On “Gumm”: Horrors of a dagger, a wolf, and health insurance problems
In “Gumm” (2019), Asad grows angrier and gains several lives as multiple attempts are made on him through perhaps diseased daggers. He manages to escape, pay for the operation,
“Carma”: The winner of the massacre is the one who never sought it out
“Carma” (2022) is a Pakistani love letter to Quentin Tarantino.
“Sherdil”: Desi-fication should come with more intention
The 2019 Pakistani film, “Sherdil,” takes the buddy movie template right of the printer.
On “Mehrunisa V Lub U”: A message hidden behind tropes. Very hidden.
A core aspect of the film involves a husband, Ali (Danish Taimoor), attempting to help his wife, Mehrunisa (Sana Javed), who grew up in the mountains, adjust to her new life with h
“Na Maloom Afraad 2”: Ignoring history is ignoring yourself
“Na Maloom Afraad 2” demonstrates implicit biases that can take away from the plot.
“Wrong No. 2”: A quiet hero in an outlandish world
“Wrong No. 2’s” portrays the one of the best reveals where, after a moment of naturalism and groundedness, a hero’s love declaration loses impact when seeing his father’s
“Wrong No.”: Duplicating metanarratives could involve more variation in the duplicates
“Wrong No.’s” storyline touches on every beat it’s expected to, with some missed opportunities in selling them.
“What Will People Say”: The bait and switch of patriarchy
"What Will People Say” is certainly not for the faint-hearted, but its themes are far from gratuitous. Too many films relating to family violence hinting or resulting in honor ki
“Intezaar”: Qabool Again
“Intezaar” is a 2022 Pakistani film that finds love in uncomfortable, but sometimes endearing ways in a story about an adult daughter and her elderly father accommodating her m
“Baaji”: Baji needs a break
The negative attention Meera get about not being able to keep up is implicated to be because of her age, where she directs her attention (and at times, an obsession) to making a n