Sayfulloeva Umida Fayzulloevna | Uzbekistan

Today, people encounter an enormous amount of information every day. Books, articles, social media, videos, podcasts, and many other forms of media have made knowledge more accessible than ever. Among these forms of communication, cinema holds a unique position.

Films are often viewed mainly as a form of entertainment or a way to spend free time. However, their role can extend far beyond entertainment. By combining images, sound, music, dialogue, acting, and editing, cinema can present information not only through words, but also through visual and emotional experience.

For this reason, films can influence how people understand events, relate to characters, and view certain issues. Cinema does not shape a person’s worldview alone, but it can become a powerful part of the process.

Making Knowledge Visible: Cinema and Children’s Understanding

One of the clearest examples can be found in animated films created from folk tales and legends.

When we explain abstract ideas such as good and evil, honesty and dishonesty, or courage and fear to children, words alone may not always be enough. Young children are still developing their ability to understand abstract concepts, so they may find it difficult to fully grasp the deeper meaning of a story simply by listening to it.

Animation can make these ideas more concrete.

Through the actions of characters, their choices, and the consequences of those choices, children can observe the difference between right and wrong. Colors, facial expressions, movement, music, and sound can further strengthen the emotional meaning of a scene.

In this way, a story is no longer simply something a child hears. It becomes something the child can see, feel, and experience.

Cinema, therefore, does not merely repeat a story. It transforms the story into a visual experience.

From Frames to Emotion

This process is not limited to children. Adults also receive and interpret information through images and emotions.

The power of cinema lies partly in the way several forms of expression work together.

A frame establishes what we see.

A camera angle influences the perspective from which we see it.

Lighting and color create atmosphere and mood.

Music and sound strengthen the emotional impact of a scene.

An actor’s facial expressions and body language can communicate feelings without words.

And editing connects separate images and helps shape the way viewers understand a sequence of events.

As a result, viewers do not simply watch a film. They also interpret and emotionally respond to it.

This emotional experience is one of the ways cinema can influence human thought. What we see and feel on screen can remain in our memory, raise questions, and sometimes encourage us to reconsider the way we understand a particular subject.

Understanding Complex Ideas through Film: The Example of Interstellar

Christopher Nolan’s Interstellar provides an interesting example of how cinema can make complex ideas easier to imagine.

Concepts such as space, time, gravity, and black holes can be studied through scientific books and encyclopedias. These sources may provide more detailed and precise information, but for some learners, such concepts can be difficult to visualize.

A film can approach these ideas differently. Through visual effects, sound, music, acting, and storytelling, Interstellar connects scientific concepts with a human story.

The audience does not simply observe ideas about space. They also experience the fear, hope, separation, and difficult choices of the characters.

This demonstrates one of cinema’s distinctive strengths: a film can turn information or an abstract idea into an experience that the viewer can imagine and emotionally connect with.

This does not mean that a fictional film can replace scientific sources. Rather, it can make complex subjects more accessible, create curiosity, and encourage viewers to explore them more deeply.

Cinema in the Age of Fast Information

Young people today live in an increasingly fast-moving information environment. Short videos, quick news updates, and visual content have become an important part of everyday media consumption.

This development has both advantages and disadvantages.

Short and visual formats can make certain information easier to understand in a limited amount of time. At the same time, content that is constantly shortened and simplified may leave less room for deeper analysis and reflection.

Therefore, the question should not simply be “books or films?”

The more important question is what kind of content we create and how we use it.

Historical films, documentaries, science films, and meaningful fictional works can introduce viewers to unfamiliar subjects, encourage curiosity, and raise questions that may lead to deeper learning.

Cinema can therefore complement other forms of learning rather than compete with them.

Cinema as a Conversation with Society

The influence of cinema can also extend beyond the individual viewer. Films can create opportunities for society to discuss important issues.

Through cinema, filmmakers can explore social problems, personal struggles, historical memory, cultural identity, inequality, war and peace, family relationships, and the challenges faced by young people.

Sometimes statistics can show us how large a problem is. A film, however, can show us what that problem may feel like in a person’s life.

A meaningful film does not simply say, “This is a problem.” It can lead the viewer to ask:

“What if this were my life?”

Such a question can become a starting point for empathy and deeper reflection.

Cinema Is More than Entertainment

Cinema is often seen as a way to relax, escape from everyday life, or simply enjoy a story. These functions are certainly valuable. However, limiting cinema to entertainment means overlooking much of its potential.

Every film presents a particular world to its audience. Through its characters, conflicts, choices, and consequences, it can introduce viewers to experiences they have never encountered themselves.

A historical film can encourage people to look at the past from a different perspective. A documentary can introduce them to realities they knew little about. A social drama can help them consider the experiences of people whose lives are very different from their own.

In this sense, cinema can become a unique form of sharing knowledge, experience, and ideas.

Watching a film, therefore, does not necessarily mean simply “losing time.” Depending on the film we choose, that time can become an opportunity to gain knowledge, experience new perspectives, and think about the world in a different way.

Conclusion: From Frames to Thought

Cinema is not merely a form of entertainment that fills our free time. It brings together knowledge, experience, emotion, and ideas, giving viewers an opportunity to see the world from different perspectives.

We may learn about an event by reading about it, but a film can allow us to see it, imagine it, and feel its human dimension.

Of course, cinema is not the only force that shapes a person’s worldview. Family, education, culture, personal experience, and the surrounding environment all play important roles. Yet the influence of cinema should not be reduced to entertainment. A meaningful film can encourage us to learn something new, understand another person’s experience, question what we already believe, or look at a familiar issue from a different perspective.

Ultimately, the value of a film lies not only in what it shows us, but also in what it makes us think about after the screen goes dark.

A frame can become the beginning of a thought.

From frames to thought — this is the journey through which cinema can reach the human mind and contribute to the way we understand the world.

Read: Cinema – Dynamic Language of Human Existence

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Sayfulloeva Umida Fayzulloevna, hailing from Bukhara, Uzbekistan is a 2^nd year student at Bukhara State University, Faculty of History and Law. Alongside her academic studies, she has actively pursued her passion for the performing arts. She completed one year of systematic acting training at Bukhara Children’s Music and Art School during which she developed skills in acting, stage performance, and expressive reading. She has performed on various stages.

The post From the Frames to Thought first appeared on Sindh Courier.

Karachi

The Department of Communication Design at the Indus Valley School of Art and Architecture (IVS) successfully concluded its three-day Film Festival, held from 12th to 14th September, celebrating the creativity, talent, and vision of Pakistan’s next generation of filmmakers.

The festival featured 37 short films across multiple genres, with documentaries and animations introduced as categories for the first time. Screenings, workshops, and panel discussions provided a vibrant space for learning, collaboration, and creative exchange.

The opening ceremony on 12th September was followed by a thought-provoking panel discussion “Social Media Filmmakers: From the Silver Screen to Digital Screens “featuring Ali Gul Pir, Asad ul Haq, Patangeer, and Azaan Sami Khan, moderated by Pheby Haroon. Day two brought immersive screenings and the session “Let’s Talk AI: Reimagining Film and Advertising Production” by Stimulus Productions. The festival closed on 14th September with screenings and a panel discussion “Educating through the Lens: Integrating Films into Learning” featuring Atiya Zaidi, Saife Hasan, Gul Zaib Shakeel, and Farooq Rind.

Six intensive workshops also ran over the weekend, led by mentors including Marium Ali, SOC Films, Rawaz Hammas, Stephan Andrew, Adnan Syed, Rashna Siddiqa Abidi, Khurram Khan, and Uneed Faridy—giving participants practical skills and insights into the evolving world of filmmaking.

Outstanding works were recognized with awards and cash prizes across categories such as Best Film, Best Screenplay, Best Cinematography, Best Direction, Best Editing, Best Sound Design, Best Production Design, Best Animation, and Best Documentary. Additional awards were presented under the Youth Film and Idea-to-Screen Bootcamp categories.

Alfiya Halai, Head of the Communication Design Department at IVS, said: “The IVS Film Festival goes beyond screenings—it is a space where young filmmakers gain confidence, connect with industry professionals, and find their voice as storytellers. Each year, it grows stronger as a bridge between education and practice, reaffirming cinema’s role as a catalyst for change.”

The IVS Film Festival reaffirmed its role as a platform for aspiring filmmakers to connect with industry leaders, educators, and audiences, while promoting fresh perspectives and innovative storytelling in Pakistan’s growing film landscape.

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Read: Sindhi Rap Breaks The Barriers

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• The most beautiful and heartwarming scene was watching parents place their young children beside them, playing and laughing with them, sliding down joyfully, giving them moments of thrill and confidence
• Our minds went back to our own country, Pakistan, especially Sindh, where, apart from the children of wealthy and privileged families, a vast majority of children have no access to such freedom and joy, nor will they ever experience it

Abdullah Usman Morai | Sweden

The development, prosperity, and bright future of any human society ultimately depend on how it treats its children. Children, who today merely play, learn, and illuminate the world with their innocent smiles, are the very same who will tomorrow emerge as young people, entrepreneurs, scientists, teachers, and leaders. If they receive protection, love, education, and healthcare in childhood, the society of the future will also be secure and prosperous.

Zakopane, the Tatra Mountains, and a Thought

A few days ago, my friend Jan Mangrio and I were visiting the beautiful Polish town of Zakopane. This town is nestled at the foot of the Tatra Mountains, where people from across the world arrive to enjoy the wonders of nature. Among them, many Arab families could also be seen. Using the funicular, we reached the upper slopes to witness the region’s beauty. From there, the panoramic view was breathtaking, and the fragrance of fresh air, along with the surrounding landscapes, so captivated us that we forgot everything else. There was also a fascinating attraction called the gravity slide, where people ride small cars and race downhill at speed.

The most beautiful and heartwarming scene was watching parents place their young children beside them, playing and laughing with them, sliding down joyfully, giving them moments of thrill and confidence. Along with European parents, Arab parents visiting the area were also seen sharing such joy with their children.

But at that very moment, another thought struck our hearts. Our minds went back to our own country, Pakistan, especially Sindh, where, apart from the children of wealthy and privileged families, a vast majority of children have no access to such freedom and joy, nor will they ever experience it. For them, it is common not to have even a safe space for playing or visiting. They spend their time playing in narrow streets. These children live in another world, one stripped of happiness, ruled instead by poverty and loneliness.

Not only are they deprived of recreation and play, but they are also denied their fundamental rights such as education, healthcare, safety, and love. At that moment, a question arose in our minds: how vital are these things for children’s growth? That one small observation in Zakopane made us realize that, beyond education and healthcare, children also need many other basic rights that we often neglect.

The Fundamental Global Rights of Children

In 1989, the United Nations adopted the Convention on the Rights of the Child, which emphasized children’s fundamental rights.

Children’s rights are not just about having food and schooling; it is a broader concept that encompasses every aspect of a child’s mental, physical, and spiritual development. At the international level, certain fundamental rights are recognized, such as every child having a name and identity. Play and recreation are recognized as essential for a child’s natural and cognitive development, enhancing creativity and social skills.

Every child has the right to quality education and knowledge so they can explore their talents. Education not only imparts learning but also shapes character and develops personality. Additionally, children have the right to proper nutrition, a healthy environment, access to medical care, and protection from all forms of violence, abuse, exploitation, forced labor, and war. They also have the right to express their views and participate in social, cultural, and family life.

All these rights are necessary for the complete development of a child and for ensuring a safe future. Unfortunately, in Sindh and across Pakistan, many children are deprived of these very rights.

The Situation in Sindh and Hopes for the Future

In our country, countless children are forced into labor at a very young age instead of receiving an education. Healthcare services remain out of reach, and safe playgrounds or recreational facilities are nearly nonexistent. Even in urban areas, children often live in narrow lanes and unsafe neighborhoods with nowhere to go. In many families, poverty prevents parents from spending time playing with their children, as they remain burdened with work and hardships.

These realities make it clear that children’s rights remain confined to legal books and have yet to become a part of practical life.

Our Shared Responsibility

This is a social issue where not only the government but all of us must recognize our responsibility. We must give our children not just a reason to survive but also the opportunity to live with happiness.

Ensuring children’s rights is the duty of every nation. If we fail to care for their rights today, the dream of building a healthy society and a strong nation cannot be realized. It is necessary for the government to create programs for children’s development and healthcare. Likewise, social organizations and schools should also play their role in raising awareness about children’s rights.

The sight of parents and children sharing joy together in Zakopane’s Tatra Mountains was a lesson for us. Keeping children happy is not mere entertainment; it is essential for their psychological, mental, and physical well-being. If we in Sindh and Pakistan also give children their true rights, including education, healthcare, protection, and happiness, only then can we dream of a bright and safe society.

Let us all work together so that every child in Sindh and Pakistan may have the chance to breathe freely under the open sky and to enjoy happiness in life. We believe that one day, our children will also receive all the facilities they deserve, and their lives will be filled with the light of joy and hope.

Investing in children is, in fact, investing in the future.

Read: When Systems Fail, Children Miss Education

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Abdullah Soomro, penname Abdullah Usman Morai, hailing from Moro town of Sindh, province of Pakistan, is based in Stockholm Sweden. Currently he is working as Groundwater Engineer in Stockholm Sweden. He did BE (Agriculture) from Sindh Agriculture University Tando Jam and MSc water systems technology from KTH Stockholm Sweden as well as MSc Management from Stockholm University. Beside this he also did masters in journalism and economics from Shah Abdul Latif University Khairpur Mirs, Sindh. He is author of a travelogue book named ‘Musafatoon’. His second book is in process. He writes articles from time to time. A frequent traveler, he also does podcast on YouTube with channel name: VASJE Podcast.

The post Sindh’s Children Remembered in Poland first appeared on Sindh Courier.

International success without borders for the Italian professional dancer Roberta Di Laura, protagonist in the last days of three international events starting with the “International Dance Gathering” held in Istanbul, Turkey, by Naiada Dance Art, where the young artist was a guest dancer and teacher.

A few days after the extraordinary success achieved in Turkey, Di Laura was again at the center of a renowned event in the world of dance. She was among the prestigious personalities of the international dance sector who took part in the 62nd World Congress of Dance Research held recently in Mexico, presenting a Master Class projected by video at the Atequiza Theater on the theme of “Pre Ballet with Fun,” in the presence of numerous experts from around the world. This prestigious achievement underscores the excellent quality of Di Laura’s work, appreciated and recognized worldwide, starting with Germany, where the young dancer is currently one of the most sought-after classical dance teachers.

Di Laura has presented numerous other projects and research works at renowned world dance congresses, from Athens to St. Petersburg, from Canada to Florida, from Ukraine to the Bahamas, up to Warsaw and Tokyo, where she was the sole Italian representative to present a contribution.

Noteworthy is her performance in Reggio Emilia (Italy) on the occasion of the 35th anniversary of the foundation of the cultural association “Universum Academy Switzerland,” at the historic “Sala del Capitano” of the Hotel Posta, where, on the same occasion, Di Laura received the appointment of Head of the Diplomatic Corps of Universum Academy Switzerland.

Roberta Di Laura, born in Taranto (southern Italy) in 1992, is a professional dancer, teacher and choreographer who has shone for her talent, passion and determination in the world of dance since she was very young, bringing honor to the city of Taranto and Apulia on the world stage. At just 21 years old, in 2013, she joined the International Dance Council of Paris (CID), recognized by UNESCO, an achievement that helped consolidate her worldwide fame.

Roberta, recently winner of the “International Award La Rosa D’Oro” presented by the Area Cultura Foundation at the European Parliament in Rome, has graced stages around the world—from Germany, Morocco, and the United Arab Emirates to England, Taiwan, Tunisia, Romania, Greece, Spain and Turkey. She has performed in numerous Italian cities, including participating in the “Titanic Live Concert” in Taranto as prima ballerina and main performer (an international event set to music by Robin Gibb and Robin J. Gibb – Bee Gees), and at the Teatro Olimpico in Rome and the Teatro Manzoni in Monza, interpreting various iconic roles from the classical ballet repertoire. Her appearances in Rai broadcasts such as “Linea Blu” and “E Viva il Videobox,” as well as at prestigious festivals including “Levante Danza Festival” (Taranto), “Festival Sanremo Benessere,” “Giovani Eccellenze” (Urbino), “Gran Gala Universum” (Pescara), “Festival Ballet -Ex” (Rome), “Kibatek – World Poetry Festival” (Taranto), and many others, are also of great importance.

Her brilliant career has established her as a prominent figure in the world of dance, culminating in 2020 with recognition as one of the world’s most influential personalities in the international dance scene.

She has won numerous international competitions in both classical and contemporary dance, with illustrious jurors from the global dance community, and has earned several merit scholarships. She received the “Premio Cultura della Danza” at the Milan Dance Competition and ranked first in the classical dance section at the international competition “Le Stelle della Danza,” whose jurors include Isabelle Ciaravola, étoile of the Paris Opera.

Her artistic career also includes organizing prestigious events, such as the “International Dance Gala – Roberta Di Laura” held in Milan for the tenth anniversary of her artistic career. In 2024 she curated the artistic direction of the international dance festival “Tanzfestival Stuttgart” held in Stuttgart.

A multifaceted artist, a global citizen deeply connected to her homeland, she has received numerous awards and recognitions in Puglia as well as on national and international levels, including: International Award City of Crisalide, City of Valentino; “Nilde Iotti Award”; “City of Monopoli Award – Excellent Young People”; “Fiducia Adoc Taranto Award”; “Re Manfredi International Culture Award”; “Universum Donna International Award”; “Ambassador of Grace and Beauty” Plaque from the Municipality of Statte (city of residence); “Women of Puglia Award”; “Lifetime Achievements Award”; “Salento Woman Award”; “Corriere di Taranto Award – Women of Taranto”; “Dies Virtutis Award”; “Inspiring Women’s Aichyci Award”; “A Lifetime Achievement Award for Dance”; “Vigna D’Argento Award”; “Targa Talento Jonico”; “Dea Ebe Award”; “La Maschera Banfi Award.”

Her high-level training includes studies at prestigious institutions such as the Ballet School of La Scala in Milan, the Dance School of the Teatro dell’Opera in Rome and the Ballet School of Rome, where she had the opportunity to intern with the legendary Carla Fracci. She has also refined her technique with teachers from the world’s leading academies, including the Paris Opera Ballet, the Cuban Ballet, the Bolshoi in Moscow, the Vienna Opera, and the Vaganova Academy in St. Petersburg.

The artist from Taranto, in addition to her brilliant artistic career, earned a degree in “Performance Arts and Sciences” at Sapienza University of Rome, followed by a Master’s degree and several postgraduate refresher/specialization courses, including one at the University of Oxford, demonstrating a versatility that goes beyond the boundaries of dance.

Roberta Di Laura is an ambassador of Italy to the world, bringing Italian art and excellence to ever higher levels.

Read: Popular Dance: Is It Folklore?

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Photo courtesy: Di Laura and her website 

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By Fatima Al Zahraa Hassan, TV Director and Writer, Egypt

In 1964, in Paris, the global Egyptian star Omar Sharif was filming his famous movie Doctor Zhivago. He was living at the time with his British actor friend Sir Tom Courtenay in the same apartment. Sharif noticed Courtenay’s deep passion for the results of the English football team Hull City, which was then playing in the second — and sometimes third — division. Courtenay was so devoted that he would contact his friends in England every Wednesday to learn the latest results.

Omar Sharif, a true football enthusiast, was also a close friend of the late Captain Saleh Selim, former president of Egypt’s Al Ahly Sporting Club, and was known himself as a talented footballer. Over time, Sharif’s attachment to Hull City deepened. Hull is a port city in eastern England, located on the north bank of the River Humber, covering an area of about 71.45 square kilometers. It is a coastal city with a significant commercial port.

Meanwhile, a young Egyptian named Assem Allam, who emigrated with his family from Egypt to Britain in 1968, was going through a financial crisis. He worked as a dock laborer and later as a welder at the city’s port. Eventually, he completed a degree in Economics at the University of Hull and started working as an accountant at Tempest Diesel in 1981. As his financial situation improved, he secured a loan to buy the company, renaming it Allam Marine, a manufacturer of industrial electric generators. Under his leadership, the company achieved global success.

Allam went on to earn a PhD in Economics and became a leading figure in the UK business world. In 2008, Queen Elizabeth II honored him as the Best Entrepreneur in the UK.

Allam was a friend of British actor Tom Courtenay, and the friendship between Allam, Courtenay, and Omar Sharif grew stronger over time.

Omar Sharif Receives Honorary Doctorate from the University of Hull

In 2010, the University of Hull invited Omar Sharif to receive an honorary doctorate, recognizing his passion for the Hull City football club. Sharif immediately accepted the invitation, driven by his love for the club. During his visit to Hull, he met businessman Assem Allam, who surprised him with the news:

“I bought Hull City — and I invite you to dinner at the club!”

Sharif was overjoyed. He suggested that Allam invite Tom Courtenay and Ken Wagstaff, the club’s legendary striker from the 1960s and 1970s. That day, Allam, Courtenay, and Wagstaff gifted Omar Sharif a Hull City jersey with his name and the number 1 — a symbol of honor during the club’s golden era.

Egyptian Pharaoh Ahmed Elmohamady Leads Hull City

The golden era of Hull City under Allam’s ownership peaked when Egyptian footballer Ahmed Elmohamady led the team. Hull reached the Premier League and even played in the FA Cup Final against Arsenal in 2014 at Wembley Stadium in London, narrowly losing 3–2.

Allam never forgot his homeland. He was committed to bringing Egyptian players into the team. During Hull City’s only appearance in the UEFA Europa League, its captain was Ahmed Elmohamady. Other Egyptians who played for Hull City included Ahmed Fathi and Mohamed Nagy Gedo.

Omar Sharif Inspires British Fans to Cheer for Hull City.

Before the historic match against Arsenal, Omar Sharif recorded a voiceover for Hull City’s promotional advertisement. The ad featured him reciting a poem titled “The Tyger” written by British poet William Blake (from Songs of Experience, 1794).

The poem says:

Tyger Tyger, burning bright,

In the forests of the night;

What immortal hand or eye,

Could frame thy fearful symmetry?

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand, dare seize the fire?

And what shoulder, & what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? & what dread feet?

What the hammer? What the chain,

In what furnace was thy brain?

What the anvil? What dread grasp,

Dare its deadly terrors clasp?

When the stars threw down their spears

And water’d heaven with their tears:

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger Tyger burning bright,

In the forests of the night:

What immortal hand or eye,

Dare frame thy fearful symmetry?

Omar’s performance was met with great admiration from Hull fans and the club’s management. Fans gathered to meet him, cheered his name, and asked for autographs on sports memorabilia.

This appearance would be Sharif’s final public engagement with the club. In 2015, a year after that monumental match, Hull City fans mourned the passing of the legendary actor. Before their game against Huddersfield Town, the fans stood for a minute of silence and raised flags bearing his image in the stands, while the club displayed his photo on the stadium’s big screens — a heartfelt farewell to a global icon who became one of their own.

First published in CAJ International Magazine | 15 August 2025 Edition | Biography

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Published under the International Cooperation Protocol with The Silk Road Today, Cairo, Egypt, and Middle East Business| Life Magazine, Abu Dhabi 

Read: Review: Egyptian Film ‘My Girl’

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• Although streaming movies has posed significant hurdles for traditional cinemas, adaptation through innovation may likely offer pathways toward sustained relevance within an ever-evolving industry landscape.

By Nazarul Islam | USA

The landscape of movie consumption has undergone a seismic shift over the past decade. With the advent of streaming services, audiences now have unprecedented access to a vast library of films and TV shows at their fingertips.

This convenience and variety have posed significant challenges to traditional movie theaters, which once dominated the entertainment industry. In this article, I have explored how streaming movies through entertainment channels has impacted traditional movie theaters, examining both the challenges and opportunities that have emerged as a result.

The rise of streaming services like Netflix, Amazon Prime Video, Disney+, and HBO Max have revolutionized how people watch movies. These platforms offer extensive libraries that can be accessed anytime, anywhere, often for a fraction of the cost of a single theater ticket. The convenience factor cannot be overstated; viewers no longer need to leave their homes or adhere to showtimes.

Additionally, streaming services frequently release exclusive content that cannot be found in theaters. This original programming has attracted millions of subscribers who might otherwise spend their entertainment dollars at the cinema.

Declining Attendance in movie theaters are pointing towards challenges faced by cinema houses, and theaters, across the western world. One of the most apparent impacts are being felt due to declining numbers in our traditional movie houses.

As more people opt for the comfort and convenience of home viewing, theater foot-traffic has decreased significantly. This decline was exacerbated by the COVID-19 pandemic when many theaters were forced to close temporarily or operate at reduced capacity.

With fewer patrons buying tickets and offers stimulating concessions, theaters continue to face financial strain. Operating costs remain high while revenue streams dwindle. Smaller independent theaters are particularly vulnerable as they lack the financial cushion that larger chains possess.

Advancements in home entertainment technology have also contributed to the shift in audience preferences. High-definition televisions, surround sound systems, and even affordable projectors allow consumers to replicate much of the cinematic experience in their living rooms.

Can this shift in viewing choices be addressed? Despite these challenges, there are several ways in which traditional movie theaters can adapt and thrive in this new landscape.

Enhanced viewing experiences

To compete with home viewing options, some theaters are investing in enhanced viewing experiences such as IMAX screens, 3D films, and luxury seating with food and beverage service. These premium offerings provide an experience that cannot be easily replicated at home.

Perhaps theaters can also diversify their offerings by hosting special events such as film festivals, live broadcasts of concerts or sports events, and themed screenings. These unique experiences can draw audiences who seek more than just a standard movie showing.

Interestingly, some streaming services are beginning to partner with traditional theaters for limited releases of high-profile films. This symbiotic relationship allows streaming platforms to generate buzz around new releases while giving theaters exclusive content that attracts viewers.

The rise of streaming services has undeniably disrupted traditional movie theaters but it does not spell their end. By embracing innovation and adapting to changing consumer preferences, theaters can continue to play a vital role in the entertainment ecosystem.

While challenges abound—declining attendance rates and financial pressures among them—there are ample opportunities for growth through enhanced viewing experiences and strategic partnerships with streaming platforms.

Although streaming movies has posed significant hurdles for traditional cinemas, adaptation through innovation may likely offer pathways toward sustained relevance within an ever-evolving industry landscape.

Read: Conscious Journeys into Afterlife

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The Bengal-born writer Nazarul Islam is a senior educationist based in USA. He writes for Sindh Courier and the newspapers of Bangladesh, India and America. He is author of a recently published book ‘Chasing Hope’ – a compilation of his articles.

The post Is the movie theatre dying? first appeared on Sindh Courier.

Pooneh Nedai

Editor in chief of Shokaran magazine/ Iran

TEHRAN: Iranian filmmaker Jafar Panahi has been named as “Asian Filmmaker of the Year” at the 30th Busan International Film Festival in South Korea. This important award is given to those who have made a strong impact on Asian cinema. Panahi received it for his powerful films and his courage to continue working under restrictions. On this occasion, we take a look at his life, his important works, and the challenges he has faced over the years.

Early Life and First Films

Jafar Panahi was born in 1960 in Mianeh, Iran. He began his career as an assistant to the famous Iranian director Abbas Kiarostami. His first feature film, The White Balloon (1995), won the Camera d’Or at the Cannes Film Festival. The film tells the story of a young girl trying to buy a goldfish for the Persian New Year. It showed Panahi’s talent for telling simple, touching stories about everyday people.

Panahi continued with films like The Mirror (1997), The Circle (2000), and Crimson Gold (2003). These movies focused on the lives of women and the poor in Iran. The Circle won the Golden Lion at the Venice Film Festival but was banned in Iran because of its strong message about women’s rights.

Arrest and Film Ban

In 2010, Jafar Panahi was arrested by the government. He was accused of making films that were against the government. He was sentenced to six years in prison and banned from making films, giving interviews, or leaving Iran for 20 years. Many artists and organizations around the world protested this decision.

Even with this ban, Panahi continued to make films secretly. In 2011, he made This Is Not a Film, which was shot inside his home. The film was smuggled out of Iran on a USB drive hidden in a cake and shown at the Cannes Film Festival. It became a symbol of creative resistance.

He later made Closed Curtain (2013), Taxi (2015), and 3 Faces (2018). In Taxi, Panahi filmed from inside a car while pretending to be a taxi driver in Tehran. The film won the Golden Bear at the Berlin Film Festival. It was another way for him to keep making movies under the government’s restrictions.

In one of his interviews, Panahi said:

“When a filmmaker is forbidden from making films, it does not mean he stops being a filmmaker. He simply finds another way to tell his story.”

International Awards and Recognition

Despite all the challenges, Jafar Panahi has received some of the most important awards in world cinema. In 2025, he won the Palme d’Or at the Cannes Film Festival for his film A Simple Accident. This made him the first Asian director to win the three biggest film awards in Europe:

The Golden Lion (Venice) for The Circle,  The Golden Bear (Berlin) for Taxi, and The Palme d’Or (Cannes) for A Simple Accident.

These awards show that his work is respected not only in Iran but all around the world.

Panahi once said: “Cinema is my way of expressing truth. Even if I have no camera, no budget, or no permission, I will still find a way to create.”

A Strong Message from Busan

The recent award at the Busan Film Festival is another recognition of his impact on cinema. In a message for the festival, Panahi said: “This award reminds me that cinema can still bring people together beyond borders, languages, and restrictions. I accept this prize not just for myself, but for all artists who continue to create in silence, in exile, or under pressure.”

A Symbol of Courage and Creativity

Jafar Panahi is not just a talented director but a symbol of freedom and bravery. His films talk about important issues and give a voice to people who are often not heard. His story shows how powerful cinema can be, even under the hard conditions.

He once wrote, “As long as there is reality, there is cinema. As long as people are suffering, there is a story to tell.”

Today, Panahi is seen as a hero of world cinema. His work inspires filmmakers and audiences everywhere to speak the truth and never give up on creativity.

Read: Sindhi Rap Breaks The Barriers

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Courtesy: The AsiaN, Seoul, South Korea

The post Jafar Panahi: Artistic Rebel in Iran first appeared on Sindh Courier.

Rahul Aijaz

Writer & Filmmaker, Film N’ Chips Media Productions

KARACHI: Rapper Babar Mangi may have broken out with Aayi Aayi in Coke Studio, but his journey to the top of Sindhi hip hop started way back. Born and raised in Sukkur, Mangi tried many things before he became known for rapping and music production.

“We didn’t have a lot of money growing up so we hustled a lot,” says Mangi. “I did photography, made videos for students, and did graphic designing to earn a little. We had a small business called Fortygraphy, which did quite well back in the day when I was 13 or 14 years old.”

Growing up, his father bought him a camera which he “used to earn a few bucks with” and bought himself a Zoom H1. He would often write verses and record them on the device.

“I would record them in our car because there was a vegetable seller who used to come and shout in the street daily and it would mess up my recordings,” says Mangi, adding how he used Magix Music Maker and Audacity to make beats and mix his compositions.

Years before Busin ja Dhika and Gareeb ka Bar, in his teen years, Mangi wrote his first rap – a diss track about a former friend whom he had a conflict with that involved his girlfriend.

“I couldn’t fight so I wrote a diss track about him,” Mangi laughs. “It gained 70 or 80k views back in the day.”

However, that was not the formal beginning of his music career. He moved to Karachi to pursue filmmaking. But as he studied at SZABIST, he realized filmmaking was not for him.

“I can’t be on set for 30 hours. I need some peace to be able to create. I was already doing music then and took some more courses during my studies. I helped others in their thesis films. So, it became a part of me through the process.”

Film education certainly helped him be an all-rounder since he is very much hands-on in the production of his music videos. And he admits that.

“I realized people don’t try many different things. You must try and fail and learn. You must do it quickly so you fail fast and then succeed.”

It is easy to notice that Mangi is completely obsessed with his craft and has spent nearly a decade perfecting it. And like all artists, his upbringing and childhood has had a big role to play in it.

“Artists write more about the past. So, my time in Sukkur plays a part in my work. I got all the stories and experiences while living there.”

Mangi also discusses how he found home in rap more than traditional singing.

“In hip hop, it’s relatively easier to express yourself. In traditional singing, you need to perfect your vocals before you start. But in rap, rawness can also be appreciated so you can start early.”

He says if he were a singer, he would have spent more time learning before he started performing. “In rap, I just straight away went into it. There was nobody around to teach me so there were no limitations.”

In terms of themes that rap allows him to explore, he once again believes there are no limitations. “I feel you can talk about anything in hip hop. It’s also a personal genre where you can showcase your personality more freely. It’s not just a counterculture phenomenon in which you rebel against the system, but also against yourself. You can be more vulnerable.”

One can see that vulnerability and openness in his writing – the way he mixes the personal struggles with the social realities of Sindh. Add in his signature humorous style and the music becomes a fun experience that also shows the society the mirror. That is the reason why his music connects with the masses, especially in Sindh and across the Sindhi diaspora in the world.

His use of Sindhi language is deliberate too. In a country where the mainstream music, film and arts are dominated by Urdu language, artists speaking in other languages are often sidelined.

“People used to tell me not to rap in Sindhi,” he says. “I found it weird because it’s a fresh culture that hasn’t been presented to the world. If we showcase it well, people will like it. People like new things. As I started doing it, I saw more people coming forward. If we don’t believe in our culture, how will it grow?”

He addresses the isolation he faced when he first moved to Karachi – where Sindhis coming from other parts of the province are often discriminated against.

“When I first moved to Karachi, I would feel alienated being a Sindhi in the university. And I used to say, “You all live in Sindh, you guys are supposed to learn to speak Sindhi. Why are you making me feel unfit to be there and alienating me just because I speak Sindhi?”

People’s perception of Sindhis as only a ‘wadera’ (feudal lord) had a lot to do with this. But that’s slowly changing as more Sindhi artists come forth and showcase the native culture which has long been pushed aside.

“Now I see people have started taking ownership of the Sindhi culture.”

He says, “But there is still a long way to go because I see people distancing themselves from Sindhi arts and music. Even some Sindhi artists only create music in Urdu because they think it will get them more viewership. If you don’t believe in your culture, then who will?”

While Mangi is proud to claim Sindhi culture, he is not deluded to the ground realities of the province. Yes, Sindhi culture goes back several millennia and is incredibly rich and remains under-represented in music, film and arts. But the current state of the province – thanks to decades of state-level corruption, theft, deliberate marginalization and growing unrest and poverty – is nothing to be proud of. That leaves us today with no modern heroes to look up to, no new achievements to pass on, and no new stories to sing about.

Mangi wants to change that too.

“I think we are a people who are overly proud of ourselves. We talk about the kind of people we are and celebrate our past achievements in our music and art but we haven’t exactly evolved and achieved anything as of late. What are we so proud of?”

Mangi’s mantra is: instead of fighting it and criticizing everyone, let’s give people something to be proud of. “Our ancestors achieved a lot,” he says. “And we should try for the same.”

He believes if we have legendary Sindhi poets such as Shah Abdul Latif Bhittai and Sachal Sarmast, they shouldn’t only be talked about in literary festivals but should reach more and more people. The format needs to change so that a wider audience is aware of our art.

“We are just proud that we create great art but we aren’t bringing it to the people so the world sees it. We are under-recognized in that way.”

Sindhi artists have begun attracting mainstream attention in recent years but there is more room to grow. “The issue is that there aren’t enough Sindhi artists producing art and music in Sindhi. That’s why the organizers and brands don’t believe that there would be an audience for them. Now they have begun creating but not on a large enough scale yet. How many Sindhi artists can you find on Spotify? There is an audience but we need to start creating work. We need to show people that. A Ho Jamalo (a Sindhi folk song) rendition on YouTube would have more than 30 million views. Where are these people coming from? These people exist and we need to start making art for them and push it into the algorithm so everyone recognizes it.”

So far, his rise as a premier Sindhi rapper and music producer has been a fun ride. And it’s also thanks to his collaborations which allow him to diversify and fuse with artists of different styles and genres, especially Amjad Mirani, with whom Mangi partners up with often. In Manig’s words, his own humorous touch complements Mirani’s intellectual and poetic approach, making them a good team.

Their tracks such as Busin ja Dhika went viral earlier this year and garnered praise from across the subcontinent and many other countries. The title literally translates to the push-and-shove one experiences in local bus rides and explores the bus as a symbol of life where one faces many ups-and-downs.

Released in July, Mangi’s latest song Sanam Sopari – in collaboration with Sahiban and Muhammad Masood, whose music video is directed by Imran Baloch – is a hyperlocal folk song set in the desert region of Tharparkar, the area and culture whose stories, sounds, and people rarely make it into the mainstream narrative, even within the country.

The track also features Borindo, a 5000-year-old wind instrument from the Indus Valley Civilization and elements of traditional Thari weddings like ‘Sera’ – a communal style of acappella clapping and singing by women.

Baloch’s direction captures the signature beauty of Tharparkar and its people while Mangi provides the perfect soundtrack. The package becomes a love letter to Sindh where diversity and colours are not just welcome, they are celebrated.

It’s evident that these ideas of love, peace and at the same time, self-reflection and harmony are embedded deeply throughout Mangi’s work.

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Courtesy: The AsiaN, Seoul, South Korea 

Read: Faiza Ali: The Young Luminary of Sindhi Music

The post Sindhi Rap Breaks The Barriers first appeared on Sindh Courier.

Karachi, Sindh

The premier of Pakistani horror film DEEMAK was held at a local cinema marking a new milestone for the genre in Pakistan, with rave reviews and thunderous applause by the celebrities, film critics, and media.

Directed by Rafay Rashdi, presented by Syed Murad Ali and WahWah Productions, DEEMAK is a gripping supernatural horror, written by Ayesha Muzaffar of Abu’s Jinns fame, which delves into the haunting consequences of repressed trauma and dark secrets. With its chilling visuals, compelling performances, and eerie soundtrack, the film’s trailer has already been hailed as a trailblazer for horror in South Asian cinema.

The star-studded premiere was attended by DEEMAK’s leading cast members Sonya Hussyn and Faysal Quraishi, beside Samina Peerzada and Javed Sheikh, Aariz, and Anaya Abbas. Present on the event were notable figures from the Pakistani entertainment industry including Wajahat Rauf, Shazia Wajahat, Yashma Gill, Deepak Perwani, Saqib Malik, Ushna Shah, Usman Peerzada, Aijaz Aslam, Zara Noor Abbas & Asad Siddiqui, Sunita Marshall, Hasan Ahmed, Junaid Khan, Sidra Iqbal, Osama Tahir, Adnan Shah Tipu, Sultana Siddiqui, Yasir Hussain, Ehtesham Ansari, Masarrat Misbah, Shamoon Abbasi, Nadir Toosy, Madiha Naqvi, Hassan Zia, Ahmed Hassan, Nida Yasir & Yasir Nawaz, Saife Hassan, Shahzad Nawaz, Noor ul Huda Shah, Danish Nawaz, and Sana Hussyn who were all praises for DEEMAK’s bold narrative, brilliant casting, striking cinematography, and its ability to authentically tap into your fears.

Speaking to the press on the occasion, the leading lady Sonya Hussyn expressed, “I’ve always wanted to do something in this genre but was waiting for the right team. When Rafay Rashdi approached me for DEEMAK, looking at the legendary cast consisting of Samina Peerzada, Javed Sheikh, Bushra Ansari and Faysal Quraishi, and seeing Rafay’s passion for the project, I was ready to take the plunge. We have worked really hard to bring you something special and it has our tears and fears in it as a family. What you will witness now is a sum total of all of this and I hope you love it as much as we do”.

The much-loved actor Faysal Quraishi shared his excitement, “DEEMAK is an exploration into the unseen forces that shape our lives.”

“As the director of DEEMAK, I set out to execute a story that delves into the quiet horrors of generational trauma and mental health issues often brushed under the rug in our society”, said Rafay Rashdi during a pre-screening interview. “Through the lens of supernatural thriller, we explore how negativity festers when left unaddressed, and how healing begins when we confront our fears. DEEMAK is ultimately a story of resilience and the power of breaking cycles.”

Actress Samina Peerzada commented, “DEEMAK is not just a horror film, it’s a labor of love. DEEMAK is about family torn apart by negativity, DEEMAK will scare you and also bring tears to your eyes.”

The audience in attendance on the premiere described DEEMAK as “a hauntingly original take on horror” and commended the film’s atmospheric storytelling and layered characters. The film’s sound design and visual effects were also widely lauded for elevating the viewing experience of Pakistani cinemagoers.

Following its stellar premiere, DEEMAK is set to infest cinemas nationwide this Eid-ul-Adha, with high expectations for both box office performance and audience acclaim. (PR)

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Read – Entertainment: Less Could Truly Be More

The post Deemak – Horror Movie Premiered in Karachi first appeared on Sindh Courier.

Often, a drama begins strong but quickly loses its momentum. Repetitive flashbacks, slow-motion scenes with OSTs, and dialogues dragged over several episodes have become all too common

Faiqa Khan

Pakistani dramas are known for powerful stories—but when episodes drag on endlessly, even the best plots lose their magic. Here’s why less could truly be more.

Pakistani dramas have come a long way since television first began. Our parents still fondly recall iconic shows that captured hearts with rich cultural depth and emotionally compelling storylines.

But as a regular viewer today, one recurring frustration persists: the excessive length of many dramas. While some stories do require time to unfold and leave an emotional impact, this approach has now become formulaic. Many dramas are simply stretched out, weakening their narrative and testing viewer patience.

Often, a drama begins strong but quickly loses its momentum. Repetitive flashbacks, slow-motion scenes with OSTs, and dialogues dragged over several episodes have become all too common. How many times have we seen a single misunderstanding take four or five episodes to resolve? This repetition makes viewers lose interest, skip scenes, or even stop watching altogether.

Longer episode counts often lead to filler content. The story shifts from being tightly written to simply filling airtime. The pacing falters, tone becomes inconsistent, and the overall impact is lost. Take the drama Iqtidar, for instance. It started off gripping but became repetitive as it progressed. So much was happening, but the story didn’t seem to move forward. In comment sections, people complained about the drag, and even the cast acknowledged that the show was stretched because of its popularity. But really, what’s more important—milking the hype or delivering a memorable, well-paced story?

Read: Pakistani Drama In Retrospect

Globally, storytelling is moving toward shorter seasons and mini-series. Countries like Korea, Turkey, and even India—once home to never-ending shows—are now embracing tighter narratives, gaining loyal fanbases and cultural relevance. Pakistan was once a pioneer of this format too. But with YouTube and digital viewership influencing trends, we’ve seen a shift back to longer formats.

That said, there’s hope. Hum TV recently aired short series like Tamanna, Neelo Neel, and Man Jogi—all of which were concise, thoughtful, and widely appreciated. These shows addressed serious themes in a limited number of episodes, gaining massive popularity among younger audiences. This proves that short-form storytelling can still resonate deeply when done well.

Shorter dramas also ease the burden on actors, directors, and writers. Less pressure means more room for creativity and better production quality. Plus, it allows space for newer stories to emerge more frequently. In a digital era where people consume content in seconds, long-winded dramas risk becoming irrelevant.

Importantly, reducing episode count doesn’t mean rushing the story. It means respecting viewers’ time and putting quality first. In a saturated content landscape, Pakistani dramas must evolve to stay sharp, focused, and binge-worthy.

After all, “Good stories don’t need to be long—they need to be told well.”

Read: The peril of Pakistani Cinema

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Faiqa Khan is second-year Mass Communication student at Karachi University. faiqa7532@gmail.com

The post Entertainment: Less Could Truly Be More first appeared on Sindh Courier.