INDIAN films are back in Pakistani cinemas. The exhibitors have decided that it is about time they lifted the ‘ban’ they had angrily imposed in late September, in response to Indian producers stopping Pakistanis from working in film ventures in India at a time when tensions between the two neighbours were very high. Scores of jobs were reportedly lost because of the ban, and the cinemas lost life-sustaining revenue. The ban was opposed then, just as its lifting has now led to objections from some well-known names associated with the film industry. Whereas prominent names such as Javed Sheikh and Shehzad Rafique have reason to welcome the resumption of Indian movies, filmmaker Syed Noor has opposed it, on the grounds that the move is commercial — this is hardly a revelation about a form of entertainment that thrives on money. He also said the move was “devoid of … patriotism” bringing in an old debate that the pro and anti groups have engaged in for a long time. The debate raged most in the run-up to the 2008 return of Indian films to Pakistan. That marked the beginning of a spell which later raised hopes about the revival of the cinema-watching culture here. It was then argued that this country needed to resurrect the old trend where people turned up frequently at cinema houses. Once that happened, in time those who were watching foreign productions would eventually be inclined towards patronising cinematic ventures by local producers as well. Then as now, the soundest way of showing one’s love for what was local was by coming up with quality that could rival the best not only from across the border but from anywhere in the world.

Away from the unending rivalry and border tensions, and away from politics, the hoped-for Pakistani film quality that could attract cinemagoers has yet to materialise. Quite clearly, this quality cannot be acquired in forced isolation by producers who are shy of competition. There have been many Pakistani films in the last few years but the facts of business tell us that the local industry cannot quite sustain cinemas, exhibitors, etc on its own. Simply put, if the show has to go on, cinema houses must screen films that have an audience. The Pakistani audience has been ‘exposed’. It will only see what it wants to see. There is no running away from this market rule in this day and age.

Published in Dawn December 20th, 2016