Who is Abu Aleeha? Pakistani Film Director Changing the film industry.

Q&A: Zain Zaidi (The Wire Pakistan) Interviews Abu Al-Aliya

Host: Zain Zaidi, The Wire PakistanGuest: Abu Al-Aliya, Renowned Filmmaker, Writer, and Poet

Zain Zaidi (The Wire Pakistan):Assalamu Alaikum, Abu Aleeha. It's a pleasure to have you here. You’re known for your impactful work in the industry. How did you first land in the film industry?

Abu Al-Aliya:Wa Alaikum Assalam. Thank you for having me, Zain. My journey into the industry wasn’t straightforward. I was initially studying, and after my father’s death, I took up a job to support my family. My education was in journalism, and I spent around 8-10 years working in investigative journalism. Over time, I became involved with various political stories, including those related to MQM and Karachi. The turning point came when I met Ali Raza Abdi, a martyr whose influence on me was profound. He pushed me towards the creative side of storytelling, advising me to focus on content rather than the political side. From there, I made my way into the world of film and TV. The rest, as they say, is history.

Zain Zaidi:That’s an interesting journey! You mentioned working with MQM and investigative journalism. How did your political background influence your approach to filmmaking?

Abu Al-Aliya:The politics of Karachi and the socio-political landscape deeply influenced my storytelling. In Pakistan, almost everyone has an opinion on politics, whether they are in a barber shop or a coffee house. This has always intrigued me. I try to bring that pulse of society into my films, which is why the stories I tell resonate with the average Pakistani. I believe politics and society are interwoven in our lives, and cinema is a powerful medium to reflect that.

Zain Zaidi:Now let’s talk about the film industry today. What’s your perspective on the current state of the industry in Pakistan? How do you see it evolving?

Abu Al-Aliya:Well, the film industry is going through a transformation. The rise of multiplex cinemas is a good sign, but they are still few in number compared to Bollywood. The Pakistani cinema faces competition not just from Indian films but also from OTT platforms. As for the audience, they are increasingly drawn to content that resonates with them, but ticket prices are an issue. The common man can’t afford a Rs. 1000 ticket for a movie. That’s why many films fail, because they don’t attract the masses. However, if tickets were priced lower, more people would attend, and the industry could thrive.

Zain Zaidi:You mentioned ticket prices and the changing nature of cinemas. Do you think the Bollywood ban has affected our cinema’s growth?

Abu Al-Aliya:Absolutely. When Bollywood films were banned, Pakistani films saw an opportunity to grow. However, distribution remains a challenge. While Indian Punjabi films are still widely distributed, the local industry struggles with proper distribution channels. Films like Gadar 2 and Pushpa have made huge profits in Pakistan, proving that there is demand for good content, but pricing is key.

Zain Zaidi:It’s a tough market to crack. What do you think about the business side of filmmaking? What’s the revenue model for investors?

Abu Al-Aliya:Filmmaking, like any other business, requires a model. The key to success lies in understanding the market and having a clear strategy for revenue. It’s not just about box office numbers; it’s also about securing airbone rights, satellite rights, OTT platforms, and even merchandise. Even if a film does well in limited releases, the long-term revenue comes from these additional channels. As a director, I try to ensure that the films I work on are not just good in terms of creativity, but also in terms of their commercial viability.

Zain Zaidi:That’s a solid approach. Let’s talk about Javed Iqbal, a film that gained a lot of attention. What was the story behind its release, especially the censorship issue?

Abu Al-Aliya:Javed Iqbal was a challenging film to make. We worked with a small budget, and the story was based on a real-life serial killer. The film premiered in Karachi and gained popularity quickly. However, when we took it to Lahore, we found out that the Punjab government had banned it. The irony was that after the film was cleared, they banned it on the grounds of its content being too dark for Pakistani society. But we didn’t back down. The film was later showcased at the UK Asian Film Festival, where it received critical acclaim. It was a huge victory for us, even though the domestic release faced challenges.

Zain Zaidi:That’s an incredible story of perseverance. How do you feel about the future of Pakistani cinema?

Abu Al-Aliya:I’m hopeful for the future. There are many talented filmmakers emerging, and with the right distribution channels, I believe the Pakistani film industry can thrive again. However, we need to focus on creating content that resonates with the masses, and we also need to address the issue of ticket prices. If we can make films affordable for everyone, the industry will see a revival.

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Zain Zaidi: And finally, any exciting projects you’re working on?

Abu Al-Aliya:Yes, I’m working on a project called Once Upon a Time in Karachi. It’s a story about an average man’s struggles in a city like Karachi—his work life, his relationships, and the pressures that come with them. It’s a very relatable story that I believe will connect with a wide audience. I’m excited about it, and I hope to complete it soon.

Zain Zaidi:In terms of competition with Bollywood, how do you think the budget of Pakistani films compares to that of Bollywood productions? Can our industry compete with such high-budget films?

Abu Al-Aliya:The budget disparity is a significant challenge. Bollywood films often have much higher budgets, enabling them to create spectacular visual experiences, hire top-tier talent, and promote their films extensively. In contrast, most Pakistani films operate with much smaller budgets, which limits the scope for large-scale productions. However, that doesn’t mean we can't compete. The key is innovation, creativity, and using local talent effectively. We've seen that films with strong storytelling, even on a modest budget, can connect with audiences. It's not always about the scale, but the emotional impact and authenticity of the content.

Zain Zaidi:That’s an insightful perspective. Shifting gears, you’ve worked on a wide variety of projects. What do you think about the business side of filmmaking? What’s the revenue model for investors?

Abu Al-Aliya:Filmmaking, like any other business, requires a model. The key to success lies in understanding the market and having a clear strategy for revenue. It’s not just about box office numbers; it’s also about securing airbone rights, satellite rights, OTT platforms, and even merchandise. Even if a film does well in limited releases, the long-term revenue comes from these additional channels. As a director, I try to ensure that the films I work on are not just good in terms of creativity, but also in terms of their commercial viability.

Analysis:

Abu Al-Aliya’s interview offers valuable insights into the challenges and potential of the Pakistani film industry. From his unique journey from investigative journalism to filmmaking to his views on the evolving market and the importance of affordability for cinema-goers, he outlines the necessary conditions for success in the industry.

He stresses the importance of not just creative content, but also understanding the business side of filmmaking, highlighting the need for robust revenue models that include OTT platforms, merchandise, and satellite rights. His candid thoughts on censorship, especially regarding the Javed Iqbal controversy, emphasize the difficulties filmmakers face in creating socially relevant content within the confines of restrictive policies.

Moreover, Abu’s optimism about the future of the industry is refreshing. His belief in the potential for Pakistani cinema to thrive, especially if the distribution channels are improved and films are made affordable for a wider audience, underscores the need for reform in the industry. His upcoming project, Once Upon a Time in Karachi, promises to offer a relatable narrative for local audiences, further pushing the boundaries of storytelling in Pakistan.

This interview serves as a call to action for industry stakeholders to focus on both creative excellence and business acumen to ensure the growth and success of Pakistani cinema in a competitive global market.