all voices are mine, 2017-2018. Video
The author intends to tell a story of another. The course of
re-narration takes place in someone else’s setting of temporal and
physical space. What had been carried through time is to be performed
again from early morning into the late evening.
arrive remembering the performed sequences. The camera now observes
recalling of a memory and then the process of forgetting the borrowed
narrative. It witnesses a recreation and records it getting subsumed
into the narrative that no one keeps but the non-participating
initiator. As the narrative plays out, he stays and waits to observe a
While waiting, he recalls a song he grew up
listening to which had been written by his father for a film. Both the
author and his father were and remain unaware of the settings in which
the song was to be placed.
The film was never made.
in the closing years of the first decade of the new millennium, a new
cinema began to emerge in Pakistan, which has inspired hopes of revival
of the local film industry. The present author, however, disputes the
“newness” of the reviving industry, arguing instead that the idea of a
revival is implicit in a return to once was..
industry, during its heyday was amongst the largest film industries in
the world. However, beginning around 1977, the once vibrant film
industry began a dramatic collapse into creative banality, intellectual
decadence and popular irrelevance, marking its end.
The new wave
has clear differences from what once was. This new cinema wave is led,
on the one hand, by a new generation of filmmakers, many of whom have
been trained abroad; and on the other, by a generation of actors and
technicians, most of whom began their careers on television, or have
otherwise remained affiliated with the same. Yet, despite this recent
influx of fresh talent, the broader industry itself remains beset by
obsolete studios, equipment, cinematic techniques and, actors and
Even as the new cinema wave continues to blaze trails across Pakistani
cinema skies, the old film industry has struggled to maintain its
limited, almost peripheral, existence, with those affiliated with the
Old Era now rendered redundant and without work.
recollected the memories of actors, extras, writers, filmmakers and
other associated with Old Era films. Today, many of whom live
anonymously, and often carry other professions. With the collected
recollections, the author has hoped to construct a narrative which
explores ideas of abruptness, imperfection, resemblance, memory, and
remembering and forgetting.