The allure of cinema has always been about more than just flickering images on a screen. For over a century, film has captivated the world by offering a mirror to society, a fantasy escape, and a cultural barometer all rolled into one. But in the modern era, the concept of the “big screen” has expanded and morphed into something far more complex, fluid, and boundary-blurring. As global audiences shift their attention across multiplexes, laptops, and mobile phones, tracking the path of cinema means understanding not just where stories are being told, but how, by whom, and for what audience.

In Pakistan, as in much of the world, this transformation is particularly striking. From the heyday of Lollywood in the mid-20th century to the rebirth of Pakistani cinema in the 2010s, the country’s film and entertainment industries have weathered decades of political turbulence, cultural shifts, and technological change. Today, as the definition of “cinema” stretches across platforms and borders, the Pakistani screen—big and small—is experiencing a creative evolution that refuses to be ignored.

The Revival: A Brief Look Back

To understand where Pakistani cinema is going, it's essential to revisit where it has been. The 1960s and 70s were the golden era of Lollywood. Films like Armaan, Maula Jatt, and Aina became household names. Cinemas thrived in every major city. Stars were national icons. But political instability, censorship, the rise of VHS, and the Islamization of media in the 1980s led to a steep decline.

By the early 2000s, most cinemas had shuttered. The few films produced each year were often low-budget, formulaic, and critically panned. Yet beneath this stagnation, a quiet cultural reawakening was taking place. Directors, writers, and actors who had been shut out of the mainstream began working in theatre, television, and documentaries—honing their craft and waiting for their moment.

That moment came in the form of Khuda Kay Liye (2007), Shoaib Mansoor’s bold and controversial film that tackled religious extremism head-on. The film’s critical and commercial success signaled a change. Soon, other high-quality productions followed—Bol, Waar, Cake, Laal Kabootar—each experimenting with genre, narrative, and form. Pakistani cinema, once dismissed as dead, was back on its feet.

Cinema in the Digital Age

While the revival is laudable, it’s no longer enough to talk about film as something that exists solely within cinema halls. With the rise of digital platforms like YouTube, Netflix, and local streaming services such as Tamasha and SeePrime, content consumption patterns have fundamentally changed.

Filmmakers now compete for attention not just against other movies, but against dramas, vlogs, web series, and even TikTok clips. What’s more, the lines between film and television are blurring. Series like Churails and Qatil Haseenaon Ke Naam—though made for the small screen—have the cinematic quality, narrative complexity, and cultural impact once reserved for films.

This shift has empowered new voices. Independent creators, who once found it impossible to secure funding or screen time, can now build audiences online. Platforms like YouTube have launched careers, revived stand-up comedy, and birthed a new generation of content-savvy artists who understand both storytelling and algorithmic appeal.

Representation and Resistance

An important facet of this evolving landscape is the increasing diversity of stories being told. While traditional cinema often catered to the urban elite or romanticized rural tropes, today’s creators are tackling a broader range of subjects—gender inequality, class divides, mental health, political dissent, and identity.

Joyland, the Cannes-winning feature directed by Saim Sadiq, stands as a landmark moment. Not just for its international recognition, but for its courage in exploring transgender identity and familial conflict in a conservative setting. The controversy it sparked in Pakistan only amplified its importance.

Similarly, dramas like Mrs. & Mr. Shameem, starring Saba Qamar and Naumaan Ijaz, push the envelope on what romantic relationships, masculinity, and companionship can look like. These works may not enjoy mass-market appeal, but they represent a critical undercurrent of social critique and artistic bravery.

What makes this all the more remarkable is that these stories are finding audiences not just at home but abroad. Pakistan’s diaspora is increasingly engaged with local content, and international film festivals are taking notice. This global attention provides both opportunity and responsibility: to showcase Pakistan’s cultural richness while challenging entrenched stereotypes.

The Economic Equation

Despite the creative surge, the business of cinema remains fragile. The COVID-19 pandemic decimated the box office. Many cinema halls, especially in smaller cities, have yet to recover. Film production slowed, and audience habits changed dramatically.

Even post-pandemic, moviegoers are selective. Theaters now primarily rely on blockbuster imports—mostly from Hollywood and India—to draw crowds. Local films often struggle to break even unless released during Eid or supported by aggressive marketing.

Streaming provides an alternative route, but monetization remains a challenge. Ad revenue, brand sponsorships, and limited subscriptions can only go so far. For the industry to thrive, it needs robust infrastructure: better funding models, industry-wide unions, screenwriting labs, and comprehensive film education programs.

Moreover, government policy has yet to catch up. While there have been sporadic tax incentives and grants, a coherent national film policy—one that supports production, protects creators, and promotes international co-productions—is still lacking.

Stars and Influencers: Fame in a Fragmented World

In the old model, film stars were gods. They appeared in print ads, ruled talk shows, and walked the red carpet with unmatched glamour. Today, fame is more fractured. A TikTok creator might command more daily engagement than a film actor. A YouTube skit might reach more eyeballs than a feature film trailer.

Actors like Mahira Khan, Sajal Aly, and Fawad Khan still carry significant star power, but their reach is now amplified (or challenged) by digital counterparts—bloggers, influencers, comedians, and musicians who build followings through authenticity rather than studio polish.

This democratization of fame has both pros and cons. On one hand, it breaks gatekeeping barriers. On the other, it saturates the media space, making it harder for any single project to stand out. Filmmakers now have to not only produce good stories but also master digital marketing, brand partnerships, and online engagement.

What Lies Ahead?

So where does Pakistani cinema go from here? The answer lies in embracing hybridity. The industry must stop seeing the big screen and digital screen as rivals. They are allies in storytelling, discovery, and cultural expression.

A short film on Instagram can evolve into a feature. A web series can become a box office hit. A documentary on a niche subject can spark national conversation. Success will depend not on format, but on bold storytelling and structural support.

At the same time, cross-border collaborations offer rich potential. As political tensions ebb and flow, cultural exchange can act as a bridge. Films that bring together South Asian talent, stories, and resources are already proving effective—from Pakistani actors starring in Bollywood productions to co-productions airing on international networks.

There’s also hope in the younger generation. Film schools are producing skilled technicians, screenwriters are finding their voice, and audiences are growing more discerning. With the right support, the next decade could see a fully matured Pakistani entertainment ecosystem—one that honors its cinematic legacy while boldly venturing into uncharted narrative terrain.

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Conclusion: A Story Still Unfolding

The journey of Pakistani cinema, like the country itself, is full of contradictions, resilience, and reinvention. From the shadows of decline to the bright lights of international recognition, it is a story still in motion.