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Rage against the machine
Given the circumstances, short films are probably one of the most progressive formats for creative expression in the Pakistani media milieu. The state of mainstream cinema does not allow experimental or mature themes to be explored, while television, on the other hand, is more restrictive, both in terms of technology and subject matter. Thus short films, or ‘shorts,’ can serve as an able proving ground for aspiring writers, directors and actors who wish to move beyond the limited pale of both TV and mainstream Pakistani cinema.
But there is a catch. Other than film festivals, there is no real platform from where these works can be displayed and disseminated, as they don’t warrant cinematic release (how’d you market a six minute film to theatre-goers?), nor do they properly fit into television’s equation. So, it can be assumed that shorts are an artist’s genre; a canvas on which one can play around with camera angles, themes, cinematography etc.
Recently, Conflict, a short film presented by Khizer-Salman, was previewed at a Karachi bookstore. Dealing with the relatively ‘hot’ topic of the global media juggernaut and its mobilization to feed the demands of continuos, global war (Afghanistan, Iraq and counting), the theme was current, while the treatment was a tad abstract.
‘Conflict,’ a short film presented by Khizer-Salman, deals with the relatively ‘hot’ topic of the global media juggernaut and its mobilization to feed the demands of continuos, global war (Afghanistan, Iraq and counting). The theme was relevant, while the treatment was a bit abstract
Clocking in at around 14 minutes, it focuses on two protagonists, both of whom are fed up with their circumstances. One complains about the incessant stream of ‘bad’ news and negativity that flows out of his television screen, while the other talks to the camera, addressing it and telling it his concerns.
The film begins with a reading from a few verses of late poet Jaun Elia (who seems to be a major influence on the film’s writer) – put to music! Though the audio came through a little muffled in the congested premises of the bookstore, there were some fairly decent dialogues with able delivery from both actors. The man who talks to the camera is desperately seeking escape – from what, it isn’t exactly clear. There are some great lines, such as his fond recollection of England ‘where the weather is cold and the women are warm.’ He asks the camera (or is it the viewer?) if it knows about the messiah – the one who gave sight to the blind, healed lepers et al. Is the protagonist a victim of society’s cruel march towards alienating individuals in the name of progress? Your guess is as good as mine.
The second individual vents his frustration by talking to the TV screen in his living room. He is sick and tired of the non-stop coverage of war, suffering and death that has encroached upon nearly every TV channel. This isn’t exactly what he bargained for, he argues.
All he wanted was an escape (does one sense a connection here?) for himself and his family; an idyll where he can get away to, to forget about the tribulations of the day and the trials of life. All this in a simple, entertaining ‘idiot box.’ But what he actually got was images of devastation and depravation, beamed in live, 24-hours a day with the help of ‘embedded’ reporters and online camera teams swooping in on the action, freezing the kill for posterity in the collective memory. He rants on about how modern news and current affairs coverage is an exploitative racket that has made a business out of capitalizing on people’s miseries and insecurities. The piece de resistance is when the man shouts out ‘Ted Turner 10 rupay kilo, Iraq panch rupay chatak. Aao, lagao boli .’
Written and directed by Peerzada Salman, the short is a brave attempt at examining a pertinent issue. Apart from the fuzzy sound and a few abrupt transitions, it was a considerably well-made, thought provoking piece. It is definitely an encouraging sight to see Pakistani film-makers experiment with such subjects and with time, as they say, things can only get better — one hopes.
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