Pakistan’s cinema industry is struggling, with 46 cinema screens recently shutting down. Industry experts argue that the 2019 ban on Bollywood films has significantly impacted ticket sales and cinema operations. While some believe that introducing more film options could revitalize the industry, the real question remains: Should Pakistan’s film industry even be dependent on Indian content to survive? The answer is a resounding no.
Pakistan Cinema Shutdown: A Direct Result of Bollywood Dependency
Bollywood, despite its global reach, is a cinematic disaster—a swamp of mediocrity, propaganda, and cultural toxicity. While there are occasional well-made films, the overwhelming majority are formulaic, crass, and devoid of artistic merit. Bollywood has reduced itself to mindless song-and-dance routines, over-the-top action sequences, and soulless romantic dramas. More dangerously, it serves as an unchecked vehicle for India’s nationalist and anti-Islamic narratives, poisoning the minds of Pakistani audiences over decades.
Since the early years of cinema in South Asia, Bollywood has played a significant role in shaping cultural trends in Pakistan. While many Pakistani viewers consumed Bollywood content for its entertainment value, few realized how deeply it was embedding Indian cultural hegemony into Pakistani society. Bollywood has continuously portrayed Pakistan in a negative light, distorted Islamic history, and perpetuated stereotypes that serve India’s nationalist agenda. Why should Pakistan, a sovereign nation with a rich cultural and artistic history, continue to support an industry that consistently disrespects its values and existence?
Bollywood’s Anti-Islamic and Anti-Pakistan Agenda
Bollywood’s hostility toward Islam is well documented. It routinely misrepresents Islamic history, often painting Muslim rulers as cruel, barbaric, or inferior to their Hindu counterparts. Films like Padmaavat (2018) portrayed Alauddin Khilji, a prominent Muslim ruler, as a monstrous, bloodthirsty villain, reinforcing negative stereotypes about Muslims. Similarly, Tanhaji: The Unsung Warrior (2020) vilified Mughal forces while glorifying Hindu nationalists, feeding into India’s Hindutva ideology.
More disturbingly, Bollywood has played a direct role in spreading anti-Pakistan narratives. Films like Phantom (2015), Raazi (2018), Uri: The Surgical Strike (2019), and Shershaah (2021) openly demonized Pakistan, painting its military and intelligence agencies as enemies of peace. These films go beyond fiction; they actively shape anti-Pakistan sentiment in India and internationally, reinforcing narratives that harm Pakistan diplomatically and culturally. So why should Pakistani audiences spend their hard-earned money supporting an industry that actively seeks to defame their country?
Pakistani Filmmakers: A Failure in Revitalizing Cinema
One of the most frustrating aspects of Pakistan’s cinema downfall is the sheer incompetence of local filmmakers. Pakistan’s television industry has long been a beacon of quality, producing legendary dramas like Dhoop Kinare, Humsafar, and Mere Paas Tum Ho, which gained massive audiences both locally and internationally. If Pakistan can produce impactful, high-quality television dramas that captivate audiences, then why has its film industry failed so miserably in regaining control of the market?
Instead of taking this opportunity to strengthen Pakistan’s film industry, our filmmakers have failed to produce content that resonates with audiences. Many of the films released in Pakistan suffer from weak storytelling, poor production quality, and lack of originality. Filmmakers often chase Bollywood-style formulas, instead of crafting uniquely Pakistani stories. How can Pakistani cinema expect to win over audiences when its own filmmakers have no vision?
Moreover, there is a glaring lack of investment in the industry. Despite the success of dramas, producers hesitate to allocate similar budgets to films. Meanwhile, Pakistan’s film infrastructure remains outdated, with limited screens, poor distribution channels, and no serious effort to develop a national cinema culture. If Pakistani filmmakers and investors truly cared about reviving cinema, they would focus on producing high-quality, culturally relevant films that compete with international content rather than rely on Bollywood imports.
The Way Forward: Building a Strong, Independent Film Industry
Rather than mourning the closure of cinemas that depend on Bollywood, Pakistan must see this as an opportunity to rebuild its film industry from the ground up. Here’s what needs to be done:
- Investment in Original Content: Pakistan has a wealth of untold stories, from historical narratives to contemporary issues. Films like The Legend of Maula Jatt (2022) proved that Pakistan can produce blockbusters with global appeal. More projects like this must be encouraged.
- Revamping Film Education and Industry Infrastructure: Pakistan needs dedicated film academies and training programs to nurture new talent in screenwriting, directing, and production. Additionally, investment in modern cinema infrastructure is critical to expanding local distribution networks.
- Collaboration with International Film Markets: Instead of depending on Bollywood, Pakistani filmmakers should collaborate with Turkey, Iran, and other Muslim-majority countries with strong film industries to co-produce high-quality films that align with Pakistani values.
- Government Support and Policy Changes: The Pakistani government must provide financial incentives, tax breaks, and grants to filmmakers willing to create impactful cinema. Additionally, strict policies should ensure that anti-Pakistan content is not screened within the country.
Conclusion: A Necessary Shutdown for a Better Future
The shutting down of Pakistani cinemas that rely on Bollywood is not a loss—it is a necessary step toward cultural independence. For far too long, Pakistani audiences have been fed a diet of subpar Bollywood content that disrespects their values, history, and national identity. It is high time for Pakistan to reclaim its cinematic space and build an industry that is truly reflective of its rich cultural heritage.
Rather than lamenting the closure of screens, Pakistan must focus on creating a self-sustaining film industry that does not rely on Indian content to survive. If we can influence minds through television, there is no excuse for failing to do the same through cinema. This is not just about business; it is about cultural sovereignty and the future of Pakistani storytelling. The sooner we cut Bollywood out of our cinemas, the faster we can rebuild an industry that actually serves Pakistan’s interests, rather than India’s propaganda machine.
