Why Pakistan’s Cinema Industry is Failing Independent Filmmakers.
Pakistan once had a vibrant film industry. From the golden era of Lollywood to the revival hopes after Khuda Kay Liye and Bol, cinema seemed like it was coming back to life. But in 2025, the truth is hard to ignore: Pakistani cinema is struggling, distribution is monopolized, and independent filmmakers are left suffocated.
Distribution: A Closed Door for First-Time Filmmakers
The biggest challenge for any new filmmaker in Pakistan is not making a film—it is releasing it. Distribution companies control what gets screened in cinemas. These companies are often in the hands of a few powerful lobbies who only bet on "safe" projects, usually backed by big banners, celebrities, or foreign films.
A first-time filmmaker with a small budget film rarely stands a chance. Even if the film is completed, distribution companies don’t want to “risk” their screens. They fear low footfall, but what they are really doing is gatekeeping. Instead of encouraging new talent, they suffocate it.
Why the Film Industry is Dead
Pakistan produces less than 20 to 25 films annually—a number too small to sustain cinemas nationwide. Bollywood and Hollywood films still dominate screens, and local films are often sidelined. High censorship hurdles, political pressures, and internal power games make it worse.
The lobbies—powerful groups of distributors, cinema owners, and producers—control what audiences see. Their monopoly is one of the biggest reasons why independent voices are ignored. This isn’t an industry; it’s a closed club.
The Independent Filmmaker’s Struggle
For an independent filmmaker, the road is brutal. Years are spent waiting to get into festivals or hoping to find an agent who will take their film seriously. Even when they do succeed, there is no guarantee that their films will ever reach local audiences.
Film festivals abroad might give recognition, but what about the audience at home? What about the people for whom the filmmaker originally created the story? Unfortunately, without the blessing of a distributor, those audiences may never see it.
Why It Should Be Easier
Cinema should be about stories, not monopolies. If an independent filmmaker manages to complete a film against all odds, they should be allowed to release it. Every cinema should have a quota for independent films—low-budget, first-time, regional-language films.
Accessibility is the key to survival. New filmmakers bring fresh ideas, raw energy, and untold stories that the mainstream ignores. If we keep locking them out, we are not just destroying careers—we are destroying the future of Pakistani cinema itself.
The Problem of High Ticket Prices
Another reason why cinemas are failing is the cost. With tickets costing as much as 800–1200 PKR in major cities, cinema-going has become a luxury. The working-class audience, which once filled cinema halls, has been priced out.
How can independent films, often made for mass audiences, survive when tickets are out of reach for the very people they are made for? Lower ticket prices and community screenings could revive cinema culture, but the lobbies won’t allow it—they would rather sell fewer tickets at higher prices.
How Can an Independent Filmmaker Survive?
1. Digital Platforms: With YouTube, OTT platforms, and independent streaming sites, filmmakers can bypass traditional cinema gatekeepers.
2. Community Screenings: Small-scale screenings in universities, cultural centers, and auditoriums can build an audience.
3. Crowdfunding & Direct Support: Building direct relationships with audiences through social media and crowdfunding campaigns.
4. Regional Cinema: Tapping into untold stories of Balochistan, Sindh, Gilgit-Baltistan, and rural Punjab—narratives untouched by mainstream cinema.
Final Word
Pakistani cinema will never grow unless it opens its doors to new voices. Distribution should not be about lobbies; it should be about audiences. Independent filmmakers need space, support, and accessibility to thrive.
If we want Pakistani cinema to live again, we must break the monopolies, reduce ticket prices, and let independent filmmakers tell their stories. Otherwise, the screen will remain dark—not because of a lack of talent, but because of the greed of those who refuse to share it.
Written by Naseer Rind
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