistan's entry for Best International Feature Film at the 93rd Academy Awards, Sarmad Khoosat is no less than a national treasure.
Continuing to build upon his legacy as one of South Asia's finest filmmakers, Sarmad has finally released the much anticipated 'Kamli' on June 3, 2022, across theaters in Pakistan. Directed by Sarmad, the movie is being released under the banner of Khoosat Films, which just celebrated a massive win at the Cannes for Saim Sadiq's 'Joyland', winning the Jury Prize in the Un Certain Regard category.
This exclusive interview with Sarmad unveils his strategy of bringing magic to the screen and also covers everything one needs to know about his recent movie Kamli, collaborations involved in its making, the process of filmmaking itself, and the challenges faced, and subsequent healing in the face of adversity.
The win
BOLD: First of all congratulations on 'Joyland' winning the Jury Prize Un Certain Regard at the Cannes Film Festival and receiving a standing ovation. How do you feel and what does this international recognition mean to you?
SK: It's unbelievable whatever has happened at Cannes. It all feels like a dream. It is a dream many of us have dreamt of and one which came true. Kudos to Saim Sadiq, the main creative force behind Joyland Winning this award puts us as Pakistanis on several maps because we are recognized as people who can make cinema as opposed to the fact that a large part of the world doesn't even know we are making films, or that we can make good cinema. Secondly, I feel we are always complaining about horizons and opportunities primarily on the distribution front for our films, and we have a small market which is only say, at home. So if films have to become bigger and in terms of scale, big enough as the rest of the world, then we need a larger audience. The Cannes platform and being recognized at Cannes gives us, filmmakers, an opportunity and a hope that we will have a bigger window for our films.
The birth of 'Kamli'
BOLD: 'Kamli' is the second film being released under Khoosat Films. How did the writing of the script for this film come about and why did you feel it was a film you wanted to direct?
SK: I would say Kamli is a story that found me. When you are telling stories through a long narrative like a feature film, then of course it's never about 'an' idea or 'a' something. There are so many aspects fed
Kamli is based on a short film that was a thesis project of a student from NCA, Meher Bano. I bought the rights to it and it became the seed for the whole big tree Kamli is now. I don't feel comfortable when one feels forced to give labels and descriptions to their work. I would much rather they aren't there, but for all intents and purposes, it is a women-centric story as one can tell from the trailers
into it. Of course, as it grew with time, numerous personal experiences, memories, etc. were poured into it. I collaborated with this exceptional young writer called Fatimah Sittar, who is an NCA graduate, and I wrote Kamli with her. It's based on a short film that was a thesis project of yet another student from NCA, Meher Bano. I bought the rights to it and it became the seed for the whole big tree Kamli is now.
I don't feel comfortable when one feels forced to give labels and descriptions to their work. I would much rather they aren't there, but for all intents and purposes, it is a women-centric story as one can tell from the trailers. For the lack of a better word, it is also a romance and as people like to call films about love, love stories, so Kamli is a love story. It has mystery and drama. It is about human love, loss, and secrets humans have and keep. I am sure many people will be able to connect with some part of it.
BOLD: What was the process of casting for the film as a director and how has your experience been working with this particular cast?
SK: The process or the alchemy of casting is also a mystery to me. When does that Aha! moment happen? When does the transition take place from it being a character on a page to becoming a human representation? When does one find surety that this is the person? I have never been able to figure it out, to be honest. It's always a vibe and a feel for me. With the casting of Kamli, all these actors are stalwarts, they are seasoned, established superstars, and I have worked with most of them already. Considering the range that was required, and the nature of the characters, some names just came to my mind instantly. These are people whom I am a fan of, namely Saba Qamar, Sania Saeed, Nimra Bucha, and Omair Rana. The new boy, Hamza Khawaja, has been described in our log lines as a mysterious wanderer. So that element of mystery to him was important to me, and I thought it would be nice to cast a new actor. As a part of the storytelling technique, I want viewers to explore him. Such an ensemble makes things interesting when you put seasoned actors with people with lesser experience or complete newcomers. We had a very elaborate series of auditions, open calls for auditions, and we auditioned a whole bunch of boys for the role. Eventually, Hamza was selected. He is a LUMS graduate and a fitness trainer by profession. Kamli is his debut film.
BOLD: Was it a conscious choice to work with the very talented Saba Qamar again? What made you think that she would do justice to the lead role of Hina?
SK: Saba is one of her kind. She does not just have an exceptionally rare talent and range when it comes to acting, but her dedication and her professionalism are so inspiring that every time we have worked together, it has been a truly inspiring experience. We've been working together for more than a decade now. I think we have done at least five projects together. So with Saba, just that confidence that we have, that trust, and the range she has - I can push things a little- is what made me choose her for this role. Hina is a very complex character to play with multiple layers to her. I feel Saba has the emotional capacity and experiential knowledge of so many things that she gives you the truth on camera. Besides being a colleague and director, I am also a huge fan of hers. So if anyone ever asks me, 'Why Saba Qamar?' I say, 'Why not Saba Qamar'?
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BOLD: 'Kamli' is described as a tale of love, loss, and cloaked secrets. Do you think this movie will be of interest to the masses?
SK: Regarding this preconceived notion about what is liked by the masses and what is not, I feel many a time, we have been proved wrong, in terms of how commercial films should be made, or just the terms commercial and non-commercial in themselves. I find it a little fuzzy now. Many films with all the ingredients (what we think would attract the audiences) don't do well, and films that are not so formula-driven or compliant with the mainstream sensibility, do wonders. I feel all the ingredients people associate with a 'massy' cinema or cinema that would appeal to a larger audience are there, but as an artist, I want to exercise and retain my right to use those ingredients my way. So elements-wise, there are songs, there is a girl and a boy, there is drama, there are beautiful locations, and these are the ingredients that make for a sub continental, commercial film. But the way these elements have been used, I feel they are not coming with too much of a conscious burden of 'Oh, we need to make it different.' I'm only being true to my style and to the way the entire team wanted to sketch the story. So if it looks different from the other mainstream stuff, it's only because we are just doing it our way. Good or bad is what people will decide. We have just exercised that independence.
BOLD: As a Director, what kind of visuals and cinematography have you used in 'Kamli'? The trailer shows some beautiful locations, where did you shoot the film?
SK: Kamli is visual-heavy; its filming location and the backdrop are key elements, other than the human characters. The terrain of Kallar Kahar, Soon Valley, Neela Wahn, and the entire area of Khushab is where we shot the movie. What I know of the history of the area is magical, and legendary; there is mysticism and history embedded in its soil. Besides, visually when you look at the area, it has brown mountains with very dark green shrubbery and forests that have sudden lakes. So there are dry mountains and then you see these lakes with green and blue water. The magic of this location has a melancholic beauty about it. It's not a favorite with tourists, and it's a tough terrain, so it has not been explored too much either. The emptiness and the vastness of the area are principal characters in the film. The location just lent itself so beautifully to cinematography; all we had to do was absorb the energy of the location. It was tough to mark those locations. We spent months and months selecting and marking spots and doing location recces. Then the shooting phase was quite tough for everyone, both the cast and crew. We were on an adventure.
BOLD: What challenges have you faced while making and directing this film?
SK: Challenges-wise as mentioned the film was all shot outdoors. We shot it entirely on location. This is not a studio-based film. The required physical labour, intense planning, and the logistics involved were very tough. In terms of directing the film, I would say it's a story that needed a lot of sensitivity on behalf of the whole crew. It's a story where you are talking about human vulnerabilities, and human emotions, which we usually do not address. Bringing everybody on the same page, maintaining the energy, and the kind of decorum in terms of telling a story that requires silence around the set, for example, was imperative. Everyone had to ensure a quiet dedication. I won't say it was the most difficult part, but it was different from making other films. All of us had to go into an emotional space.
BOLD: Tell us about the OST for 'Kamli' which features six melodious tracks. What was the process of creating the music for the film, and did you work closely with Music Producer Saad Sultan for this?
SK: Music is very important to our sub-continent style of storytelling in cinema. I'm a fan of that genre. Kamli is not a song and dance film; however, music and poetry are essential tools to take your story forward. Saad Sultan has been magical. Working on the OST with him has given me knowledge and education on music, and I got to collaborate with such wonderful and legendary people, such as Zulfiqar Ali sahab. He is the music composer for Choorian and many other films. He composed two songs for Kamli (Mukhra and Aag). Saad has composed two songs (Kaash and Paani), and one song, Naina, is composed by Sohail Shehzad, a brilliant singer who wrote its lyrics as well. Izzat Majeed sahab of Sachal Studios had recordings of Reshma jee's raw, unfiltered vocals. We bought rights to those. And then Saad was the main lead who produced music for all these tracks. I want people to listen to the soundtracks. I love the music of my film. I feel this music has a connection with me because each song took a long time from its inception to its final production. In the screenplay, every song has a significant spot and a specific need; hence they
will not detour from the story. These songs have been written like scenes and dialogues have been incorporated into the flow of the narrative.
BOLD: What are some of the memories you will cherish most about making this film with your entire team (cast and crew)?
SK: I have not just worked with a stellar cast; my crew comprised bright, young, talented, new filmmakers. We worked with many new faces - from writers to those recording sound; from my DOP, Awais Gauhar, a fresh DOP for a feature film, to my sister Kanwal Khoosat who produced the film; from a lot of other young actors to some new singers. Even my direction team had some new faces who are not as jaded as I am (laughs); they do not have the burden of practice and over practice. A person who has been around for a long time sometimes feels they lack freshness, rawness, that beautiful rough-around-the-edges type quality to one's work, and it becomes stale. This is what I enjoyed and is, what I feel, a major achievement of Kamli - all of us came together with our strengths, faults, and flaws, and we managed to tell the story together. Working with my team, I feel has been such a wonderful experience; the bonds we made, the friendships we formed, and the spirit of camaraderie we had are memories I will cherish always. We lived together for many months at a far-off location, away from home; we created this new family. My Kamli family consists of beautiful memories.
BOLD: Are you nervous about the release and feedback of the film, and how do you personally deal with criticism, be it constructive or otherwise?
SK: I guess everybody is nervous about a film release. I'm always nervous because it's a declaration that now I have abandoned it, I cannot touch it, I cannot change things about it, as it has been handed over to the audience. I think separation anxiety and nervousness about how people will receive the film are always there. Regarding criticism, movies are for people to watch. All artistic expressions, particularly cinema, with many other art forms, are made for an audience. You want people to watch them, you want people to feel and to take something from them. If they have to say something negative as a consequence of a feeling the film leaves them with or as a result of having been made to think about the subject matter, then criticism is alright - as long as the film engaged them. Achieving some level of engagement is what
Hopefully following that, we will release Zindagi Tamasha at some point
any filmmaker strives for. I am very open to criticism, honestly. I do not want to be obsessed with my work. I do not want to overexplain my work either. For me, when a film is released, it is done, and whatever flaws are there, are there. I don't want to defend my film. This is how I did it, and it's for you the audience to now take it from me and see what it makes you feel. Yes, criticism is crucial.
The wounds and the healing
BOLD: How does it feel to face resistance from within your own country regarding Zindagi Tamasha, whereas you are simultaneously receiving international acclaim for your work? What is the update on the release of Zindagi Tamasha in Pakistan?
SK: The scar of Zindagi Tamasha has become a beautiful mark (laughs). I want to keep it. It's just there and it's a very precious scar. Regarding the release, I was set to release it in March this year but my distributors thought it was not a good time strategy-wise, hence the delay. We aim for a theatrical release in Pakistan, during the remainder of this year.
BOLD: In the last few years, how have you dealt with the constant threats you faced, and how has that mentally/ emotionally affected you as a person and as a Filmmaker?
SK: I don't think anybody likes to be threatened, and neither are threats welcomed. A famous quote is, 'Whatever doesn't break you, makes you', and its recent example is when the world was hit with a massive catastrophe of the Corona pandemic. It was devastating, but somehow, quarantine and lockdowns gave us all time to heal from so many things. The pandemic timed so oddly with the Zindagi Tamasha goings-on. The lockdown helped me heal. I initially went through a phase where I started doubting myself. I wondered if I had gone wrong somewhere,
or perhaps I made something sensational that has created all this noise. Self-doubt was very disturbing for me. I was second-guessing my choices and ideas. I went through this phase for a while. But then I thought, 'No, this is just plain unfair!' I processed it, I grieved it, which took time, but it helped. Films take years and they take your soul, heart, and on some occasions, literally your blood too. It affects you emotionally. Zindagi Tamasha is a story, which is very personal because it's set in Lahore and is associated with so many memories of my beloved city. The characters are borrowed from people I have seen, lived with, and loved. Organically, a lot of personal stuff has gone into the film. When something so precious gets threatened, it affects you emotionally and profoundly.
Up Next?
BOLD: What future releases can we expect from Khoosat Films and are you going to direct a movie or act in it?
SK: From Khoosat Films, this year we have Kamli Hopefully following that, we will release Zindagi Tamasha at some point. We will now bring into Pakistan our coproduction, Joyland, which had its world premiere just recently. It is currently in the planning phase. Other than that, right now I feel quite drained emotionally and artistically. So in between or post these releases, I would like to rejuvenate a little, replenish my rather dry mind and then, I will think of what to do next. Of course, this is what I do as a profession, I love stories, I love telling them and I do feel there are stories I have somewhere in my heart and my mind that I need to tell. But first, a little break!
Regarding this preconceived notion about what is liked by the masses and what is not, I feel many a time, we have been proved wrong, in terms of how commercial films should be made, or just the terms commercial and noncommercial in themselves. I find it a little fuzzy now. Many films with all the ingredients (what we think would attract the audiences) don't do well
The scar of Zindagi Tamasha has become a beautiful mark. I want to keep it. It's just there and it's a very precious scar...From Khoosat Films, this year we have Kamli.
What is your style agenda?
I like to experiment with colours and patterns. I also believe one must dress according to their body size and shape – if you are petite you should wear clothes which make you look taller, for example, wearing boot cuts instead of pencil pants. I usually like to wear boot cuts and pair them with a nice top. If I’m wearing eastern clothes, I prefer to keep it simple and usually wear flats or khussas with it.
How do you keep yourself fresh and fit even after tiring shoot schedules?
I eat Peruvian types of cuisines, fresh and raw. My diet includes fruits and vegetables, and in protein, I eat meat and drink protein shakes. I don’t skip exercise and I make sure that I stay hydrated. I try to keep myself active throughout the day as this is the only thing that keeps me sane.
You have worked with London's fashion industry, how was your experience?
I haven’t yet worked for TV or films in London but yes, I have walked with Pakistani and Indian designers there to promote Indo-Pak fashion. My experience of walking on the ramp for Adnan Ansari’s show name “Riwayat London” was amazing; from the lineup to, styling, makeup, and designer coordination everything was up to the mark, I started the show for Ulrich Engler, closed it with Fouzia Aman and myself. I also opened the show for Moazzam Abbasi and another for Bangladeshi designer Tanzia Tehsin. It was a two-day show and I loved working with these designers.
How many other projects are in the pipeline?
I have one dance performance to do, one award show to attend, and one more fashion show later where I’m probably stopping or opening one of the designer shows in London. I’m very excited for this new chapter in my life as I get to promote Pakistan on big platforms.
This week Anam Tanveer tells us how she manages to stay gorgeous while keeping it simple!
Dior
You
By Muhammad Adil
The Amber Heard and Johnny Depp trial has been the talk of the town for the past few weeks. It is probably the most viewed celebrity trial since the OJ Simpson trial back in the '90s. The trial has divided the Hollywood film industry as well as the viewers in half - people are picking sides and justifying why. Though the verdict of high profile defamation lawsuit is out and Johnny Depp has emerged as winner, it has undoubtedly affected the careers of both the stars. Let's take a look at how it has impacted the careers of the two celebrities involved.
Fantastic Beasts made a little less fantastic
Johnny Depp has been a Hollywood mainstay for decades; his name usually shares the same breath as acting legends and heartthrobs like
Pete ‘Maverick’ Mitchell returns
Top Gun: Maverick, a sequel that flies past the original with flying colors. Not only do the nail-biting aeronautics, the emotional sequences, and the ‘mission impossible’ feel help it become Tom Cruise’s bestopening flick ever, but it also makes Marvel films look like ‘cartoons’ in comparison.
When the original Top Gun released in 1986, it was considered a recruitment advert for US naval aviators at first. Not only did it become a high-grosser at the box office, it went on to inspire a TV series JAG in the States, and even one in Pakistan - Shehpar. However, thirty six years later, Tom Cruise hasn’t changed, and neither has the audience’s appetite for good cinema, which was evident in the way they thronged the cinemas to watch their favorite captain in action.
Compared to 1986, everything in the new Top Gun flick has become better, bigger, and more ambitious. Be it the opening shots of planes taking off from an aircraft carrier to Tom Cruise’s look and the background score, everything takes Top Gun: Maverick to a new level. The strains of Kenny Loggins’s Danger Zone kick off the movie in a style that keeps on getting better and better with every passing minute. Every scene is so well-knitted with the next one that you don’t feel like looking at your watch or taking a break in the middle.
The story revolves around Pete ‘Maverick’ Mitchell (Tom Cruise) who is sent back to the very institute from where he graduated as a punishment, but the rebellious fighter pilot takes it as a challenge. He has his concerns over the selection of ‘Rooster’ (Miles Teller) who is not only his dear friend ‘Goose’s kid but also someone he considers very dear to
tics that show they sold a bottle of Sauvage cologne every three seconds since
ted against him and his drug dependency might land him in serious trouble. Nevertheless, only time will tell. Amber Heard under the water?
Where Johnny Depp's career has slowed down, Amber Heard's has hit a brick wall with media houses simply refusing to cast her - not for the reasons you would think. The trial outcry from Depp fans has not been the greatest hindrance in her way. The real impediment to Heard's professional success is the insider stories that have started coming out following the trial. Many videos of her being outright racist have
Depp’s
surfaced, and her colleagues, as well as producers, have claimed that she is a nightmare to work with. It is also known that her seminal role as Mera has been significantly diminished. Rumors have also surfaced that she only bagged the role because of Johnny Depp; this paints her in an even worse light. Apart from the 2023 Aquaman sequel, she has not been cast for any other roles and experts in the industry predict she will not be cast in any flick for a long time. According to the grapevine, Heard might altogether lose her role as Mera and it might go to Emelia Clarke.
The Amber Heard - Johnny Depp trial is a case study of why most celebrity couples like to settle their divorces out of court. The lawsuit and its broadcasting might end an actor's career who has been a sweetheart of a generation. It might kill opportunities for a talented young actress trying to fit into the entertainment industry. Prejudice aside, one can only hope the trial has some positive outcome, as both the parties have paid a massive price.
him. When the details of a near-impossible mission are shared with the best fighter pilots in the world, they all forget their differences and learn the tricks of the trade under Maverick.
Does the mission end successfully or not, that’s for you to find out. What I can tell you is that the jacket, the aviator shades, and the bike are there even after 36 years, that too in prime condition. Add to that the ‘need for speed’ and some wellexecuted action sequences in the air and you have a blast from the past, waiting to take your breath away, again!
Top Gun: Maverick is at times predictable but in a good way. Tom Cruise’s character trashes the rulebook because he feels the enemy might have read it, he tells his team that they don’t need to think when in the air and defeats them in a dogfight training sequence just like he was defeated in the
original flick. The scene where ‘Rooster’ (Miles Teller) sings Great Balls of Fire on the piano, sending Maverick back into the past, is well-executed and brings forward the uncanny resemblance between Anthony Edwards’s Goose and his onscreen son to the fore.
Despite throwback references to the original, this film exceeds all limits, especially in the aerial photography department.
Tom Cruise, who is famous for doing his own stunts, doesn’t disappoint even in this film where he flies multiple planes including fighter jets, and makes his fandom proud. Everything from the Cobra Maneuver, the Inverted Maneuver, and the dogfight with the fifth-generation fighter planes are so well done that you feel like watching them again, and again.
The film belongs to Tom Cruise who is there in ‘nearly’ every scene;
he is rebellious-yet-caring, tough-yetaccommodating, mature-yet-cool and keeps his emotions in check, except for in one scene. Seeing him unable to stop his tears from flowing down his face is something many wouldn’t expect from the forever-action hero but he breaks all barriers, like his exploits in a fighter jet.
Miles Teller is a close second for he is the link between the past and the future, whereas Tom Cruise is the present. His uncanny resemblance to his on-screen dad played brilliantly by Anthony Edwards impresses the audience as does Val Kilmer’s cameo, considering the actor who played ‘Iceman’ in the original has been suffering from throat cancer for the past few years.
While Glenn Powell reminds the audience of the young Maverick from the original flick, Lewis Pullman, Monica Barbaro, Jon Hamm, and Bashir Salahuddin keep the audience engaged with their powerful performances.
One must commend the way Jennifer Connelly’s character ‘Penny’ is inserted in the screenplay; the last time she looked so graceful and attractive was in A Beautiful Mind, and that was more than two decades back. She brings Maverick back to reality when all seems lost and is one of the most important aspects of the plot. Had it not been for her character, Top Gun: Maverick might not have been as interesting and beautiful as it turned out to be.
Top Gun: Maverick is director Joseph Kosinski’s best effort so far despite directing Tom Cruise in Oblivion before. He made his debut with Tron: Legacy which came out 28 years after the original Tron. Here he betters that ratio with a 36year gap between the two Top Guns and leaves a mark with exactly the kind of flick the fans were expecting. Go to the cinema with your friends and be ready to punch the air, high-five your friends, and cheer for the good guys, while Tom Cruise makes you realize why cinema is still better than OTTs.
You can now tap your blemishes away with facial filters and photo editing apps in a matter of seconds. Have you ever considered how this is making us more insecure and self-conscious? With social media apps like Instagram and Snapchat offering beauty and augmented-reality facial filters, TikTok providing the 'enhance' setting option, Zoom ensuring flawless skin during videos with the 'touch up my appearance' option, FaceTune allowing users to reduce, enlarge and sharpen their way to perfection, it has never been easier for users to picture their ideal face. In the era of beauty filters and edited imagery, a dramatic impact has been exerted on our self-esteem and ultimately, our perception of beauty.
Our insecurity, before the advent of social media, stemmed from not meeting the beauty criteria set by glossy models on magazine covers. But today, not only are we comparing ourselves to the airbrushed A-listers, but also to our airbrushed fellows, and even against our very own airbrushed selves. Besides viewing an unrealistic image of a star and comparing ourselves with them, we are comparing ourselves against a false version of our own.
It is not new to see our own imperfections in the mirror but knowing what we could look like without our imperfections certainly is. It encourages many to view their own natural appearance as no longer acceptable, so their tolerance for a bump on their nose, acne breakouts, a little thigh bulge, or thin lips is also continually dropping.
Using a little Instagram story filter to make up for a makeup-less face might seem harmless, however, repeated use of such filters often results in creating a new normal for our perception of how we should look. The edited image receives positive reinforcement in the form of likes and comments, which can snowball into a vi-
By Isra ShamsSummer is all about brilliant colours, joyful clothes, playful tones, and unbound hair! It's always a treat if you can enhance your appearance with a bit of makeup, however summers always make it a challenging task.
Many people suffer from skin damage as the temperatures rise. But don't worry, save yourself the heartache and time as we've got some tips and tricks to keep you safe from makeup problems.
cious cycle. People are increasingly losing self-confidence these days and this problem is swelling by the need to show a digitally distorted version of ourselves which reinforces the idea that our beauty in real life is not good enough for likes.
Today, so much of life is lived on the internet, with easy access to airbrushing, which increasingly divorces us from real-
ity due to the manipulation of images and unrealistic expectations of what is normal, thus lowering our self-esteem. Now that everyone has access to their own virtual plastic surgeon, they see what they will look like with a smaller nose, fewer bags under their eyes, and a more defined jawline using a face filter and of course, they are tempted to make their best self a reality. In bargain,
Moisturise
It may seem counterintuitive to use moisturiser during a season when you're likely to sweat a lot, but moisturising is the most crucial thing to do in the summer. Sweating clears clogged pores and removes all moisture from the skin. During the summer, slathering on a generous amount of moisturising lotion after bathing is the finest idea.
ferent
reality, or even consistent can be significantly perilous, giving rise to selfie dysmorphia that slowly leads to body dysmorphic disorder (BDD). Blurring the lines of reality and make-believe, filtered images tend to trigger this mental health condition that fixates people on imagined flaws in their appearance. People with this disorder focus intensely on their appearance or body image, are constantly spending heftily on self-grooming, and believe that others are mocking them.
They continually compare their appearances with others, and seek assurance about their looks from others – this may be in the form of likes and comments too. In addition to causing distress, it can hinder the ability to function as well.
Those who suffer from BDD tend to undergo cosmetic surgery to correct these perceived flaws. Their satisfaction, however, lasts only a few months, leading them to seek additional treatments. Unfortunately, the inability to live up to the edited images can trigger other psychological concerns, including depression, anxiety disorders, substance abuse, as well as eating disorders. Surgical intervention is not advised in these cases as it might not enhance facial features; infact it might worsen the underlying BDD. Instead, researchers recommend psychological interventions like cognitive behavioural therapy and managing the disorder in an empathetic, non-judgmental manner.
If you believe you have BDD, seek help from a mental health professional. Even if you do not suffer from BDD but feel that social media causes you to over-analyse perceived flaws, develop a better relationship with your social media presence. Try to cut back on your screen time and remember that you are so much more than just looks. If you have not begun using filters or editing apps, then don't even go there.
Lastly, curate your feed — if your feed is dominated by people who make you feel bad about yourself, ask yourself why you keep following them. Think about following other accounts that are not image-centric and reinforce positivity.
Make your eyeshadow last longer
In the summer, applying eye shadow on top of foundation or to the naked eyelids causes it to mat up and fall off at the creases. Applying eye primer evenly to the eyelids before applying eye shadow is the best choice. This provides something for the eye shadow to cling to, allowing it to stay in place longer even if the skin becomes oily or sweaty.
Ditch the shimmer
Switch up your blush
On a typical summer day, the heat and sweat will require you to touch up your foundation and blush several times throughout the day. As previously said, foundation creams should be avoided at all costs, but without them, powder blushes become difficult to maintain. For the summer, you might go for gel blushes and stains instead. Finish with a small dusting of setting powder to keep your skin from shining. Using stains or gel blushes can help them last longer and minimise the need for as many touch-ups as traditional powder blushes.
Blot every time If you follow the above advice, you'll probably require less touch-ups during the day. Regardless of the season, you will require it at least once. If you're wearing makeup, it's critical that you bring blotting paper or soft wipes with you wherever you go. Summers cause the skin to exude oils and sweat, which can be seen but not felt. It is strongly recommended that you dab your face with blotting paper and remove all extra makeup that may be moving around due to these secretions in order to maintain the pores open and breathing. This will not only make your skin healthier, but it will also extend the life of your touched-up makeup.
THE TUCK IN
1. Use a square-shaped headscarf. Fold it into a triangle and frame it around your face, and ensure a flawless curve above your forehead. Using a pin or magnet, fix it under your neck with both strands at equal length.
2. Cross each side over the other, and wrap tightly around your neck. Fix it with a pin or magnet in the back.
3. Tuck everything into your shirt.
THE SIDE KNOT
one side back to the front, over your shoulder.
Grab both tails on the side of your head and tie a knot.
THE LOOSE DRAPE
THE TOP KNOT
1. Drape the headscarf over your head. Keep both sides equal.
2. Grab it from your temples, and pull forward, bringing the hem of the headscarf in the back up to the nape of your neck, right before your back hairline.
3. Grab both ends, and cross them over your head, tying once at the top and front of your head.
4. Wrap each side around the knot, until you have your large top knot.
Set the headscarf around your face, keeping one side much longer than the other.
Wrap the longer side around and over your head.
it up on top to create some volume, and back to the front over your shoulder.
3. Take that same strand and bring it around your head once more. Pin it to the top of your head, and secure the fabric in front for the desired loose drape.
4. Tuck the shorter side beneath the front drape.
THE ICONIC WRAP
around your head a little tighter.
Fix it at the top and side of your head with a pin or a magnet.
THE TURKISH WRAP
1. To start off, wear an under cap that goes along with your headscarf.
2. Use a square-shaped headscarf, and fold it in an uneven triangle. Place it on your head, keeping both sides even, styling with a point at the top. Fix it under your chin with a pin or magnet.
3. Take the two hanging sides, cross them over each other and around your neck. Tie them together under the triangular tail in the back, making sure that it is hidden.
THE THROWBACK
THE TURBAN WAY
THE ONE WITH A BOW
Set the hijab around your face, leaving one side a bit longer than the other.
Wrap both sides around your neck and bring them back to the front. Let them meet at the side.
Tie into a bow.
CASUAL AND CLASSY
1. Set the headscarf around your face. Keep one side a bit longer than the other. Secure it under your chin with a pin or magnet.
2. Wrap the longer side around your neck and let both sides hang loose.
This week BOLD picks the best fashion designers from Indonesia who have been acing the game since decades and making waves internationally
Anniesa Hasibuan Designer
Bringing glamour to the Hijab, Ann..... is one of the leading fashion designers from Indonesia. She is the first Muslim Indonesian who participated in the New York Fashion Week. She presented a collection of Hijabs and models worn these fabrics with trousers, suits, kimonos, tunics, and gowns. The colours, fabric, traditional touch and embellishments spoke volumes of the designer's expertise and prowess.
Adrian Gan Designer
Hailing from Sukabumi, Adrian’s passion to learn fashion made him leave his city and move to Jakarta to attend the Susan Budiharjo School of Fashion. As the saying goes ‘slow and steady wins the race', Adrian took years to excel in his field of work, but slowly and extensively, he learned the art to tailor the clothes and embellish them with his beautiful ideas, attractive hues and visual aesthetics. After his inaugural fashion show, he not only won hearts but made a name for himself in the fashion world. Today, he is one of the top-most designers in the country with his signature Orient style.
Poppy Dharsono Designer
Born in Garut, Poppy is an acclaimed fashion designer, actress, model and business woman. She graduated from Lembaga Pendidikan Kesenian Jakarta (now Institut Kesenian Jakarta), she attended the prestigious ESMOD in Paris from 1974 to 1977. In the early days of her fashion career, she used traditional fabric to give a touch of culture. Later, she explored both Indonesian culture and textile.
Zainab
For
The
She
BOLD: What is your most memorable work to date?
ZR: My top 3 would be:
1. Collaborating with State Bank of Pakistan for their women’s day conference.
2. Theatre play Dracula 3. Working in Momina Mustehsan’s music video Bari
BOLD: Anything that you would never let anyone take?
ZR: My mental peace.
BOLD: What do you usually wear in daily life?
ZR: Something comfortable but cutestreetwear mostly.
BOLD: What is your favourite thing in your closet right now?
ZR: My white pants.
BOLD: Hollywood, Bollywood or Lollywood?
ZR: Hollywood.
BOLD: Last call that you made?
ZR: To you - the interviewer.
BOLD: Annoying habits of most of the actors and singers?
ZR: Ego, entitlement and unprofessional behaviour
BOLD: Awards or rewards?
ZR: Rewards.
BOLD: Extremely possessive about?
ZR: My family and friends.
BOLD: What’s your annoying habit?
ZR: Overthinking.
BOLD: What is your biggest fear?
ZR: Losing loved ones.
BOLD: Two things that you don’t understand about the entertainment industry?
ZR: (1)People being fake to each other.
(2)Brands rarely paying on time.
BOLD: What bores you the most? ZR: Small talk.
BOLD: Acting, modelling or hosting?
ZR: In Pakistan, modelling, and abroad, acting.
BOLD: Are you a workaholic or shopaholic?
ZR: Workaholic.
BOLD: Our drama industry needs?
ZR: Better scripts and an element of something different from household drama.
BOLD: Any relationship lessons that you have learnt so far?
ZR: Have no expectations.
BOLD: If you want to get rid of one of your habits?
ZR: Overthinking.
BOLD: What are your healthy habits?
ZR: I try to be as positive as I can and also bring positivity into other people's lives.
BOLD: Your fitness formula?
ZR: A healthy mind.
BOLD: Emotional or practical?
ZR: A bit of both.
BOLD: Romantic or not?
ZR: Romantic.
BOLD: Happiness is…?
ZR: Being satisfied with yourself.
BOLD: Who is your celebrity crush?
ZR: Justin Bieber.
BOLD: What’s the last thing you bought?
ZR: Flight ticket to Lahore.
BOLD: Anything that you took for granted and later regretted?
ZR: Time with family.
BOLD: You get super uncomfortable when...
ZR: With dishonest and disrespectful people
BOLD: First pay cheque?
ZR: Rs4,000 for my TV commercial.
BOLD: Something you miss about the life you had before becoming an actor/singer?
Privacy.
BOLD: Anything that has changed your life? My career and my mindset.
BOLD: One thing that you think people pretend to be in the industry? That they are real.
BOLD: Worst rumour about you? That I have sugar daddys.
BOLD: Who would you go to for relationship advice? My best friends.
BOLD: The best secret keeper in the industry? Me.
BOLD: How do you like to spend the days when you are off shoot? Hang out with family and friends or go to the spa.
BOLD: Three things no one knows about you? If I tell you, it wouldn’t be a secret.
BOLD: First thing you do when you wake up in the morning?
Meditate and respond to work messages.
BOLD: Chai dhaaba or restaurant?
I don’t drink tea. So, restaurants for sure.
BOLD: Have you ever flirted with a fan? I can’t recall
BOLD: What is one thing that always cheers you up when you are upset?
ZR: My friends.
BOLD: What do you think this country needs the most?
ZR: Education and exposure.
BOLD: Going to the past and undoing a mistake or going to the future and seeing how your life would be?
ZR: I don’t want to know what the future holds for me, before time, so maybe undo a mistake.
BOLD: Lessons that you have learnt in the industry?
ZR: Don’t trust everyone.
BOLD: Any director’s movie you would love to sign?
ZR: Quentin Tarantino.
BOLD: Luck or hard work?
ZR: Hard work.
BOLD: Any message that you would like to give to your fans?
ZR: I love you all for supporting me in my journey and always remember that hard work, persistence, patience and positivity can get you anything you want in life!
BOLD: Your skin care routine?
ZR: Exfoliation, a good face wash, sunscreen, moisturiser and taking my makeup off before I sleep.
Krishnakumar Kunnath, fondly known
his
name KK, was not just a versatile playback singer but also an icon in Bollywood. He began his career as a playback singer in 1996 and completed his silver jubilee in 2021, a year before his death. He sang songs for over 300 films and his forte remained tragic and romantic songs, some of which went on to become chartbusters in the first week of their release.
Born on August 23, 1968 in New Delhi, KK started his own rock band before making it into the advertising industry as a singer. He sang as many as 3500 jingles in 11 different languages before entering filmdom and brought all his experience to good use as a playback singer. Although his first song, Chor Aaye Hum from Maachis came out in 1996, it wasn’t until 1999 that he became a household name through Hum Dil De Chuke Sanam’s tragic song, Tarap Tarap There was no stopping from there onwards as KK became a compulsory name when it came to Bollywood films. From Ismail Darbar to Anu Malik, Rajesh Roshan to Vishal – Shekhar, Jatin – Lalit to Pritam, all the big music producers wanted him to be a part of their compositions. His vocals were different from other singers and that’s why he remained original throughout his career.
With songs like Koi Kahay Kehta Rahay (Dil Chahta Hai),Chale Jaise Hawaien (Main Hoon Na), Khuda Jaane (Bachna Ae Haseeno), and Aankhon Mein Teri (Om Shanti Om), KK soon became a popular playback singer in India whose popularity transcended borders into neighboring countries and where Hindi/Urdu songs were understood.
He continued to give hits every year including Awarapan Banjarapan (Jism), Tu Aashiqui Hai (Jhankaar Beats), Zindagi Do
Nearly every successful film in the last 2 decades featured KK as a playback singer and renowned actors like Salman Khan, Shah Rukh Khan, and Hrithik Roshan all performed on his vocals, such was his diversity. He was perhaps the only playback singer in Bollywood who wished to remain anonymous and rarely made TV appearances. He believed that a playback singer should be known for his singing instead of his personality, and that’s why many people hadn’t seen him until he started appearing in TV shows as a mentor/judge or in concerts.
He was nominated for the coveted Filmfare Awards on six occasions but always
His sudden death at the age of 53 came as a shock to his fans, colleagues, and friends.
On May 31, he complained of chest pain while going back to the hotel after his performance in Kolkata. He suffered severe cardiac arrest and was rushed to a nearby hospital where he was declared dead on arrival. He will be remembered for a long time, since voices like his come around only once in a lifetime.
They had nothing in common when they first met – one was a handsome crooner, the other was a skinny monkey – but when an Italian and a Jew joined hands in the 1940s, it was love at first sight, for everyone. For ten consecutive years, Dean Martin and Jerry Lewis ruled America like kings and succeeded in everything be it nightclubs, TV, or films. This book – Dean & Me – talks about their partnership that lasted ten years, and friendship that crossed fifty, and makes you realize that even success is short-lived, if not respected.
Written by Jerry Lewis with journalist James Kaplan, the book isn’t an autobiography of an individual but about a team and how the younger member of that team felt during that partnership. It is an eye-opener for those who in Jerry Lewis’ words had no clue that Dean Martin and Jerry Lewis used to be a team; an interesting book for those who always wanted to know what made the two end their partnership after ten glorious years and a document for those who wanted to know the origin of the two artists who rescued the United States from post-war depression.
Some say that Dean Martin and Jerry Lewis changed the way comedy was perceived in the country, and would have continued for years had they not disbanded. Jerry Lewis, who used to dress up as Carmen Miranda and mime records on stage before he met Dean Martin, elaborates on the reasons why they joined hands in the first place and why they chose to take a definite break in this book.
The way he explains how they met, how he fell in love with the older guy, and why they were such a huge hit in their decade-long association is enough to bring a smile to the readers’ faces. The narration is so ‘Jerry Lewis’ that you can imagine exactly what he is talking about. More than 75% of the book is dedicated to the good old days and the rest is about their life after they went their separate ways, but not once does he blame Dean entirely for the split. He even mentions an incident when someone bad-mouthed him in front of Dean Martin after they had split, and Dean being Dean, reprimanded the man for doing so.
They might have preceded Elvis or the Beatles in the United States, but they were as big as their successors during their ten years together. And the book begins in grand style as well, with Jerry narrating his feelings about the split on their last day together as Dean Martin and Jerry Lewis. It is only after he takes the readers through that fateful day that he decides to go into flashback mode and make everything as interesting as a full-length feature film.
He describes his feelings as well as Dean’s during those glorious years when they were mobbed, patted on the back, and even kissed by the crowd that wanted to have more of them. From doing six to seven shows in a day to playing golf together (once!), the two shared everything and were labeled a national craze. But when they began, they were nobodies, living at minimum wage and wandering around for work, something that a lot of people were doing after the Second World War. How they managed to become popular, that’s what Jerry Lewis discusses in these pages.
All good things come to an end and Jerry Lewis talks about the many issues that led to their ‘separation’. He accepts that he was always making decisions without consulting Dean but that was because he knew that he would approve; he blames Dean for spending money lavishly when he had more mouths to feed; he also talks at length about the reviews their films got where Dean Martin was bashed for no reason, which might or might not have caused a rift between them.
And if that’s not all, he blames the trip to England that changed Dean Martin, and made him bitter for everyone around him, including Jerry Lewis. The only person he didn’t turn bitter to was Frank Sinatra, the one who rescued Dean Martin after the split, and who both of them respected a lot. It was to watch the same Frank Sinatra that the two had to use their clout to get tickets, and when he was among the audience one night at their nightclub, their confidence level was over the moon, says Jerry.
After the split, the two went on to forge triumphant individual careers but wouldn’t speak again for twenty years, according to Jerry Lewis. While Dean Martin became a movie and television star, and Jerry Lewis turned to moviemaking as a writer, producer, director, and actor, they didn’t lose track of each other and kept in touch, without speaking. Jerry Lewis disclosed that he was there when Dean Martin lost his son, and although he didn’t announce himself at the funeral, Dean was happy that his partner didn’t desert him when he needed him the most.
If you read the book from the first page to the last, you will also realize that not even Jerry Lewis knew why the team broke up in the first place. Yes, he recounts many incidents in this memoir that ‘might’ have caused the rift but not even he is sure about that. He discloses that he didn’t approve of Dean’s second marriage to Jeanne because it came too soon after his divorce, but then he was on good terms with his wives; he suspects that Dean’s acquaintances told him to stop playing second fiddle but is not even sure of that reason. No one knows what made Dean Martin skip two important events in their lives and that bugged Jerry Lewis until his death in 2017.
Watching Guy Pearce act opposite Liam Neeson in a Taken-inspired version of Memento was torturous!
By Omair Alavi KARACHIA good director can save a bad script but when both the script and the director are clueless, you get Liam Neeson’s Memory. It’s such an unmemorable film that by the time it ends, no one remembers anything about it. Not even the great Guy Pearce and the beautiful Monica Bellucci are able
to save this sinking ship that could have been salvaged had the makers used some common sense instead of going with the flow.
The main culprit behind this forgettable flick is the director Martin Campbell who seems to have made it in order to fulfill some fancy wish of directing Liam Neeson, otherwise, he could have retired after directing two different actors as James Bond. Since he wanted to keep working, the audi-
ence is the one who suffers the most at the end of 114 minutes. They might have gone to watch Liam Neeson in action but come across as an old guy who forgets everything except firing a gun.
Based on Jef Geeraerts’ novel De Zaak Alzheimer Memory is a remake of the novel’s previous adaptation, The Alzheimer Case, a Belgian flick. However, cine-goers in this part of the world would recall many Amitabh Bachchan movies where he was wrongfully targeted for a crime he didn’t commit and had to crack the case himself, in order to clear his name.
Had that been the film’s synopsis, it would have done well but sadly, Martin Campbell wanted to experiment just like he did with Green Lantern and the audience who still haven’t forgotten him for that fiasco, behaved the same way. It may come up like a cat and mouse chase with the FBI looking for the mysterious killer who seems to do their job for them, but when you add the Memento angle, it loses its touch.
Yes, in the presence of the actor who played the Memento character – Guy Pearce – we have an aged Alex Lewis (Liam Neeson) who is a contract killer – with a weak memory. Call it Alzheimer's, call it forgetfulness, when he does realise that he might be losing it, he tries to quit but his bosses want him on ‘one last job’. When he finds out that the target is a kid, he refuses to go through and someone else finishes the job. And that made Alex Lewis very angry, and
he made it his mission to take down those responsible – despite his weak memory. He also plays mind games with FBI agent Vincent Serra (Guy Pearce) who was trying to protect that girl and is basically after the same bad guys. But when Alex starts murdering the very people responsible for the kid’s murder and makes Vincent aware of his identity, all hell breaks loose. While the law enforcement officers want to save the person who ordered the contract (Monica Bellucci), Vincent – with his weak memory – wants to play Taken despite having detective Linda Amistead (Taj Atwal) and detective Harold Torres (Hugo Marquez) helping Vincent.
Is Alex able to avenge the girl’s murder or is he stopped before he could help the FBI build a case against those responsible, that’s a question for another day. What I can tell you is that the conclusion is only acceptable for those who are die-hard Liam Neeson fans, because only they would have stayed back till the climax. Others would have ‘forgetfully’ left the theatre, never to return
because whatever was happening on the screen was predictable and not something they had not seen before.
Casting Guy Pearce as the FBI agent and then using him to tail Liam Neeson was a huge mistake since Guy Pearce was the guy who actually pulled off that ‘forgetful’ thingy when he was given the chance. Liam Neeson continues to disappoint with his second film of the year and if the 70-year-old improves his role selection, he would end up becoming a joke like many of his contemporaries. Here the only thing that makes him different from Taken is the fact that he doesn’t have a daughter; regrets the kind of work he does for a living and is more confused than focused on the job.
Everything from the screenplay to the action sequences seems to have been written, executed, and acted by people with shortterm memory as well. The Alzheimer-angle is inserted only when the writer wants it otherwise it could have been mistaken for Taken 4. When Liam Neeson was firing the gun, he was fine but when he was in the hospital, it took him hours to realize where he had hidden something that was important to the
case. Don’t laugh but it reminds me of that Johnny Lever movie where he forgot where he hid the loot and was laughed upon, by all.
This film also doesn’t give importance to social evils like the illegal immigration, political corruption and the illicit tapestry of child sex rings that are treated as ‘it happens’ instead of ‘it shouldn’t happen'. Showing the FBI powerless also doesn’t go down well with the audience, especially when they are unable to apprehend a man who was calling them from outside their office! Even the final ten minutes aren’t jaw-dropping but head-scratching, making the film appear abrupt, shallow, and weak. The director who was behind successful flicks like Goldeneye (1995), The Mask of Zorro (1998), The Legend of Zorro (2005), and Casino Royale (2006), could have used all his experience and rescued a bad film from going down. He could have given more screen time to Guy Pearce and Liam Neeson, but he didn’t for unknown reasons.
A project that could have pitted two extremely talented actors from the 90s together ends up as a Liam Neeson vehicle that ‘could have been a contender'.
Heartstopper
Watch! The cutest new series on Netflix, Heartstopper revolves around the love story of Charlie and Nick that will steal and warm your heart! They, along with their friends, discover who they are and what they want to be. If you love teen series on Netflix, this is a can't-miss new release!
Watch! We are quite sure that Ozark fans would binge-watch the final seven episodes of this series as soon as they have released. Those who haven't followed this series must watch it in their leisure time. The series revolves around the Byrde family that gets involved with money laundering. In Season 4, Part 2, viewers will find out what happens after Ruth's terrifying scream and how this family's saga ends. Ozark, finally, reaches an end with its final episode on April 29.
By Isra Shams KARACHIHowever, there are plenty of new shows releasing soon, but the question is: should you add all of these new releases to your watch list? This article will give you a quick sneak peek of what to watch in upcoming months, beginning with the mega release of Ozark , Season 4, Part 2, and what to skip.
Watch! Russian Doll, an Emmy-nominated, comedy-drama series returns with its long-awaited Season 2. It brings back Natasha Lyonne who is caught in the same mysterious time loop, but this time she's joined by a new cast member, Annie Murphy, an Emmy-winning star of Schitt's Creek. Indulge in their world and enjoy the light-hearted comedy!
Elite Season 5
Watch! If you've been waiting for the next season of the Spanish teen drama series, Elite, then your wait is over! In the fifth season of this thriller, teen drama has returned with an exhilarating plot and new characters to thicken the plot. All the mystery and suspense of Season 5 will be carried forward into Season 6, which will be released on Netflix soon.
Selling Sunset Season 5
Skip! There is numerous unscripted content coming to Netflix in 2022, including documentaries, comedy specials, and reality series. However, not all is quality content. If you haven't started watching Selling Sunset, then don't bother. It's not worth the time.
So, what Netflix shows will you watch and skip this summer?
movie
By Ghazala SulaimanLast week, one of the biggest annual film festivals, Festival de Cannes 2022, was organised in Cannes, France. From red carpet moments to style statements, from movies that made it to the festival to the stars spotted at the gala - Cannes Film Festival dominated our social media feeds.
Of course, we (Pakistanis) were clueless that one of our entertainment endeavors, Joyland, was about to be recognized, appreciated, and celebrated at the festival. The nation only came to know about it when Sarwat Gillani's glimpse was caught on the Cannes red carpet, bringing on some desi glam by adorning a saree and flaunting elegant ensembles designed by Pakistani designers.
The presence of team Joyland was a pleasant surprise for the masses back home, for nobody knew anything about the movie. It raised many questions, such as, what was the storyline of Joyland? Who directed it? How was it selected at Cannes? etc.
Another perfectly wonderful surprise was the dazzling win of the film on the red carpet. It bagged the jury prize in the 'Un Certain' Regard category that lauds projects with 'non-traditional' content. It also brought home the Prix Queer Palm, an independently sponsored prize for the best LGBT, queer or feminist-themed film at the Cannes Film Festival.
And thus, Joyland has been immensely cheered by the public. Its international success is spreading joy across Pakistan, especially during the days when the country is struck by the worst of the political turmoil.
A daring love story that received a standing ovation
The credit for Joyland's historic win goes to the young and accomplished Saim Sadiq, a 31-year-old Pakistani filmmaker who previously directed a short film 'Darling' and achieved an award at the
By Hassan Naqvi LAHORE
the
In
-
An array of art work
Speaking to Bol News, acclaimed artist and curator of the exhibition Mariam Hanif Khan said that text plays a role beyond communication. It has a lot to do with one’s identity and expression. Throughout traditions in various cultures text has been seen as both sacred and profane.The significance of text plays a profound role in power play. It has been used as a tool not just to create visions but to see within yourself playing a vital role in movements and petitions.
“In this particular exhibition we look forward to artworks created by 6 different artists from different regions of Pakistan bringing their own distinctive narrative and diversity of how text can be seen,” she concludes.
Artist Imran Ahmed hails from Balochistan. The artist started his career as a signboard painter when he was in eight standard. He firmly believes the the Urdu language is loosing it's significance.
Ahmed maintains that language dies out when we avoid speaking and seeking to learn another language in order to gain social and economic advantages or to prevent discrimination.
“Not only language but also how we write it (font) plays an important role in identifying the region. Same as the national font of Pakistan is Lahori Nasta'liq which is used in textbooks and other everyday documents. I speak in a very deep context about language and I believe that clay and mud play an important role when it comes to identity,” he says.
During the process of making his work, he keeps these two mediums around him all the time. Writing with clay and tools is a very basic step and making something out of it is like playing with your identity. He cuts down words in clay and bake them with hands.
-
“when life is filled with happiness in such time one should constantly thank God and also prove his thankfulness by good acts. Where, life being unpredictable, when one faces troublesome times then he should not just seek forgiveness from God but also give sadqa.”
She picked one of the couplets from the Masnavi and used it in repeated form in her artwork. That’s how she discovered this significant style.
At a time when most films in Pakistan revolve around romantic comedies, the trailer of Kashan Admani’s Carma hopes to break the ice and introduce the cinegoers to thrillers, Quentin Tarantino style. The fast-paced action-packed thriller not only gives new hope to filmmakers who want to explore different genres but also to the audience who are tired of watching the same stuff over and over.
troupe's director, a beautiful transwoman named Biba- essayed by Alina Khan. From here begins their journey of discovering forbidden love, enjoying intimacy much tabooed, marking their acceptance in the society while questioning its hypocritical norms. The movie gives the audience a peep into the transgender culture that thrives in the country.
To screen or not to screen?
Starring Ali Junejo, Alina Khan, Rasti Farooq, Sarwat Gilani, Sohail Sameer, Salman Peerzada, and Sania Saeed, Joyland might never see the light of the day in Pakistan. This movie is creating headlines globally for being progressive and nipping 'misogyny' in the bud. However, various religious groups in the country might not accept its queer and non-traditional storyline. They would demand its immediate ban. Joyland might have the same fate as Sarmat Khoosat's Zindagi Tamasha
For the world, Pakistan would become a country that fails to celebrate its art; and appreciate its entertainment industry. Little do they know that Pakistan is among the first nations to recognize transgender individuals and grant them their much-needed rights?
In 2009, the Supreme Court of Pakistan ruled that transgender people will get their national identity cards as 'third sex'. In 2010, it further ordered full recognition of the transgender community, including free medical and educational facilities with job quotas in every government department.
However, the law that recognizes them as equal citizens with penalties for discrimination and hate crimes is still pending approval in the parliament. Although the law is ready to give them full rights, it is the society that is still dubious and refuses to accept transgender people as respectable citizens. This challenge makes the release of Joyland in Pakistan a wishful dream that might never come true.
Nevertheless, there's still hope; as Saim Sadiq told the press when he received the standing ovation at Cannes, 'Everything felt more emotional because it felt like the start of something.' We are hopeful that one day films like Darling and Joyland will release in Pakistan and that our country will become a safe haven for one of the most vulnerable communities across the globe - the true dwellers of a real Joyland.
“The clay letters were so fragile that I had to take care of them. At the same time, they are fading away, so these letters will fade away with time,” he concluded.
A trained visual artist Mariam Waheed said that text for her has always been about simplifying ideas over complicated ones and even visuals and aspirations that come in the form of emotions and thoughts. Words are tricky since they form a paradoxical relationship with the object/idea/subject they are attached to. As much as they help us understand something, they also limit our perception of things.
“My work here is exploring relationship by taking elements from my daily life, such as using instagram and joining somebody's life or going out for a coffee with a friend and writing something down on tissue paper,” she explained
Qasim Ali Hussain told BOLD that words hold great power for him. They have the ability to create and destroy.
This inherent power bestowed upon words can either be used construc-
tively or destructively; to encourage or discourage, to build or to tear down. Words are made to hear, better yet made to believe, have a significant impact on shaping our identities, especially in our adolescent years.
Using the energy of such words and channelling them positively as a form of catharsis is where his practice comes in.
His work revolves around themes of sexuality, celebration and movement. Reflecting on his personal experience of being bullied.
He maintained that he was interested in language and communication, producing an artistic body of work that visually focused on written text.
“I use text as a tool to make recurring marks, creating textures and patterns. By merging text, colour and paint I release emotional trauma onto the surface; hence, creating illusive visual imagery,” Hussain stated.
For visual artist Sana Nezam repetition is a successful method of memorising information.
“Usually my artworks are based on the concepts of Masnavi of Maw-
Speaking to BOLD, Islamabad based visual artist Shameen Arshad said that her art series are in reaction to the debate of text vs image.
“At what point does a word become a mere design /motif?,”.
Through this artwork she rejects the distinction between image and text as two different modes of communication, she presents them as indivisible.
I use statements such as “This is not Art” and “I write one statement repeatedly and call it art” to make a mockery of the categorisation and the need to explicitly define different mediums of expression."
For her, language plays a very fundamental role in the establishment of Identity.
“My use of the English alphabet has sparked much debate on a sense of hierarchy in the Pakistani community, influence of colonialism, hybridity and the sense of disassociation and distance from one’s own national identity”.
The exhibition will conclude on June 4, 2022.
The trailer launch was attended by the who’s who of the film and music industry in Pakistan, and although Adnan Siddiqui who plays an important part in the film wasn’t present, most of the main cast members were there. From Osama Tahir to Zhalay Sarhadi, from Navin Waqar to Vajdaan Shah, from Umer Aalam to Paras Masroor, everyone was there smiling, because they know that the kind of work, they have done in the movie is groundbreaking.
Said to have been inspired by the work of acclaimed Hollywood director Quentin Tarantino who is famous for his stylized filmmaking, Kashan Admani’s flick revolves around multiple themes, including vengeance, adultery, deceit, and female empowerment. Not only that, it also highlights social evils like child labor, and pedophilia to name a few. Add to that a carjacking, a kidnapping, a murder, and a betrayal and you have a made-as-Hollywood film on your hand that takes place on the streets of Karachi, maybe in your neighborhood.
When the trailer was shown to the attendees, they all wanted more mostly because they hadn’t seen something this over-the-top (in a good way!) in a long time. While speaking on the occasion, director and co-producer Kashan Admani told the audience that the reason they opted for carjacking as a plot had more to do with the rise of carjacking in Karachi than anything else. He also thanked his financers, the actors, and the many people who worked behind the scenes for sticking with him, and hopes that the audience would love the film whenever it is released in cinemas.
Shot in Karachi and London, the film seems to be a revenge saga that would take the audience on a highspeed ride that too under lights, with Zhalay Sarhadi,
The Humsafar-famed Navin Waqar who is making her film debut through this movie also had good things to say about the cast, the crew, and the makers. Osama Tahir and Zhalay Sarhadi who made their debuts earlier also chipped in, lauding Kashan Admani for his vision and execution of that visionary project. Theatre actors Paras Masroor and Vajdaan Shah who play the bad guy alongside Umer Aalam also graced the occasion with their comments that showed that they didn’t make this movie to earn money but to bring respect to Pakistani filmmakers who don’t attempt ‘different’ film because of fear of failure.
Written by Fawad Hai who is also the co-producer of the movie, Carma also features British singer and actor Lili Caseley in an important role, and all scenes featuring her were shot in London. Veteran TV actors Khaled Anam & Arjumand Rahim also have impactful cameos in the film and are integral to the plot, as shown in the trailer.
Another thing that leaves a mark on the audience’s mind is the production quality of the movie. There is a scene in the trailer where a gangster executes a killing at a drive-in theatre, but since there are no drive-in theatres in Karachi, it must have been a huge task creating one just for the sequence. Also, the sequence shown in the trailer where Adnan Siddiqui’s character teaches a younger person to drive a car is quite impressive and makes the audience curious about the film.
The makers have not announced a date for the film’s release but since it's more Hollywood than Pakistani, any date except Eid ul Azha would be great for Carma. It is a good attempt by Pakistani filmmakers and technicians and needs to be released at a time when there is a dearth of films in the cinema, not an abundance of movies.
The
shook the very core of Pakistan’s value system with its much-tabooed portrayal of a man falling in love with a transgenderA unique group art show titled ‘Affirmations’ became talk of the town as it opened at the Art Soch Gallery. The participating artists included Imran Ahmed, Mariam Waheed, Qasim Ali Hussain, Qasim Bugti, Sana Nezam and Shameen Arshad. had a differ ent statement by each artist, however, they all used text as a form of affirma tion or self reflection in their pieces to follow the theme of the show. lana Jalaluddin Rumi (who was a 13th-century Muslim Sufi Mystic Poet, Jurist, and Theologian)" Omair Alavi KARACHI Paras Masroor, and Umer Aalam acting as abductors and Osama Tahir as the abductee. Loaded with adrenaline-heavy moments including a never-before-attempted car chase that might or might not end with a well-executed car crash, the film is likely to raise the bar in every department. From VFX to character acting, background score, and sound design, Carma seems to have spent quality time on post-production, which is reflected in the trailer.