Growing up in a Pakistani household, the TV drama series had an incredible influence on me, a self-proclaimed WBCD – Western Born Confused Desi.
To this day, I am mesmerized by the captivating performance of Marina Khan in “Tanhaiyaan,” a story of a young girl who lost her childhood following the tragic death of her parents, which led to her older sister stepping into the parental role and fighting to maintain their home and sanity. The slow paced, beautifully written scenes performed in all their simplicity gave a new definition to Pakistani art.
Classics such as “Tanhaiyaan” and “Dhoop Kinaray” projected the simple and intricate culture of Pakistani middle-class life with ease.
In the 90s, my parents were part of the minority Pakistani-Dutch community living in Amsterdam, Holland. They held strongly to each other for support, comfort and familiarity. TV drama series were an inevitable part of our life. We rented videos of dramas, movies/music videos from our local Pakistani halal store. While watching them, we would instantly be transported to a culture so rich and simple, adorned with pure and delicate dialogues.
The now ended drama, “Humsafar” starring the ever-handsome Fawad Afzal Khan and the gorgeous Mahira Khan is still one of the most talked about Pakistani dramas. They delivered their roles with such compelling emotions that it touched the soul of the viewers. There are no frills or extra bells and whistles with unnecessary glamour. Yet, it surprises us with subtle romantic undertones, unexpected twists and a fitting climax with a message. Women can easily relate to the character of Khirad, convincingly played by Mahira, and her sacrifices. Unexpectedly, “Humsafar,” which ran from September 2011 to March 2012 united Pakistanis from across the globe.
It awoke the “Pakistani” in me and I felt a sense of pride to have such an intelligent and well-crafted drama series from my motherland. The series didn’t go unnoticed in India either, where they recently launched a channel to specifically broadcast Pakistan dramas only called “Zindagi.” This has opened up a remarkable connection between the Indian audiences and Pakistani dramas as the channel boasts intense popularity and ratings.
Meanwhile, Mahira and Fawad’s fame has risen to unimaginable heights. They were appreciated for their acting skills and, of course, undeniable good looks. Soon after, Fawad landed a prominent role opposite Sonam Kapoor in the 2014 release “Khoobsurat.”
The recent Peshawar school massacre stirred many emotions. India, amongst other nations, offered their condolences and many Bollywood celebrities took to social media to express their heartfelt sympathies using the trending hashtag #IndiaIsWithPakistan. The renowned actor Anupam Kher penned an open letter to the terrorists describing all that was felt within for many but difficult to put into words. This may be just a letter, but I felt that it had provided a much-needed connection between both countries.
I can never be for sure, but I definitely feel that the popularity of Pakistani dramas in India played a role in humanizing Pakistanis to Indians. Historically, they have always been sworn enemies that have rejoiced in each other’s losses but the relations between Pakistan and India have strengthened through the public’s eyes, literally, as they started accepting and appreciating Pakistani artists.
Fawad is scheduled for two more Bollywood releases in 2015, “Battle For Bittora” opposite Sonam Kapoor and “Udta Punjab” with Kareena Kapoor Khan. Mahira is also planning her Bollywood debut in 2015 alongside Shahrukh Khan, in the upcoming film titled “Raees.” The movies starring these incredible actors will be excitedly anticipated, especially since the fusion of Pakistani and Indian actors becomes the focus of international media.
Naila resides with her husband and two kids in Houston, TX. Born and raised in Holland, she is always inclined to keep up with current affairs around the world. Her everyday life, apart from playing mommy, also consists of Food Blogging on her website: NailasKitchen.com.
“After so Long” is a poetry film created for Simha’s EP, which is streaming on Spotify, Apple Music and Amazon Music. The poem was collaboratively written by Simha, a U.S. native, and Jae, who is based in India, during the 2020 lockdown. “After so Long” was recited by Simha and their parents. In 2022, I directed and produced the film through my studio, Star Hopper. “After so Long” premiered on Nowness Asia in March 2022.
This film is a worldwide collaboration among trans and queer south-Asian artists from the United States, India and Canada. It was recorded, shot and filmed during the lockdown of 2020 and 2021.
Awake at 10 am but out of bed at noon,
I want to be here where I lose myself in these sheets
Glancing through half-shut eyes
At the gold pressing past my window
The glimmer remarks on the ledge of my bed
But the voices are so loud
Like dust collecting in the corner of my room
I am unaware to why I’m still here
With the chilling doubt of the breeze…
I’m swept into lucidity After so long
Mil rahi hoon mein aaj iske saang barso baad,
(Today, I’ll be meeting them after so long)
Koi paata nahi diya tune
(But with no destination sight,)
(What should I do?)
(Where should I go?)
Shayad agar mein chalne lagoon,
(Perhaps, if I keep walking)
Inn yaadon ki safar mein
(Down this road of memories)
Mujhe samajh mein ayega,
(I will find out)
Yeh rasta kahaan jayega,
(Where this road leads)
Inn aari tedhi pakadandiyon pe baarte hi jaana hai,
(Through the twists and turns of this winding roads, I must keep going on)
Mujhe mil na hain aaj uske saath,
(I wish to meet them today)
(After so long)
I feel like I’m retracing my footsteps
From these concrete stretches
To broken cement walls
Chips and cracks forge their way for new designs
I see the old abandoned buildings
That once held the warmth of bodies
Now just hold memories
Supporting the nature’s resilience
In vines and moss
After so long
Dhoondli shishe mein jaaga leli hai
(These isty mirrors have offered refuge)
Bikhri hui laatao ne,
(To these scattered vines)
Zameen pe uchi ghaas pe
(Amidst the tall grass stretching from the ground)
Lehrati kamsan kaliyaa
(The swaying little buds)
Bheeni bheeni khushboo bikhereti
(Spreading honeysuckle scent through the air)
Phir wahi mausam,
(I lose myself in reminiscing, the same season)
(The same heart)
(After so long)
Phir bhi mein chal rahi hoon aaj
(Still, I keep carrying on today)
Khudko khudse milane ke liye
(In the pursuit of my higher self)
Inn galiyo se guzarna hain aaj
(I must pass through these streets today)
Chaalte chaale jaana hai aaj
(I must keep going on today)
Kabhi hum milenge kisi mor paar
(Someday, we’ll meet again, somewhere on this road)
(After so long)
Kabhi hum milenge kisi mor pe
(Someday, we’ll meet again, somewhere on this road)
(After so long)
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Being a teenager is scary. Hormones, high school, trying to fit in — add to it a flesh-hungry demon from the Indian subcontinent and it becomes downright terrifying. At least, that’s what award-wining director Bishal Dutta’s debut feature “It Lives Inside” will have audiences thinking when it hits theaters on Sept. 22.
From the producers of several blockbusters including “Get Out” and “Us,” “It Lives Inside” stars Megan Suri as Samidha. Samidha is an Indian American teenager growing up in a quintessential small town, where she’s one of only a handful of South Asian faces at her school. She has a sweet, hardworking dad (Vik Sahay) and a caring, but stern mother (Neeru Bajwa). Both of them like their daughter home early to make prasad for prayers and insist no one whistles in the house, fearing it’ll attract evil spirits.
Much to her traditional mother’s dismay, when Samidha enters high school, she begins to resist her Indian culture. She prefers to be called “Sam,” and speak English, leaving her homemade lunch tiffins on the counter on her way out the door. Most significantly, she distances herself from her former best friend and fellow Indian, Tamira (Mohana Krishnan)
Tamira has become the center of school gossip carrying around an ominous black mason jar, dwelling beneath the gym bleachers. One day, she corners Sam in the locker room, begging her for help from the “monster” trapped in the jar, but Sam is rigid. Her desire to fit overcomes her emotions. Tamira storms out — and then mysteriously goes missing.
Little does Sam know, her childhood friend’s behavior and disappearance were brought on by the Piscacha — a flesh-eating Hindu demon drawn to negative energy — and Sam’s disbelief has just unleashed its terror back on her.
“It Lives Inside” is a breath of fresh air. It has the nostalgic backdrop of a 1980s teen movie (think “Sixteen Candles” or even “Halloween”) but adds the thrill of an exciting new monster for horror fans, and looks for the final girl.
Audiences have spent decades watching and screaming at faith-based horror stories like “The Exorcist,” “The Conjuring,” and “Carrie,” but “It Lives Inside” is the first of its kind for Hollywood, drawing from Hinduism for its frights.
Now, I can’t lie…when I first learned the story would be rooted in Hinduism, I was nervous. I worried that religion and culture may be used as a gimmick, but I was pleasantly surprised.
Dutta’s approach is reminiscent of Bisha K. Ali’s with “Ms. Marvel” on Disney+. Characters speak Hindi and we see South Asian religious practices, foods, and clothing displayed prominently, in a natural and authentic way that other groups can easily learn and understand. The culture merely rounds out the story, it’s not the main character or conflict.
The Piscacha, feeding on the despondence of its prey, may remind some of Vecna from season 4 of Netflix’s “Stranger Things,” but Dutta offers a fresh angle, alluding to the characters’ negative feelings toward their culture being the source of its power.
He offers South Asian American audiences relatable family dialogues and dynamics, but also steers clear of cliches like showing popular kids as mean or Sam’s American crush unlikeable.
“It Lives Inside” isn’t a horror movie you’ll lose sleep over, but that doesn’t mean it’s without palpable moments of fear.
Thanks to Dutta’s creative shots, smart pacing and sensory visuals, in addition to the emotion-packed acting of its cast, the film successfully makes your skin crawl and your jaw drop on several occasions.
The characters are smartly cast with several standouts. Suri is a welcome new face for the horror genre’s final girl and she delivers her role with the right amount of escalating fear and desperation. Meanwhile, Bajwa leans into hers with the passion you’d expect from a protective brown mom, though, at times, some of her Hindi dramatells come through.
“Get Out’s” Betty Gabriel is also noteworthy as Sam’s teacher Joyce and an early confidant. Her support of Sam was a refreshing break from the “this person must be crazy” trope we see so frequently in demonic films.
All that said, “It Lives Inside” does border on being formulaic. It follows a template and scares we have seen numerous times and ones that have done well historically.
But in its familiarity, it also manages to feel fresh. With its South Asian twist, the film proves that even formulaic horror films can find new life through diversity and inclusivity. It raises the idea that they have the potential to scare wider audiences and tell more spooky stories by exploring new cultures and casts.
While “It Lives Inside” is not perfect — the climax may leave you with a few lingering questions — it is a stylish and well-made film and a welcome piece of mainstream South Asian representation.
Recent past has seen South Asian stars delve into many different genres on television and the big screen, but horror has remained largely untouched. Thankfully, “It Lives Inside” has set the table for some brilliant South Asian-based horror films in Hollywood for years to come.
“It Lives Inside” made its world premiere at SXSW and has made its way through the film festival circuit. It will be released theatrically by Neon on September 22.
September 14, 2023September 14, 2023 3min readBy Marium Abid
Pairs are made in heaven, and who better than the “Made in Heaven” expert crew to bring them together? Gracing our screen after three years, Zoya Akhtar’s brainchild “Made in Heaven” returned to Prime Video on Aug. 10 with seven episodes.
Set six months after the first season, Tara and Karan (played bySobhita Dhulipala andArjun Mathur) return with their original crew to plan magnificent weddings.
Although grand weddings are at the forefront of the show, there are multiple subplots to keep you hooked — maybe even shed a tear or two. The crux of the storyline is still Tara and Karan’s lives as we see them on a rollercoaster of emotions trying to manage their erratic personal lives.
Keeping true to its spell-binding depiction of weddings, love and relationships, every episode explores a challenge that is deep-rooted in South Asian norms and behaviors. With Kabir Batra’s (played byShashank Arora) voiceover — who’s also the photographer and videographer for the Made in Heaven company — this season makes us question whether the core of a marriage is love or flamboyance.
The season-opening leaves you mesmerized and wanting to fall in love; the extravagant set and a glamorous display of high fashion are true inspirations for whenever there’s a wedding in the family. The artistic works Sabyasachi, Gaurav Gupta, Tarun Tahiliani, and many more, steal the show; their trendsetting designs are a sight for sore eyes.
While this season brings forth many new faces as supporting characters, such as Dia Mirza and Sanjay Kapur, we also have some new members joining the original crew of “Made in Heaven.”
Mona Singh enters as Bulbul, wife of Jauhari (played by Vijay Raaz). She is introduced as a domineering auditor but as the show progresses, we witness the many layers of her character unravel; including that of a strong matriarch. One of the most compelling aspects of the show is her fight to save her son — who gets involved in a case of school harassment — and her and Jauhari’s approach and sensitivity toward the situation.
With her outstanding acting, Singh breathes life into the character. She exudes the panache of a businesswoman while perfectly depicting the complexities of a strong woman with a violent past — the mystery of which we learn as we move toward the end of the show.
Bulbul, however, is not the only new character on the show. Played byTrinetra Haldar Gummaraju, Meher is a trans woman in search of love and companionship. With Meher’s character, the makers have brilliantly opened the doors for more inclusive stories to come to the fore.
While each episode is a different story tackling some of the greatest shortcomings of our society, the lives of Tara and Karan remain at the center of it all; their characters evolving with every new challenge that is thrown at them. We see Tara “drop” from her previous known status of being a Khanna to just being Tara. Her story is one of identity, ownership and self-discovery; Karan’s, on the other had, is that of grief as we see him grapple with finding acceptance and drug abuse. Their struggles add substance to their characters navigating the privileged world; gravely reminding us of all that’s flawed.
It might feel a bit preachy and overwhelming at times, especially when two issues are being addressed in one episode. But in the end, it all makes sense…thanks to the extraordinary acting, marvelous direction, opulent sets and impeccable styling. “Made in Heaven” season 2 has to be your next binge-watch.