User Reviews

Greetings again from the darkness. One of the unheralded roles movies can play is to help us better understand various cultures around the world. It's important to grasp the challenges others face based on where they live. The first feature film from writer-director Zarrar Kahn takes us to Pakistan and elegantly lays out cultural traditions that may have even outlasted laws that have passed.

Mariam (Ramesha Nawal) spends much of her waking hours studying for the upcoming medical exams. However, the recent death of her beloved grandfather has the film opening with preparations for the funeral service. His passing has left Mariam, her younger brother Bilal (Jibran Khan), and their mother Fariah (Bakhtawar Mazhar) in a precarious situation. The law allows for Fariah to inherit the apartment, car, and belongings; however, family traditions aren't quite in sync. Sleazy Uncle Nasir (Adnan Shah) offers to take care of everything for the grieving family. Mariam is wise not to trust him to act in their best interests, but the passive-aggressive discussions between mother and daughter make it clear that Fariah trusts the Uncle.

A brick through the car window reminds us of other differences between Pakistani law and traditions. Mariam is simply driving herself during daylight hours - an activity that traditionalists refuse to accept. Not long after, Mariam meets Asad (Omar Javaid), and a budding romance blossoms as they enjoy a lovely day at the beach. A tragic accident adds even more stress to Mariam's life, yet the beauty of her character stems from her quiet strength in handling anxiety, grief, and a culture built to hold her back.

The first half of the film employs a relatively slow pace so that we might better understand these people and their situation. Death and visions of departed loved ones play a prominent role, as does the inner-strength of women in a world structured to abuse and take advantage of them. The cinematography of Aigul Nurbulatova deserves special notice here, not just for how the visions and apparitions are handled, but also the interactions which often take place in confined spaces. It all feels as if it could be happening. Ms. Nawal also earns kudos for her performance as Mariam. She allows us to feel the emotions without ever once over-emoting. Kahn's film was Pakistan's submission of Oscar consideration last year and it's easy to see why.

In theaters beginning April 12, 2024.

Let me preface this review by stating I have 4 daughters, all under the age of the primary character, so as the narrative plays out my thoughts simmer in what I can only imagine a young woman's experience is like in any country in the 21st century.

Mothers and daughters the world over I presume can indentify to oh so many elements here. Creepy uncles, disjointed dialogues, when twenty somethings have to parent the parent, then there's academic expectations and the topper of them all the uncertainties of life unions and or otherwise potential romances. It's almost too relatable.

In short? Men. Who needs us?

While flawed with some of it's writing and pacing issues, no doubt, this movie is pretty ambitious with interesting themes explored within the narrative, good characters, performances, and direction throughout. Oftentimes horror psychological concepts aren't talked in Pakistan culture and it was pretty nice to see something different from countries I am not familiar with.

Many of the direction choices, camerawork, style and atmosphere was really good and carried alongside with wonderful performances from the cast members. Including some horror elements that, while some didn't fully work, did have some creative moments to add together. The characters and their journeys having to deal with the scenarios involved were interesting and helped to add some emotional layers to their developments.

Overall, while it isn't perfect, it's ambitious enough to show it is a good movie.