Diljit Dosanjh is not just a successful Punjabi singer with thousands of fans across the world but has made a name for himself as an actor, be it in Punjabi or Hindi films. He made his Hindi film debut as a police inspector in Udta Punjab, played a successful singer in Phillauri, took the viewers on a trip in Welcome to New York, and in Indian hockey player Sandeep Singh’s biopic Soorma, played the title role with conviction. All these films were released in Pakistan before the import of Indian films was banned in the country, but Diljit Dosanjh had no clue about it until it was revealed to him recently.
However, he has been making inroads in Pakistan’s cinema circuit with his Punjabi films, which are not just clean and family entertainers, but also highly successful. Last year, his Honsla Rakh was so successful in Pakistan that it prompted Diljit Dosanjh to return with another comedy flick with the same director Amarjit Singh Saron. The icing on the cake was the casting of Pakistani actor Sohail Ahmed (known as Azizi from the Hasb-e-Haal TV show) in the title role of Baba in Babe Bhangra Paunde Ne as well as the presence of leading Pakistani producer Hammad Chaudhry as one of the film's executive producers.
The film was released successfully all over the world last week and is doing great business even in Pakistan where HKC Entertainment released it on Dussehra.
Despite his success in Pakistan – both as a singer and as an actor – Diljit Dosanjh remains humble and wants to repay the love of his Pakistani fans by visiting the country, meeting them, and praying at the Sikh holy sites in the country. In an exclusive interview with BOLD, Diljit Dosanjh spoke at length about his latest film Babe Bhangra Paunde
Ne, why he prefers music over acting, and how sharing the screen with Sohail Ahmed fulfilled his lifelong dream. Read on:
BOLD: Indian Punjabi films are quite popular in Pakistan, but what makes you feel that Babe Bhangra Paunde Ne would supersede the success of all preceding films?
Diljit Dosanjh: The other films didn’t have Sohail Ahmed Ji, and that’s what makes it very special to us, and to the people of Pakistan (smiles). When I was growing up, before there was Cable TV or DVDs, I used to watch Sohail Ahmed’s programmes on video cassettes. My dream was to meet him, shake his hand and take a photograph with him because his comic timings and expressions were something me and my friends enjoyed thoroughly. When his name came up during the preparation of this film, I immediately asked my director to make sure that Sohail Ahmed agreed to it, and when he did, my dream to have a picture with him multiplied into a full-fledged film!
What made you say yes to Babe Bhangra Paunde Ne when it was offered to you?
There were a lot of things that made me go for Babe Bhangra Paunde Ne but the most important factor was the presence of Sohail sir. I have always wanted to work with him and actress Sargun Mehta and this film gave me the chance to do that. It is a family-oriented comedy film with a beautiful message and I hope that the audience will have as much fun watching it as we had while performing in it. Anyone who had a little sense of story would have said yes to this film, and had I said no, I would have regretted it later.
No matter where I am in the world, I have a special connection with my fans in Pakistan because we share the same culture, the same language, and the same art
It is said that one shouldn’t meet their heroes, but you did during the making of this film. How was that experience and how did it benefit you and the team?
It was a wonderful experience to share the screen with Sohail Ahmed Ji. I play an average guy who wants to become rich whereas he plays an older guy who is so sick that he might die anytime. My friends and I devise a plan to adopt him in order to scam the insurance company, but instead of getting sicker, he gets better and the con backfires. While shooting the film, we had a great time with Sohail Sahab and if you ask me and Sargun Mehta the leading lady, we were more in awe of him than you can imagine.
For me, watching him speak in real life was a treat because I had grown up watching him on television. Not only did he teach us a lot of things by being himself, but his character was also so funny that many of us were not able to control our laughter. In fact, whenever the team goes out, be it in the UK, the US or Canada, we copy his style and deliver a handful of his dialogues to each other, in his style!
This is the first time you are working with a Pakistani legend in a film that has been released in Pakistan. How are you feeling about it?
Every time an artiste goes on stage, he or she feels as if they are doing that for the first time, and the same thing can be said of a film actor, ahead of the film’s release. I feel exactly like that person who is performing for the first time, since my film has made its way to a new audience, one who knows me but whom I had not interacted with. I would like to add here that I am quite confident of the film’s success because of Sohail Ahmed sir because in our case he is like the elder who takes you around the fair and whom you trust. I know that even if we falter in the film, he would be there to lift us up.
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You do realize that you are quite popular in Pakistan, mostly as a singer. How do you hope Babe Bhangra Paunde Ne will change your image when it is screened on this side of the Wagah?
I don’t plan to change my image at all, because I want to entertain my fans in both India and Pakistan. I know they love my songs because whenever I meet them abroad, they always respect me and shower their love and praise, which is something that I can never forget. I didn’t know my Hindi films were released in Pakistan but it’s good to know that my fans loved them. All I can say is that the Punjabi connection should remain strong and Babe Bhangra Paunde Ne will strengthen that bond.
Music or acting, which field are you more comfortable in?
I am more comfortable in singing than acting, I started acting at a time when nearly everyone was acting (laughs).
However, in this film, I have noticed that even if you are a good singer, in the presence of someone who has the experience, you can be overshadowed.
There were a lot of things that made me go for Babe Bhangra Paunde Ne but the most important factor was the presence of Sohail Ahmed. I have always wanted to work with him and actress Sargun Mehta and this film gave me the chance to do that. It is a family-oriented comedy film with a beautiful message and I hope that the audience will have as much fun watching it as we had while performing in it
Now that you have worked with a Pakistani actor, when do you plan to visit Pakistan?
Of course, I plan to visit Pakistan soon, and pay my respects at the Sikh holy sites in Punjab. I have also heard a lot of good things about Punjabi food which is also on my list when I visit. How can I forget my fans who have never stopped loving me and play my songs whenever they can, I will come and meet them myself once I get the time.
Any message for your fans in Pakistan who are eagerly waiting for your arrival?
No matter where I am in the world, I have a special connection with my fans in Pakistan because we share the same culture, the same language, and the same art. Not only can we relate to the same things, but the talent on both sides is also abundant. I wish them all the best and guarantee that they would love Babe Bhangra Paunde Ne , which is more than a film. It’s a connection between the two Punjabs and a film that will be thoroughly enjoyed by the young and the old. It’s not just a laugh-out riot but a movie with a proper message, which we have tried to highlight through the character played by Sohail Ahmed sir.
It was a wonderful experience to share the screen with Sohail Ahmed Ji. I play an average guy who wants to become rich whereas he plays an older guy who is so sick that he might die anytime. My friends and I devise a plan to adopt him in order to scam the insurance company, but instead of getting sicker, he gets better and the con backfires
While Ali Sethi has enthralled audiences in Pakistan for several years now, it is evident that his appeal extends well beyond the borders of his home country. His hit song Pasoori from the latest season of Coke Studio, which Ali performed alongside Shae Gill, has already amassed over 400 million views on YouTube, showcasing the singer’s global stardom and fan following. In recognition of his impressive body of work, Time Magazine has included the Lahore-born singer in its 100 Next list. This catalogue features individuals who are emerging as leaders of the world and are influencing global trends. Ali took to Instagram to share the news and said how proud he felt to be included in this list. His writeup for Time Magazine was written by renowned Indian writer Amitav Ghosh, who stated that Ali uses classical music to “challenge and expand the notions of gender, sexuality, and belonging.” Ali stated that he was honoured not just to be included in the list but also because “guru Amitav Ghosh” had written about him for the prestigious magazine.
Since the onset of the recent floods which have wreaked havoc across the nation, Pakistanis from all walks of life have contributed what they can to aid those in need. Many local celebrities have also been at the forefront of these relief efforts, and the calamity has seen celebrities from across all platforms launch a host of individual and collective efforts to provide flood relief in this time of crisis. The latest effort to help raise donations for flood affectees was a concert organised by the Arts Council of Pakistan at the Karachi Gymkhana.
The concert featured an impressive line-up of singers like Asim Azhar, the Young Stunners, Aima Baig, Natasha Baig, Ramees, and the Jambrooz Band. People turned out in droves to listen to the performers and support the initiative, especially since the money raised was going towards a good cause. All the money raised by this event was included in the flood relief fund established by the Arts Council of Pakistan, Karachi.
Week after week, Saim Sadiq’s film Joyland keeps adding more feathers to its cap. Ever since the film nabbed the Jury Prize in the Un Certain Regard and the Queer Palm at the Cannes Film Festival, it has continued to garner more critical acclaim. After being shown at the Toronto International Film Festival (TIFF), where it received a standing ovation, Joyland has now been submitted by Pakistan’s Oscar committee as the country’s official submission for the forthcoming Academy Awards. Sharmeen Obaid-Chinoy, the chair of this year’s Pakistan Oscar Committee, said she was hopeful that, “This may just be the year we get noticed! Congratulations to the entire filmmaking team.” The committee also included Ali Sethi, Omar Shahid Hamid, Rafay Mahmood, Samina Ahmad, Jerjees Seja, Bee Gul, Rizwan Beyg, Mo Azmi and Zeba Bakhtiar. Pakistan will know whether or not Joyland has been included in the final list of nominees in the International Feature Film category by December 2022. The official list of Oscar nominees will be revealed on January 24, 2023.
Do Pakistani men learn anything positive from TV drama narratives to unlearn their years of cultural conditioning? As matters stand, we often forget the particulars of even a hit TV show with the passage of time. Their characters, dialogues, or theme of the story all are reduced to faint memories soon after the first airing.
TV serials today are globally recognised for impeccable storytelling, emotionally moving OSTs, remarkable performances and stellar productions, laced with promotional marketing, and PR efforts.
Whether they tackle a social issue or depict trivial matters of everyday lives, some TV serials tug at the heartstrings. TV serials, based a litany of social issues such as workplace harassment, broken homes, etc, depict reality and highlight the burning issues well, but there is still a need to add more sensational elements to garner mass appeal.
Most TV serials, projected as ‘trailblazers,’ end up as anti-hero narratives romanticizing toxic behaviours. They portray a young male hero who deems it fit to stalk, abuse, and force a woman of his choice to marry him under the guise of love. Embarking on the patriarchal track, most TV shows are often disguised as stories of pliability and sufferance.
In place of producing quality TV serials, the focus now has shifted to scoring high TRPs (Target Rating Points) for commercial success by telling tales that feature pseudo glory. Unfortunately, quality narratives have now become a rare occurrence, leaving many to reminisce about the good old days of Pakistan Television (PTV).
TV drama is a medium that cannot be ruled out and it is vital to know what does a common man take away from the stories featured in a TV serial? For men, does a TV drama serve as a lens into deep-seated socio-cultural constructs they have not been exposed to before, or bring about attitudinal change in them?
“A conversation between characters of Fraud, made me think as if girls are taught to plan their whole lives around marriage as a source of happiness and that perhaps not all women want social and financial independence. Dependent on their husbands, if such women are married off to an ‘unconventional’ man who is not able provide them a happier life, he ends up as a villain for them. All the while, he advocates empowerment and the significance of securing a distinct self-identity to his dependant wife,” says one of the male binge-viewers of Pakistani TV shows
“My fiancé likes the TV serial Yakeen Ka Safar because of the play’s female protagonist’s bravery against the odds. He now expresses his wish to see such brave women in real life. Overall, there are many several external and real factors that impact our personality and I don’t think the attitudinal change only be attributed to TV drama only,” says a young female fan of Pakistani TV serials.
By Omair Alavi KARACHI
Hollywood might not be the biggest film industry in the world but it is clearly the most followed, the most organized, and the most loved. Through Miller’s Movie Collectibles, the readers will also get to know that there is no industry as charismatic as Hollywood because it has been entertaining the audience for more than 100 years.
This comprehensive guide talks exclusively about the most ignored aspect of a big-budget production – posters. After the film is released and becomes successful, people talk about the director, the actors, the writers, and others but no one talks about the posters that introduced the film to the world. This large guide concentrates exclusively on posters, mostly from the last century when everything was done by hand, instead of computers. Not only does going through this guide take the audience down memory lane, but it also brings back memories of those films which might or might not have been forgotten.
It would be incorrect to think that this book is just limited to the United States of America since it houses the posters of many international films. In fact, it tells the readers that before Hollywood became a separate entity, the world was full of French and British films which showed the audience the perspective of an outsider. Don’t be surprised to know that people like Alfred Hitchcock and Clint Eastwood owe their success to international cinema and wouldn’t have been able to achieve stardom in the United States, had they not crossed borders for greener pastures. The book is divided intelligently into different chapters which cover genres such as Film Noir, Movie Stars, James Bond, Star Wars, and Disney & Other Animation to name a few. Every poster seems to have a story behind it, which is described in the text alongside the picture of that poster. If that poster is older than fifty years, then it's worth more than its original price, and if it's one of its kind, then it's priceless, to say the least. Even then, every poster has a price which is mentioned in this book for those who are interested. If you think that’s enough then think again, because the book also lets the audience ‘evolve’ once they are done with it, because they move from the black and white era, to the golden era, and finally into the modern era, in one sitting. Be it the posters of musical films or ones that went on to win an Academy Award, every film that has
As things currently stand, men in real life mostly hold stereotyping as how a good woman should behave. They usually do not indulge in the nitty-gritty of the perception of woman as held by the society en masse. They don’t often think about associated gender roles and cling to centuries-old thoughts they tend to inherit about a family life and a submissive housewife.
Revealing her husband’s response to Pakistani drama serials, another woman says, “He forms opinions about characters and story as per his existing viewpoint. If a TV serial portrays such negative issues as domestic violence, he acknowledges it to be wrong. In some cases (e.g. saas-bahu tussle), however, he finds it far-fetched from the reality and fails to recognize it is happening around him. A change of heart or attitude after watching a TV show has never happened.”
It is encouraging to see that new TV serials are based on thought-provoking themes, but such attempts often fail to make an impact if the male viewers are in constant state of denial. As a rule, most stories resonate with male viewers who care about the depth given to characters and their overall portrayal also pay attention to real issues other than love stories.
In general, it is not easy to let go of beliefs and norms one grows up with even if such beliefs are regressive. Since the deeply embedded family values, coveted traditions, and belief systems become a part of one’s personality, seeing things from a different perspective is often a lost cause.
Men in pursuit of finding a different perspective and actively working positively towards improvement in their attitude may find answers in thought-provoking TV serials. However, it is a rare scenario. In most cases, men view TV shows with their existing perception framework often fail to see the reality beyond their existing notions and perceptions about the world. In the end, boys will be boys.
a poster worth discussing gets discussed in this book. From Horror and Science Fiction to Black Cinema and Foreign Posters of U.S. Films, all is mentioned in a chapter of their own, because had it not been for these eye-catching designs, those films might not have achieved the kind of success they eventually did.
For those who believe that the poster of a film isn’t long-lasting, this book is proof that film posters can outlast a film if they are marketed correctly. The posters of their films like Planet of the Apes, Bullitt, Vertigo, and Cat on a Hot Tin Roof are still valid and in demand, because they were created with an observant eye, one that not only kept the traditions of that era in mind but the future as well. Don’t be surprised to see a different kind of Warner Bros logo on the poster of My Fair Lady or to find out that the iconic The Graduate poster wouldn’t have been possible had the first one been approved.
The price range mentioned on the posters might have changed with the passage of time but the value of and the story behind the film posters hasn’t. Just like James Bond, who gets a special chapter for its posters, every major film from the 1960s, 1970s, and 1980s that had a progressive poster gets mentioned here. Jack Nicholson’s Chinatown, Clint Eastwood’s The Gauntlet, or Mel Gibson’s Mad Max, the story behind each and every iconic poster is revealed to the readers here who might remember the poster, but not the story behind its creation.
And then there is the section on other memorabilia, including Press Kits, Pressbooks, Stills, Standees, and Film books, which have stood the test of time. Not only does the book instruct the readers on how to care for and restore a collection if they get their hands on one, but it also explores the world of promotional items through which a plastic drinking cup, released before Jaws 2, a millennium countdown clock to Armageddon or a CD featuring the soundtrack of Bedazzled can also land in anyone’s lap, and make him a rich person after a few years. And if that item – a photograph, an envelope, a letter, or a postcard – is autographed, then the holder might be considered a millionaire even before laying his hands on the money.
Miller’s Movie Collectibles might seem like a routine book talking about films but what it really does is unravel the mysteries of a highly popular collecting era, which began through lobby cards, graduated to photographs, and is now ruling the world through film posters. Not only does it tell the readers how to spot a fake from an original, but also what steps to follow if you want to be known as a collector, instead of being a person who only appreciates a collection.
Global video sharing and online television platform YouTube saw $28.8 billion in ad revenue in 2021.
"Not long ago, everyone said subscriptions would kill ads," said Kevin Krim, head of marketing analytics firm EDO.
"Now, we can see that is obviously not true."
Now with the launch of cheaper, ad-supported subscriptions, the web streaming giants like Netflix, Amazon and Disney+ are expected to bite into the revenue of traditional television channels as the streaming services look toward continued expansion.
After having long-shunned the notion of advertising on its platform, Netflix this year accelerated work on just such an offering as inflation prompts consumers to spend less and competition in the streaming television market intensifies.
The windfall for Netflix and Disney+ could be considerable.
Market tracker Statista forecasts that spending on television ads
globally will hit $159 billion this year.
Insider Intelligence analyst Ross Benes estimates that advertising revenues from streaming could reach $30 billion in two years in the United States alone.
Some streaming television services such as NBCUniversal's Peacock, Paramount+ and HBO Max already feature ad-supported offerings.
But Netflix and Disney+ -- with 220 million and 152 million subscribers respectively -- throwing their hats in the advertising ring could catch the attention of businesses interested in reaching television audiences, analysts said.
Netflix is looking to win over at least 40 million subscribers to its ad-subsidized tier by next year's third quarter, according to the Wall Street Journal.
When the time comes, Disney+ will transition its existing $7.99-per-month subscription tier to the ad-supported version, and the ad-free option will go for $10.99.
Being able to reach Netflix or Disney+ viewers promises to help brands reconnect with audiences that have abandoned tra-
ditional "linear" television in favour of streaming entertainment, said nScreenMedia chief analyst and founder Colin Dixon.
"This actually gives advertisers access to people who they haven't been able to reach in a while, in their most focused viewing time," Dixon said. No matter when viewers with ad-based subscriptions choose to watch a show or film, the commercials will be there, waiting for them.
It will also afford advertisers the luxury placing ads directly with Netflix or Disney+ for viewers around the world, rather than having to negotiate numerous deals with channels or stations in various regions, Dixon added.
These new subscription tiers will put pressure on linear television service providers that have not yet entered into the streaming game, analyst Lawrence said.
Even major US studios such as CBS, NBC and Fox are expected to see TV ad money lured away by the prospect of matching marketing messages with winning content such as "Stranger Things" at Netflix or "Star Wars" at Disney+.
"When Netflix and Disney+ unlock that capability and allow advertisers to access the most premium inventory available on televisions, we're going to go to a full stampede out of linear television and into streaming environments," said Lawrence of Samba TV.
"It will probably drive down linear television advertising value."
Along with reaching viewers wherever and whenever they stream television shows, ads on Netflix or Disney+ can provide marketers with more data than is available from what Samba called "old-fashioned TV," he added.
Streaming television ads can also be targeted at individual viewers, noted Krim.
And, Netflix and Disney+ have a chance to create new advertising models, breaking long-held norms about advertising length or placement, and even involving partners in programme creation.
So far, streaming television services do not seem a threat to digital ad revenue for the likes of Amazon, Facebook, Google or TikTok, with marketers expanding their overall budgets for reaching people online, according to analyst Benes. —AFP
By Inès Bel AibaWASHINGTON
On October 5, 2017, The New York Times published a bombshell investigation into allegations of sexual harassment against one of the giants of Hollywood, Harvey Weinstein, who had until then proven untouchable despite rumours of misconduct.
The article proved to be a watershed moment, triggering what rapidly became known as the #MeToo movement.
Times journalists Jodi Kantor and Megan Twohey wrote about a subject wildly talked about inside Hollywood circles, but never broached in public: that the legendary producer behind "Shakespeare in Love" and "Pulp Fiction" had promised to help actresses' careers in return for sexual favours, had attempted to massage several of them in hotel rooms and forced them to watch him naked, then used his power to silence them.
The two journalists had been working on the article for months, using all their patience and ingenuity to con-
vince the actresses to speak out.
So damning were the claims that it took just days for Harvey Weinstein to be fired from the company that bore his name. He tried to "sincerely" apologize, pleading that he had grown up in the 1960s and 70s, "when all the rules about behaviour and workplaces were different."
His lawyers, for their part, strove to minimize the damage. But the movement had been launched, and the fall of this once all-powerful mogul, who had organized fundraisers for the likes of Hillary Clinton, was dizzying.
On October 10, another article followed in the New Yorker magazine, written by Ronan Farrow, who had also spent several months investigating.
Italian actress Asia Argento and two other women claimed to have been raped by the co-founder of Miramax studios.
As the days went by, others began to open up. One by one, leading actresses came out with their own stories, or pledged their support to victims.
Then on October 15, a tweet from actress Alyssa Milano
lit the fuse on social media.
She too had read the avalanche of articles that followed the revelations about Weinstein.
"If you've been sexually harassed or assaulted write 'me too' as a reply to this tweet," wrote the star of "Charmed."
Her post triggered a deluge of testimonies from people from all walks of life, many of whom said they were sharing their experience in public for the first time.
In the wake of the Weinstein revelations, the #MeToo hashtag spread around the world like wildfire: #quellavoltache (this time) in Italy, #EnaZeda in Tunisia and #AnaKaman in Egypt (me too).
Milano helped ignite the movement, but the original #MeToo hashtag was coined 11 years earlier, in 2006, by African-American activist Tarana Burke. She had begun using the expression of "empathy" as a way for victims of sexual violence, especially those in marginalized communities, to establish connection amongst themselves, and to say it out loud to the world.
"Initially I panicked," Burke later said. "I felt a sense of dread, because something that was part of my life's work was going to be co-opted and taken from me and used for a purpose that I hadn't originally intended."
Milano, who said she was unaware of the genesis of the phrase, quickly gave the activist back what was hers.
"What the #MeToo campaign really does, and what Tarana Burke has really enabled us all to do, is put the focus back on the victims," Milano said in an interview on "Good Morning America."
"This is just the start, and I've been saying from the beginning it's not just a moment, it's a movement and movements take time," said Burke, with Milano at her side, in a 2017 appearance on "The Today Show."
Weinstein was sentenced in 2020 to 23 years in prison for sexual assault and rape.
Kantor, Twohey and Farrow were awarded the Pulitzer Prize in public service for the reporting that brought him down -- and triggered a global reckoning. —AFP
KARACHI
Most people are not aware of the incredible benefits offered by aloe vera, a short-stemmed, thick plant that stores water in its leaves and is commonly found in our homes. Before we dive into its heaps of benefits, we must know the right way to extract aloe vera gel directly from the plant. If you have an aloe vera plant in your home backyard, pick off some of its larger leaves or stalks and cut them off at the base. Alternatively, you could remove the leaves from their base.
Next, cut the thorns from the edge of each leaf with a sharp knife. The stalk is then cut in half, with the gel side facing up.
You could also cut the leaf open. Get the gel into a container by scraping it out with a spoon. Refrigerate the gel when it has been fully extracted. You can also purchase aloe vera gel from the market if this procedure seems too extensive for you.
The green cactus-like plant that grows in your backyard is the foundation of a multimillion-dollar industry that includes everything from beauty products to nutritious juices, diet supplements and many more. Aloe vera has gradually made its way into every product we use. But what is it that distinguishes this wonder plant in particular?
1) A natural skin moisturiser
Unlike typical, store-bought moisturisers, aloe vera gel does not create a greasy film on the face or skin when used as a moisturising gel. It accomplishes the opposite and unclogs pores and softens the skin.
It is suitable for use as an aftershave treatment. This is because aloe vera gel keeps the skin hydrated and heals razor burns as well as minor nicks and scratches. It aids in the treatment of dry skin.
2) Slows the signs of skin aging
Aloe vera gel is high in vitamins C and E, as well as betacarotene and thus contains anti-aging qualities. Additionally, it has anti-inflammatory and antibacterial qualities that aid in removing age spots and wrinkles from the skin. The body's ability to produce collagen, as well as the flexibility of the skin, are both improved because of it.
3) Soothes sunburns
Aloe vera gel is renowned for its calming, cooling effects, and it feels wonderful on your skin when you have a sunburn. It may or may not actually hasten the healing process of a sunburn, but it does aid with redness and peeling while easing pain since it is abundant in minerals and antioxidants. Applying aloe vera gel also creates a protective layer for the skin and aids in moisture retention.
4) Fights acne
Aloe vera offers relief to those who struggle with acne.
With its antibacterial characteristics, it treats pimples gently and without harming the skin. As an antiseptic, it provides protection from bacteria. Gibberellins and polysaccharides in aloe vera promote the development of new cells and lessen inflammation and redness. It also acts as an astringent, shrinking pores and draining out excess sebum, germs, and grime.
5) Regrows hair naturally
Aloe vera is an excellent treatment for both men's and women's scalp issues. Aloe vera gel helps in promoting new hair development by increasing blood flow to the scalp, much like it does for skin regeneration. Additionally, it offers vital vitamins and minerals. Proteolytic enzymes in aloe vera assist in regenerating damaged scalp skin.
6) Cures dandruff
Dry skin, fungal infections, and overly greasy skin can all be treated with aloe vera. These are all major factors that contribute to dandruff. It is one of the natural remedies for dandruff.
7) Lightens blemishes
It is a natural remedy for stretch marks and acne scars because aloe vera has the ability to increase skin cell reproduction, reduce redness, and combat skin inflammation. Add little lemon juice to the gel mixture to cure freckles and fade age spots. It is an excellent home remedy for radiant skin.
8) Reduces puffiness and dark circles
Remember how aloe vera promotes collagen production?
These are useful for more than simply acne scars. In addition to that, they promote the growth of new skin and lessen general facial irritation, which improves your appearance and makes you glow.
Caution is advised if you have never used aloe vera before. It is generally considered safe and good for sensitive skin. There is, however, a possibility that some people may be allergic to the plant itself. Begin by applying a tiny bit of the herb to your skin somewhere else than your face. Apply it on your arm or thigh. To test for an allergic reaction, wait at least 24 hours. You can start using it in higher concentrations if you do not find anything wrong.
A plant of aloe vera is a great addition to any home. If you do not already have one, plant one today and reap all its benefits!
AFP
Over 2.3 billion children and adults, as per global estimates, are living with obesity. It means every two in three adults in the world are overweight, while the count will be three in four adults by 2060, according to a new study published in BMJ Global Health.
The peer-reviewed paper, published in BMJ Global Health, provides the first country-bycountry estimate of the economic impacts of obesity, a major driver of other non-communicable diseases such as cancer, diabetes and heart conditions.
Rising levels of obesity, according to the study, are set to cost the world economy 3.3 percent of GDP by 2060, slowing development in lowerincome countries and making it hard for people to lead healthy lives. It also included projections for the numbers of people in each country who are overweight or obese — defined as a body mass index in adults greater or equal to 25 and 30, respectively.
The conditions currently cost 2.2 percent of global GDP, and the biggest increases are expected to be seen in lower-resourced countries.
China, the United States and India are projected to experience the highest impact in absolute terms -- costing the countries $10 trillion, $2.5 trillion and $850 billion, respectively.
As a proportion of the economy, the worst impacted countries are set to include the United Arab Emirates, where obesity would account for 11 percent of GDP, and Trinidad and Tobago at 10.2 percent. The report analysed both direct costs, made up primarily of medical fees, and indirect costs from premature mortality and lost productivity. Previous papers had only focused on
the former.
"Less visible costs constitute a drag on development," says Nugent, vice president of non-communicable diseases at non-profit research firm RTI International.
"We could be developing and growing faster, and improving people's livelihoods faster, if we were not sort of experiencing this lower productivity, early mortality."
Population and economic growth are the primary drivers of obesity prevalence — as countries increase their incomes, they experience changes in diet to highly processed foods. In rich nations, aging populations are also a major factor as older people find it harder to lose weight.
Francesco Branca of the World Health Organization (WHO) says there were a number of ways to respond to the obesity epidemic and avoid the worst outcomes.
"Having policies that, for example, shape the pricing of food — so the foods which are contributing most to obesity, such as drinks or foods high in fat and sugars need to be priced higher," he said.
Other steps include better labelling — and in addition to prevention measures, better access to counselling and drug therapies as treatments.
The report stressed the economic costs of high weight and obesity "are not attributable to individual behaviour" but rather a consequence of social and commercial priorities shaping environments. As such, responsibility for tackling the issues lies with those in power.
"We need to recognize that obesity is a complex disease with complex interactions and solutions and stop blaming these conditions on individuals, stop the stigma," says Simon Barquera, director of Mexico's Nutrition and Health Research Centre.
Victoria Beckham, the former Spice Girl, is seeking the highest validation of the fashion world with her first runway show in Paris in September last week.
Turning to French experts to overhaul her struggling business, the 48-year-old Victoria — who has been away from the catwalk for two years — joined Paris Fashion Week after a long stint presenting her clothes in New York and a brief dalliance with London.
Her sophisticated office and evening wear has been a surprise hit with fashionistas ever since her debut show in 2008, confounding those who expected her to be another celebrity dilettante.
But despite having 250 global outlets selling her clothes, 30 million followers on Instagram and one of the most famous husbands in the world, Beckham's company has always struggled to turn a profit.
In a bid to turn things around, she has recruited top French talent: her chairman is Ralph Toledano, expresident of the French Federation for Haute Couture and Fashion, and her CEO is Marie Leblanc de Reynies, former lead buyer at Paris shopping mecca Printemps.
"Victoria is not from the fashion world. She threw herself into the business and at a certain point, she needed to structure, organise and bring some order to the house, which is what we've been doing for the past four years," Toledano told AFP.
Chic evening wear was always going to struggle during the pandemic, and reports this summer showed the label had £54 million in debt, and had to cut prices and staff to stay afloat.
But a successful cosmetics line, launched in 2019, has helped trim losses, and the team hopes to break even in the coming months.
Beckham has called her personal fame a "doubleedged sword" for the business.
"Are other brands under the scrutiny that mine is under every time we file (results)? Absolutely not," says Beckham.
"But how many other brands have the luxury of getting the attention when they want it?"
Her team is upbeat: "We've defined a strategy, combined two pret-a-porter lines, found the right pricepoint... now it's time to enter the big league," says Toledano.
That means Paris — throwing Beckham into the loftiest and most scrutinised of fashion weeks.
"She's a bit intimidated, she's someone very humble," according to Toledano.
"There's a lot of expectation. For someone who entered fashion without training, there's a hope that Paris will be a sort of crowning moment," he added.
Paris Fashion Week is a way for Beckham to validate her status "as a designer and not just a celebrity," says Benjamin Simmenauer, a professor at the French Institute of Fashion.
"London and New York are more focused on the commercial side of the business, as well as "audacious young designers", while Paris "has a more creative and historical" side", Simmenauer said.
It was a chance for her to shed the last of her image as an ex-Spice Girl, he added.
"Presenting in Paris is proof that she is truly dedicated to the project, not just trading on her past and present celebrity... that she has an original and relevant vision." —AFP
Mithi, a historical town located in the Tharparkar district of Sindh, has produced several renowned personalities in the field of art and music. Performers and musicians like Mai Bhaghi, Fozia Soomro, Sodhal Faqeer, Sadiq Faqeer, Kalu Faqeer, Mai Soni and Rajab Faqeer made their mark in the field of classical and folk singing, going on to become household names in Sindh.
However, in an era where contemporary music is drifting away from classical traditions, singers like Abbas Faqeer still possess the ability to attract young listeners towards folk music through their soulful voices. Alongside Rajab Faqeer and Nazakat Faqeer, Abbas is regarded as one of the modern crusaders of Sindhi classical and folk music. He has established his distinct identity in the field of music within a short span of time by singing poems written by eminent Sindhi poets such as Hassan Dars, Shankar Sagar, Mumtaz Nohriyo and Saindad Sand. Born on April 13, 1994 in Mithi, Abbas is the son of famous musician and vocalist Hussain Bux Faqeer, who had a deep attachment to poetry and music, and was a prominent figure in Sindh during the 1980s.
Abbas remembers his father with great fondness, saying: "My father had a significant command over the science of music, particularly on the vocal nodes as he could sing different genres of music with ease".
When asked about his inclination towards folk singing, he said that it would be impossible for a person to avoid the impact of something they are constantly surrounded by, adding that he saw the big names of the Sindhi music industry meeting his father with utmost respect and reverence from a very young age. This feature of the musicians he encountered early on drew Abbas towards this field.
Abbas Faqeer has been given the Lok Virsa Award, SAGA Award and various other honours for his contributions to the field of art and music
By Omair Alavi KARACHIThe team behind Forrest Gump, Cast Away and The Polar Express is back, and this time they have brought their own version of one of the most famous animated classics with them. In this live-action version of the animated Disney classic from the 1940s, director
Robert Zemeckis and his frequent collaborators
Tom Hanks and Alan Silvestri literally bring back Pinocchio to life, and the audience couldn’t be any happier. However, updating a near-perfect film had its drawbacks, and that’s why Pinocchio isn’t able to break the jinx that seems to follow Disney’s live-action retellings around.
The Plot
Pinocchio follows the adventures of a puppet who is aided in his quest to become a regular boy by Jiminy Cricket (voiced by Joseph Gordon-Levitt).
The latter plays the narrator of the story as well as the toy boy’s conscience and it is through him the audience finds out that Italian woodcarver Geppetto (Tom Hanks) created Pinocchio (voiced by Benjamin Evan Ainsworth) in the image of his deceased son, and wished that he becomes a real boy, without realizing that his wish might come true.
When a Blue Fairy (Cynthia Erivo) breathes life into Pinocchio, she tells him that if he acts brave, truthful, and selfless, he might actually become a real boy, and before leaving appoints Jiminy as his con-
science. From there onwards, Pinocchio’s journey into the unknown begins, where he first bonds with his creator/father and then tries to fit in with kids of his age, but when nothing seems to go in his favour, he loses his way and ends up with the wrong crowd. How the marionette manages to escape from those who wanted to use him instead of nourishing him and returns to his father, and what lessons he learns during his stay away from home make this story a classic, since it teaches everyone from young to old about the difference between right and wrong, and why a clear conscience is necessary to move ahead in life.
The Good This live-action version of Pinocchio follows nearly the same basic narrative as the more than the 80-year-old animated film and features many moments that make the audience feel nostalgic. Some of these moments are even memorable, and one of them appears as soon as the Disney logo leaves the screen, when Jiminy Cricket pops into the frame, singing ‘When You Wish Upon a Star', now a part of the Disney logo. Add to that the fantastic Tom
Talking about the renowned musicians who were mentored by his father, Abbas says: "I always say with immense pride to everyone that singers like Ustad Sadiq Faqeer, Ustad Kareem Faqeer and Piyaro Faqeer learnt the fundamentals of music from my father.” He further adds that singers like Sadiq and Mai paved the way for many young singers like him to enter the orbit of folk music.
"I remained affiliated with Ustad Rajab Faqeer who polished my skills,” Abbas reveals.
His most famous songs include Sara Thak
Lahi Waya, Jawani Jiyan Ludi Ahay, Piyar ji
Pehreen Nazar, Hik Gulabi Har Jehri Chokri, Hosh Natho Hit Ker Sambhale, Chha Budayan
Ta Mon Laye Chha Ahin, Har Jaye Preen Har
Mehfil Me, Rooh Razi Karan Jamshore Halun, and many others. Answering a question about the role of the Sindh Culture Department when it comes to promoting art and music, Abbas said that for the past few years the culture department had introduced different events to give a platform
to the hidden talent of Sindh. Annual festivals at shrines provide a golden opportunity for emerging singers to put their craft on display in front of massive gatherings.
When asked about his favourite singers, Abbas says: "I listen to all legendary singers of the subcontinent, but prominent among those are Mehdi Hassan, Ghulam Ali, Lata Mangeshkar, Madam Noor Jehan and Hariharan. However, I haven't kept myself away from modern music, and sometimes I listen to that too.” Abbas has also performed abroad in places like Azerbaijan, the UAE and Saudi Arabia, where he garnered great recognition. He has been bestowed with the Lok Virsa Award, SAGA Award and various other honours for his contributions to the field of art and music. Shedding light on the importance of folk music, Abbas believes that: "This genre simply purifies our souls and enlightens our feelings for nature". He hopes that the younger generation will continue to cherish, preserve and uphold the traditions of classical folk music in Sindh.
story that was penned way back in 1883.
The Bad It’s always hard to improve on something that has been around for decades, and that’s one of the biggest issues with this live-action version of Pinocchio. The story takes place in the 1880s, but somehow the cuckoo clocks feature various Disney characters like Dumbo, and Maleficent to name a few, which looks odd, weird, and queer at the same time. Similarly, there was no need to tweak the plot in some places (especially the climax) because it only confused the audience, instead of entertaining them. Some people might not agree but Jiminy Cricket looks odd in this version of the classic animated flick. The previous one had a soothing personality but this one seems like a different person altogether. Using Keegan-Michael Key as the voice of 'Honest' John might have seemed good on paper but it wasn't executed the way it could have been. Both the scheming red fox and his bumbling sidekick seemed to come out of Sesame Street rather than being a part of a live-action flick which sort of disappointed those audiences who were expecting a high-end product and were looking forward to Pinocchio's first mishap in the real world.
Despite using Cynthia Erivo as the Blue Fairy, Luke Evans as the Coachman, and Giuseppe Battiston as Stromboli, there seems to be something missing for which the director and the producers are to be blamed. They could have used a real goldfish and a cat for the characters of Cleo the Goldfish and Figaro the Cat and could have avoided the use of actor Chris Pine’s name altogether, but they didn’t and that gave the impression of their lacklustre approach that didn’t help the film and its outcome at the box office in any way.
The Verdict 2.5/5
Disney’s live-action films in recent years from The Lion King, Aladdin, and Dumbo might have introduced those characters to the younger audience but they haven’t been able to do well at the box office.
Hanks as Geppetto and you have nothing to worry about, regarding the script, plot, and narration because the Forrest Gump star doesn’t do substandard stuff.
As for the amalgamation of live-action and CGI, nobody else does a better job than Robert Zemeckis who has been doing that since the 1980s. Everything from running away from home, trying to become famous without thinking about the consequences to the nose-growing fiasco is all incorporated in this live-action version which features a masterful score and songs from veteran composer Alan Silvestri who has always been a part of Robert Zemeckis’ camp, be it Back To The Future, Who Framed Roger Rabbit, or even Forrest Gump. The pace with which this narrative moves forward is also commendable since it doesn't bore the audience despite being based on a
Pinocchio fails to break that jinx as well because it relies heavily on CGIs than on the storyline, which was the main attraction when Carlo Collodi’s story was first brought on screen. Yes, Robert Zemeckis is one of the best directors in the world, and Tom Hanks is amongst the most talented actors, but they weren’t able to recreate the magic that helped animated films become classics in the first place. Although it still carries a message for the young and the old and doesn’t deviate from the plot, it doesn’t have that effect on the audience that the original Pinocchio had on its loyal viewers back in the day.
In the 2000s, a rich panoply of talent emerged in the realm of Pakistani English fiction. Ironically, a vast majority of these authors were published in other countries, such as India, the United States and the United Kingdom. This is largely because Pakistan’s publishing infrastructure has struggled to measure up to global standards. In the past, fiction writers who approached publishers in Pakistan often encountered a cold, unprofessional attitude. More often than not, publishers used to express their reluctance to publish fiction in English as there is a rather limited readership for it in the country. Other publishers would urge writers to obtain confirmed pre-publication orders for their work from distributors. Most writers who had been greeted with such requests gradually discovered that these were merely an indirect means of rejecting their work.
It would be wrong to assert that publishing houses operating in the country have done little to foster a thriving literary culture in Pakistan. The Oxford University Press (OUP) Pakistan, the country's largest publishing house, has hosted the Karachi and Islamabad literary festivals, which have made notable contributions to the literary landscape. A string of small-scale publishers have also provided a platform for new fiction to be published in the country, even though many of them lack the desired infrastructure to provide editorial and marketing input.
Yet, publishers in other countries remain a popular choice among Pakistani writers as they provide a doorway to an international audience. A few years ago, copies of these books were readily imported by bookstores from India at cheaper rates and sold in Pakistan. Local writers seldom had to think about releasing Pakistani editions of their books as the Indian editions were easily available in the market.
Things took a turn for the worse in August 2019 when the Narendra Modi-led BJP government in India illegally annexed Indian-occupied Kashmir. The then Imran Khan-led government decided to ban Indian imports in a show of solidarity to the people of the occupied valley. As a result, books imported from India became collateral damage in a political crisis.
Did these developments alone fuel a resurgence in Pakistan's publishing sector? However, the seeds of change had been sown a few years earlier and new presses had already carved out a niche for themselves in the indigenous market. For instance, Liberty Books, a major book distributor in the country, had already set up Liberty Publishing. As early as October 2018, Liberty Publishing had released a few books in collaboration with Indian publishers and they were keen on strengthening its publishing arm.
The import ban with India provided an indirect impetus to Pakistan’s publishing industry. Local writers gravitated towards home-grown publishers as either a last resort or because they finally recognised the value of publishing Pakistani editions of their work after India became an unreliable option. Publishing companies rose to the occasion and made consistent efforts to fill the vacuum. Many of them obtained rights to reprint books by Pakistani writers that had been taken on by Indian publishers before the ban. A few of them even went on to publish original fiction. With time, new players entered the industry and the publishing sector in Pakistan gained a fresh momentum.
However, we cannot forget that Pakistan's publishing industry is still in its nascent stages. Local publishers have a long way to go as many of them still haven't fully grasped the value of quality control – a vital ingredient that can help them compete with global trends. Many books that have been published
locally are in desperate need of sound editorial input. At the same time, concrete marketing strategies need to be chalked out to find a wider audience for these titles.
The authors These views have been echoed by various Pakistani writers who have been published in both India and the home market.
Haroon Khalid Akhtar, the award-winning author of Melody of a Tear, tells BOLD that publishing their books in India had provided Pakistani authors in English with some key advantages until 2019.
"There were once very few publishers for English fiction in Pakistan," he says. "When I started looking for a publisher [in Pakistan] for Melody of a Tear, I could not find any, ex-
"Publishers in Pakistan have very poor distribution that affects sales."
Khan is of the view that the fault lies in part with bookshops as well. "They are just not that keen on stocking locally published books." Many book stores also have their own publishing divisions and give priority to their own imprints in their respective shops, he adds.
"A lot of work is yet to be done," he says. "The Pakistani publishing industry would do well to follow the British and American publishing industries."
According to Khan, there also needs to be "greater transparency about royalties" that are paid to authors.
However, the author believes local publishers ought to be commended for "rising to
the occasion when the trade ban with India so ruthlessly brought the book industry to a standstill".
The publishers
After the import ban was imposed, publishers in Pakistan have found themselves busier than ever, but have had to reckon with copious challenges.
Sara Danial, a publishing professional, tells BOLD that the country's publishing sector was already in its infancy and was "unequipped, unstructured, and marred by low profit margins". Despite these challenges, the industry had to find "novel ways" to continue to remain in business, she added.
Danial claims the import ban has led to "the sharing of literature in a unique way" as Pakistani publishers have now acquired reprinting rights from India to ensure that books are available for readers in Pakistan.
She adds that Pakistan publishers have in recent years provided opportunities to authors who had not been picked up by their Indian counterparts.
"Of course, economics dictates most businesses and publishing is no different as it is all about the numbers," she says. "Having said that, Pakistan has a long way to go. We need better editors, an ecosystem of literary agents, marketing channels, distribution networks and larger print runs to capitalise on cost savings and build economies of scale. The fact remains that publishing is not a money-minting business."
Danial believes that if the ban persists and books continue to be printed locally, publishers will have to find ways of selling more books. "To sell more, we must build a culture of reading," she adds. "Pakistan, tragically, remains a nation of dying readers."
Liberty Books director Sameer Saleem tells BOLD that authors have benefited considerably after local presses decided to publish their books. "Indian publishers usually have a long queue when it comes to publishing and Pakistani authors would often have to wait for their book to be given priority," he said. "Local publishers, however, give priority to Pakistani authors."
Even so, Saleem believes that publishing has become a difficult undertaking in the local market. More immediately, paper prices have skyrocketed owing to the increase in the dollar rate, which has affected the quality of paper that is used in books.
"At this stage, local publishers have received no support from the government," he adds.
Safinah Danish Elahi, who heads Reverie Publishers, is of the view that her publishing venture is merely "a drop in the ocean" and hopes it can continue to make a ripple over time.
cept for one in Lahore. However, they did not provide any editorial services to writers, let alone an advance."
Akhtar's first novel found a publisher in India mere months before the import ban was introduced.
"The novel had to be reprinted in Pakistan as the demand for it had soared but the stock was limited [owing to the import ban]," he adds.
In 2021, Akhtar decided to find a local publisher for his second novel The Liar's Truth. Liberty Publishing, which had printed the Pakistani edition of his debut novel, eventually went on to publish his second work of fiction.
"It proved to be an efficient experience," he says.
Akhtar believes that publishing Pakistani fiction in English is considered "a risky proposition".
"The choices are limited for a Pakistani author," he adds. Even so, Akhtar claims local publishers are on a journey that Indian publishers embarked upon many years ago.
"Since 2020, improved editing facilities and author coordination services are being put in place," he says. "Our local publishers have a lot to learn in terms of marketing a book internationally and through influencers [on Instagram]. But our industry has slowly and finally started to move in the right direction."
Awais Khan, another Pakistani novelist, shares similar concerns. His debut novel In the Company of Strangers was published locally because his Indian publisher wasn't able to send copies of the book to Pakistan.
"While publishing with a local press has made the novel very accessible, there have also been plenty of challenges," says Khan.
"Reverie has published 10 titles so far," she says. "All of them have been well-received while three more are in the pipeline for this year."
While Elahi remains optimistic about the future of publishing in Pakistan, she points towards a few "roadblocks" that have caused problems for local presses.
"People don’t buy enough," she says. "In addition, a lot of readers critique Pakistani writing and believe it will never meet international standards as English is our second language. However, I don’t agree with this. We have immense potential and have been able to produce excellent literature in the past and present."
She believes that sustainable solutions can be found within our existing publishing infrastructure. Elahi also plans to collaborate with small American presses by obtaining reprinting rights to their titles.
The challenges within Pakistan's publishing sector has also been battered by global pandemic and the crippling economic crises that have gripped the nation.
"Covid-19 brought things to a standstill in the publishing sector," says Raheela Baqai, OUP's marketing director. "The currency devaluation and inflation have also made things difficult. The prices of books now have to be adjusted in relation to the rise in paper prices."
Baqai asserts that at a time when people are struggling to purchase basic amenities, it is difficult to expect people to buy books.
Pakistan's publishing industry may have gained the necessary impetus, but a concerted effort needs to be made to overhaul infrastructural facilities and bring them at par with international standards.
Local publishers have a long way to go as many of them still haven't fully grasped the value of quality control – a vital ingredient that can help them compete with global trends
Pakistan's publishing industry may have gained the necessary impetus, but a concerted effort needs to be made to overhaul infrastructural facilities and bring them at par with international standardsBy Hasnain Nawab KARACHI
The minute I entered Niilofur Farrukh’s stately residence it became apparent to me that carrying out a conversation with her would prove to be a challenge — through no fault of her own. The truth of the matter is that her home, as one would rightly expect, boasts of a collection of artwork which would put most galleries to shame, and I am easily distracted by captivating art. Nonetheless, I persevered. Seated adjacent to a Shakeel Siddiqui painting characteristic of his hyper-realism, Farrukh and I found ourselves discussing the state of Karachi alongside the art that it produces.
In many ways, Farrukh’s decade’s worth of work as an art interventionist, curator and writer is of little surprise when one learns that stalwarts like Ali Imam and Bashir Mirza served as her mentors. This, coupled with a childhood spent attending mushairas and growing up in a house where politics and art often converged as the central topics of discourse over dinner meant that Farrukh’s fate was sealed. “I began writing because I felt that was my forte. Everyone aspires to be a painter, but you know your limitations fairly early on, and I felt there weren’t enough people writing about art at the time,” she says. When I inquire about the changes she’s witnessed in the landscape of her profession she adds, “It was frustrating being a writer in the 1970s and 1980s since there weren’t many forums one could write about art. Things are both better and worse now. People know more about art now due to the internet, but the number of forums available for good art writing have shrunk.”
Niilofur Farrukh is convinced that this artistic crusade remains of paramount importance – especially in Karachi, and for Karachi. In many ways, the artists participating in the biennale hope to help preserve the soul of the city by giving voice to its fears and desires
Farrukh helped rectify this dearth of engaging platforms available for writings pertaining to art by teaming up with Rumana Husain and Amra Ali to launch Nukta, a contemporary art magazine which aimed to redefine the Pakistani reader’s relationship with art. According to Farrukh, “The reader should always learn something new and should never be underestimated. Nukta was a part of this initiative because we wanted to create a discourse.” While the magazine ran for 10 years, it was eventually discon-
tinued because “conditions in Pakistan were not conducive to keep the magazine going.”
“I’ve had this long trajectory of trying to expand the space,” Farrukh says, “Sometimes it works and proves to be a success, and sometimes you feel you left something behind and hope that someone else will pick up that baton and run with it.”
But, undeniably, Farrukh’s greatest contribution to Karachi, and perhaps the country as a whole – the Karachi Biennale – has proven to be a resounding success. As the
managing trustee of the biennale, she has helped spearhead one of the most significant and desperately needed artistic endeavours the country has seen in recent times. Since biennales have come to become regular occurrences in other countries, the idea of importing the concept to Karachi seemed like a logical step to Farrukh. She is of the opinion that the “biennale is simply a format, and it’s not a euro-centric idea. Its content and vision can be embedded in a space or an individual. The biennale has over the years become more loosely structured, and it can be instrumentalised as well. The reason we chose the biennale format is because it gives us a structure; it happens every two years, it will be about art, and its content and themes can vary. Hence, how the artists connect with the audience continues to change.”
For the trustees, the desire to give Karachi its own biennale was largely born out of a deep-rooted love for the city. In a howling, hostile city like Karachi, you’d be forgiven for thinking that artists are engaging in a battle which they are destined to lose; that they will inevitably be swallowed by the tide which has engulfed and crippled this metropolis on so many varied fronts. Yet, Farrukh is convinced that this artistic crusade remains of paramount importance – especially in Karachi, and for Karachi. In many ways, the artists participating in the biennale hope to help
preserve the soul of the city by giving voice to its fears and desires.
“I’ve lived in Karachi my entire life!” Farrukh exclaims, “I’ve felt for the past 40 years that now maybe it’s time that we, on an individual level, should contribute towards uplifting the city”. In that respect, the biennale serves as an attempt to not only recapture the lost elements of Karachi but also to help shape a vision for the city’s future. “When I was growing up Karachi was a peaceful city, welcoming and diverse. We want those qual-
ities back, which is perhaps why we do what we do and why the biennale hopes to address the youth especially,” Farrukh adds. For Farrukh, the idea of the biennale is intrinsically linked to how she feels about her city. “Karachi has the potential to be a peaceful city,” she tells me, “Karachi welcomed everyone, all artists. This was a space where you could experiment with new ideas since it was not bound by any traditions or cannon. That’s what attracted entrepreneurs, writers, and artists to the city. My generation
remembers that. You feel sad that the Karachi you knew is rapidly expanding and becoming abrasive, and no one is there to care for it. So, bringing art, the city, and the people together became our mandate.”
While lamenting the lack of art museums and regular public discourse around art, Farrukh remains hopeful that the biennale will help the masses engage with art on a more personal level, saying, “There are many challenges, but that is what makes the experience special. We aren’t simply given a state-of-theart museum and an open cheque-book.” With the third instalment of the Karachi Biennale (KB22) just around the corner, Farrukh is eager for visitors to see what KB22 has in store for them. Faisal Anwar – a hybrid artist an interactive producer who works in both Canada and Pakistan – is serving as the curator of this year’s biennale, which will be exploring the intersection between technology and art. When it comes to selecting a curator, Farrukh reveals that the questions the board has to ask are “how competent is the individual, do they have a unique vision and way of looking at the world, do they have a vertical connection to the city and a sense of the people?”
Karachi welcomed everyone, all artists. This was a space where you could experiment with new ideas since it was not bound by any traditions or cannon. That’s what attracted entrepreneurs, writers, and artists to the city
What has also set the Karachi Biennale apart has been the locations it utilises to display the artwork, with the NJV School, Jamshed Memorial Hall, NED University (City Campus), and VM Art Gallery being some of the sites which visitors will be able to visit over the course of KB22. Talking about discovering new spaces for the biannual event, Farrukh says, “I think that’s what really excites me about the biennale!” But it hasn’t always been smooth sailing. The state-backed censorship and destruction of Adeela Suleman’s work at the 2019 Karachi Biennale left many wondering whether the curator and organisers could have done more to support Suleman at the time. Reflecting on what occurred three years ago, Farrukh reveals, “You look at it and understand that we live in a country that is highly complicated, one which offers no recourse when such problems arise. Over here, unfortunately, such things happen – it’s a part of living here.”
Farrukh admits that working on the biennale is a constant learning curve due to the sheer scale of the undertaking, stating, “You learn things on multiple levels. One is the fact that you should never underestimate the public. A civilisation that is this old has a tremendous intuitive understanding of things. I find it fulfilling to see youngsters attend the biennale with great enthusiasm. That gives you the energy to keep going despite all the things that can go wrong in a biennale. Nobody’s perfect. Things go wrong, but you have to take it in your stride”.
With the latest iteration of the Karachi Biennale almost upon us, I ask Farrukh what she hopes this biennale can give to the people of the city. “The biennale should serve as a vehicle to connect with the community through art,” she responds, adding, “It’s been a tough road. You have to climb the mountain, get the thrill and then move on. Right now we’re just at the base camp.”
Destined to be one of the most divisive films of the year, Marilyn Monroe biopic
"Blonde" finally lands on Netflix in the first week of October after more than a decade of troubled production.
While there is almost universal praise for the visceral lead performance by Ana de Armas, critics cannot agree whether the uncompromising, nearly three-hour film is an artistic tour de force or another cruel layer of exploitation perpetrated against the 20th century icon.
For ID magazine, "Blonde" is "guttural, instinctive, anguished filmmaking that bends space, time, and every cinematic tool at its disposal in service of attaining emotional truth".
Or viewers might take the position of the New Yorker's Richard Brody, who called it "ridiculously vulgar", seeing the endless torment that Monroe experiences on-screen as "a special kind of directorial sadism".
There are certainly no punches being pulled by Australian director Andrew Dominik in his adaptation of the hit semi-fictional book of the same name by Joyce Carol Oates.
From the trauma of a mentally unstable and violent mother, through her rape at the hands of a studio boss, to a particularly sordid scene with President John F Kennedy, Monroe's life is depicted as one of relentless abuse and anguish.
Dominik spent 11 years trying to get the film made, and has credited the #MeToo movement against sexual assault with finally generating interest in the story -- though he reportedly fought long and hard with Netflix over long
running time and graphic scenes. Armas told reporters at the Venice Film Festival, where the film premiered this month that she had to go to "uncomfortable, dark and vulnerable" places for the role. "She was all I thought about, all I dreamed about, all I could talk about. She was with me, and it was beautiful," she said.
The crew filmed in the real locations where Monroe was born and died, with Dominik saying the shoot "took on elements of a seance". It is a star-making turn for Armas, who worked for months with a vocal coach to overcome her Cuban accent and find a voice that could express Monroe's character as well as her own unique intonations.
"On the first day of filming, I went home with this sense of awe that I had the privilege of actually working with Marilyn Monroe," costar Adrien Brody, who plays husband Arthur Miller, said.
Dominik's films have often proved divisive. Many saw his previous biopic, "The Assassination of Jesse James by the Coward Robert Ford" starring Brad Pitt, who serves as a producer on "Blonde", as a poetic masterpiece, but just as many found it dull and pretentious, and it flopped at the box office.
Dominik is unlikely to be bothered, however. "Blonde" is "a demanding movie," he says. "If the audience doesn't like it, that's their problem. It's not running for public office."
NPR were among several outlets saying the film is "an exercise in exploitation, not empathy".
But Vogue said a lot of the initial shock may fade over time.
"History will be kind to 'Blonde', a Hollywood biopic in real anarchy mode... (which) in time, could be considered a masterpiece." —AFP
Titled ‘Looking Inward and Outward,’ Abdullah Qureshi’s latest solo presentation opened its doors to the public at the Sanat Initiative in Karachi. Qureshi, who is a multidisciplinary artist, curator, and educator, has been around for sometime. Rooted in traditions of abstraction, his artwork incorporates gestural, poetic, and hybrid methodologies to address autobiography, trauma, and sexuality through painting, filmmaking, and immersive events. Drawing from childhood memories, everyday surroundings, and intimate encounters, interior objects, abstract landscapes, and faceless portraits are recurring themes in his two-dimensional work. Qureshi’s third solo exhibition in Karachi, it consists of paintings created in Toronto and Lahore between 2021 and 2022. The title and various images in the show reference Audre Lorde’s poems, Who Said It Was Simple (1973), A Litany for Survival (1978), and Never to Dream of Spiders (1997). Qureshi's work has been exhibited internationally and he has conducted lectures, paper readings, and artist talks around the world.
After the success of its latest exhibit MMXXII, Full Circle Gallery is putting another group show on display for Karachi’s art lovers. Titled ‘Beyond Your Limits,’ the exhibition opened on October 7, 2022, and is curated by the visual artist Rameez Abdul Rehman. The title of the show has been inspired from a poem by Idrees A. Khan, and Rehman believes that it embodies the vision of the artists and also reflects their relationship during the collaboration. The show attempts to showcase the freedom of the artist across various mediums, and hopes to be both jarring and thought-provoking, irrespective of the size or scale of the artwork. Some of the artists included in this group show are Aimen Ahmed Khan, Muhammed Sami Siddiqui, Yusra Taqi Allawala, Zahra Arif Rasheed, and Lujane Vaqar Pagganwala. The group show will be open for the public till October 16, 2022.
A printmaking exhibition which pays homage to Rabia Zuberi, ‘Narratives of Peace, Love and Tolerance’ went on display for the public on October 4, 2022. Curator Romila Kareem invited artists to celebrate and respond to themes that underpin Zuberi’s extraordinary life and work; ideas of balance, magnanimity and love. A collaboration between the Karachi School of Art Printmaking Department and Chawkandi Art Gallery, the exhibition includes the work of Asma Hashmi, Hyunju Kim, Meher Afroz, Rabia Zuberi, and Yasmeen Zahra Salman, to name a few. Zuberi was at the helm of Karachi’s longest-running art school, and Kareem believes that her life was one of creativity, mentorship and hard work. Hence, Kareem invited artists who admire and share Zuberi’s values to be a part of this exhibit to pay homage to her unique legacy.
