Life & Style

The release of Bullah, a Pakistani film written by veteran screenwriter Nasir Adeeb and starring Shaan Shahid and Saleem Shah, has been placed in uncertainty after a Senate standing committee recommended that its screening be halted until its title is changed and certain dialogues are revised. The recommendation emerged from a meeting of the Senate Standing Committee on Information and Broadcasting held on Thursday, July 24, chaired by Senator Sarmad Ali. The session was convened to review concerns that had been raised about the film’s certification process by the Central Board of Film Censors. Officials from the CBFC appeared before the committee to defend the approval process, telling members that Bullah had already been cleared without any cuts by both the Punjab and Sindh censor boards under the same title. They explained that the federal board’s jurisdiction was limited to Islamabad Capital Territory and cantonment areas, and maintained that the CBFC chairman could not unilaterally reject a film. Certification decisions, they clarified, were taken collectively by the board, with the chairman holding only a casting vote in the event of a tie. The officials further noted that if the committee believed the film should be banned or its title changed, the matter could be referred to the federal government, which serves as the next appellate authority under the applicable legal framework. Senator Pervaiz Rashid pushed back on the board’s defence, questioning whether Nasir Adeeb’s reputation as a screenwriter was a sufficient basis for approving the film’s content. He pointed out that Adeeb was primarily known for writing violence-based films, particularly Maula Jatt, and argued that this background did not establish the screenwriter’s credentials as an authority on history, national personalities or Pakistan’s cultural traditions. Senator Rashid also remarked that Maula Jatt had introduced the “gandasa” as a cultural symbol to mainstream audiences, saying he had not been aware of the weapon before the film popularised it. Following the discussion, committee chairman Senator Sarmad Ali concluded the session by proposing that the film’s title be changed and that certain dialogues be revised before it is permitted to screen. He further suggested that Bullah remain suspended until these recommended changes have been implemented. The meeting was attended by Senators Abdul Shakoor Khan, Syed Waqar Mehdi, Pervaiz Rashid and Jan Mohammad, along with Secretary Information Ashfaq Ahmed Khalil and officials from the Ministry of Information and Broadcasting and the Central Board of Film Censors. The film’s makers have not publicly responded to the committee’s recommendations. With both provincial censor boards having already cleared the film without cuts, the situation now rests on what the federal government decides to do with the parliamentary committee’s proposal.

Pakistan’s presence on the international film festival circuit has grown significantly in recent years, and the latest milestone arrives in the form of a debut documentary that will carry the spirit of Sehwan to one of Europe’s most prestigious stages. Filmmaker Umair Bilal’s debut feature documentary As Light as Air has been selected for the 79th Locarno Film Festival in Switzerland, where it will have its world premiere in August. The selection places Pakistani independent cinema on a platform that celebrates outstanding documentary filmmaking from around the world, and represents another meaningful step in the growing global recognition of Pakistan’s independent film movement. The film is set in Sehwan, the historic Sufi town in Sindh that is home to the shrine of Lal Shahbaz Qalandar, one of Pakistan’s most revered spiritual sites. The documentary explores the lives of the pilgrims, wanderers and spiritual seekers who travel to Sehwan carrying grief, longing and hope, drawn by the promise of solace that the shrine and its rituals have offered for centuries. At the centre of the film is the practice of dhamaal, the devotional dance performed at the shrine, which Bilal has described as the heartbeat of Sehwan. Through the rhythm of the music, the movement of the devotees and the atmosphere of collective faith, the documentary offers an intimate and immersive portrait of a spiritual world that few outside Pakistan have encountered directly. As Light as Air has been selected for the Semaine de la Critique section of the Locarno festival, a dedicated showcase for outstanding documentary filmmaking that consistently attracts significant attention from international distributors and critics. The 79th Locarno Film Festival runs from August 5 to 15 and will present 103 world premieres this year across its various sections, including international competition, the Piazza Grande outdoor screenings and documentary showcases. The programme features new work by internationally acclaimed filmmakers including Hong Sangsoo, Denis Cote and Maria Back. The festival will also honour celebrated American director James Gray with its Career Leopard award, one of the most prestigious recognitions the festival offers to filmmakers who have made an enduring contribution to cinema. Festival organisers have described this year’s edition as reflecting a world shaped by conflict while celebrating the enduring power of cinema to connect audiences across cultures and borders. Against that backdrop, a documentary rooted in Pakistan’s Sufi traditions and set in one of the country’s most spiritually significant towns offers something genuinely distinctive, a window into a world of devotion, music and collective belonging that carries a universality capable of reaching audiences with no prior connection to its cultural context. For Umair Bilal, the Locarno selection is a remarkable achievement for a debut feature, and for Pakistani cinema more broadly it signals that stories told with authenticity and artistic conviction about the country’s own cultural heritage can find a home on the world stage.

Ali Fazal is at a point in his career where the choices he makes carry a different kind of weight, and he is no longer making them for the reasons he once did. In a candid conversation with Elle India, the actor opened up about the creative philosophy guiding his work now, a deliberate shift away from commercial instincts and toward projects that leave a genuine mark. He described what worries him most as a performer with characteristic directness. “Mostly the feeling that you’ve made less of a difference in people’s lives,” he said. It is the kind of answer that says everything about how far his priorities have moved from where they began. Fazal said he now gravitates toward roles that have “less relevance and more resonance”, a distinction that defines much of his current thinking about both his Bollywood and Hollywood career. He wants the work to reflect the ambition and humanity that define him as a person, not simply as an actor building a brand. His upcoming film Raakh, a crime thriller in which he plays a police officer investigating a case rooted in real historical events from 1970s Delhi, served as the central example in his conversation. “Sometimes you’re part of things that work, and that’s wonderful because we all need appreciation to move forward,” he said. “But once in a while, there are projects that actually begin conversations. They come at a time when society perhaps needs them or needs reminding that, sadly, not much has changed fifty years later. That’s what Raakh has done. It has humbled me.” He was equally candid about how his decision-making process has changed. “Earlier, I’d jump into whatever came my way because I had to. Today, I can afford patience.” That patience is now applied most rigorously to the screenplay itself, which he described as the first and most important filter. “The punctuation in a screenplay tells you whether it’s going to be good or bad,” he said, adding with a self-aware joke: “I’m not some A-list star who’s staying away from genres because they’ll spoil my image. I’ve probably stayed away from bad scripts more than genres.” His early career also featured in the conversation. He credited Always Kabhi Kabhi, a film that performed modestly at the box office, with teaching him the grammar of cinema. The film introduced him to Shah Rukh Khan, who produced it, and whom Fazal described as “one of the best artists we have.” On Mirzapur: The Film, which brings the streaming universe to theatres, Fazal called it “a giant experiment,” and on his character Guddu Pandit, he said what has stayed with him is not the violence but the innocence beneath it. Away from acting, he and his wife Richa Chadha are building Pushing Buttons Studios, their independent production company aimed at supporting original storytelling. Asked to describe his journey in a single word, Fazal chose “relentless.” It is the right word for a career that is now defined not by the roles he has taken but by the ones he has chosen to wait for.

Javed Akhtar has been writing words that endure for more than five decades, and in a candid conversation with Vogue India, he turned his gaze toward what he believes is happening to creativity in the digital age. What he found does not reassure him. The veteran lyricist and screenwriter argued that the internet and its algorithms have created a culture of creative fear, one in which people are no longer willing to take the risk of doing something that has not already been done before. “The echo chambers created by the internet have made most people afraid to do something for the first time,” he said. “Once someone else does it, they’re fine to follow in their footsteps.” He extended that observation into a broader concern about how people engage with ideas and the world around them. “People no longer want to pause, think, analyse or sit with an idea. They are living happily, so why would they bother to think about this universe or the vastness of nature? For them, it is a waste of time.” For Akhtar, this impatience is incompatible with the kind of work that lasts. “Meaningful creation requires time, discomfort and reflection,” he said, adding that his own willingness to question dominant voices and widely accepted ideologies has always come from exactly that kind of sustained engagement with ideas. He was particularly pointed about the music industry and the way commercial priorities have pushed the role of lyrics to the margins. “Today, words have become less important because the marketing team has decided that slow music won’t trend,” he said. The result, in his view, is an industry that remixes old material with inferior new writing rather than producing something genuinely fresh. “But then they take those same songs, edit the mukhras and remix them with some inferiorly written antaras. There was a time when writers had more space. Today, other forces dictate what music gets made. And yet, songs that are decades old still endure, while many recent ones have a short shelf life.” His advice to young writers was direct and unglamorous. Read more. Not only classical literature and celebrated authors, but light reading too. “The real loss is not in reading something trivial but in not reading at all,” he said. On the creative process itself, Akhtar drew a distinction that cuts to the heart of what separates craft from genuine art. “All arts can be divided into two parts. On one hand, there’s imagination, passion, fantasy and romance, and on the other, there is craft. You can learn the craft in a crash course. But imagining, fantasising and romanticising cannot be learned. There are no courses for yearning.” He closed with a lesson passed down from his father that has stayed with him throughout his career. “It is very easy to write in difficult language, but very difficult to write in easy language. When you write simply, there is no space for your idea to hide behind big words. Only if you are totally convinced of what you are writing can you afford to use transparent language.” It is a principle that has shaped some of Hindi cinema’s most enduring words, and one that no algorithm is likely to teach.

Actor Rajkummar Rao’s upcoming courtroom drama Prahaar has reportedly been postponed from its scheduled theatrical release on August 7, 2026, as the makers seek a clearer box office window amid a heavily crowded theatrical calendar. Produced by Dinesh Vijan under the Maddock Films banner and directed by Avinash Arun, the film draws inspiration from the life and high-profile legal trials of renowned special public prosecutor Ujjwal Nikam. In addition to Rajkummar Rao in the lead role, the feature stars Wamiqa Gabbi, Jaideep Ahlawat, and Sikandar Kher in pivotal roles. According to industry reports, the decision to push back the film’s arrival came after detailed discussions between the producers and key distribution stakeholders. The August release corridor features several major domestic and international titles competing for screen share, including Spider-Man: Brand New Day releasing in late July, followed shortly by Batwara 1947 and Awarapan 2 in mid-August. An industry source close to the project revealed that the makers felt releasing Prahaar in such a competitive window would restrict its box office growth, especially for a narrative-driven courtroom drama that relies on strong word-of-mouth: “Prahaar was scheduled to arrive in cinemas on August 7. However, the makers have now decided to postpone its release. After discussions with the stakeholders, they felt that it would not be advisable to release the film during that period. Had it arrived on the scheduled date, it would have released a week after Spider-Man: Brand New Day and a week before Batwara 1947 and Awarapan 2. Meanwhile, Prahaar is a special film that requires a healthy window, as it has the potential to draw audiences in large numbers.” Speculation surrounding a potential delay had already been circulating within trade circles due to the complete absence of active promotional campaigns with just two weeks remaining before the planned launch date. Producer Dinesh Vijan is widely known for executing extensive promotional tours well in advance, making the lack of marketing events a clear signal to theater owners and analysts that a date change was imminent. Prahaar marks the second Maddock Films project to undergo a schedule adjustment this season, following similar date shifts for Shraddha Kapoor’s upcoming project Eetha. While Maddock Films has yet to officially announce a revised launch date, trade analysts expect the studio to secure an uninterrupted release window in the coming months to maximize the film’s theatrical potential across domestic and international markets.

Türkiye’s famous UNESCO World Heritage region of Cappadocia is preparing to host the seventh annual Cappadocia Balloon Festival, featuring 30 special-shaped hot air balloons from 10 countries soaring above the region’s iconic fairy chimneys and rock formations. Organized by Türkiye’s Culture and Tourism Ministry, the four-day event is scheduled to run from July 30 to August 2. International balloon pilots and crews from the United States, France, the United Kingdom, Belgium, the Netherlands, Brazil, Slovakia, Austria, Poland, and Türkiye have begun arriving in the country as final preparations wrap up. The festival’s lineup includes balloons designed in unique figurative shapes, including the Turkish flag, an octopus, an owl, a clown, a chick, a wolf, a duck, a parrot, a rocket, a heart, and the Earth. The special-shaped balloons will ascend each morning at sunrise alongside the 156 standard commercial hot air balloons that operate daily in the region, returning in the evenings for illuminated “balloon glow” displays at the Pasabag Open-Air Museum. Highlighting the event’s distinct appeal, festival coordinator Mehmet Halis Aydogan explained how Cappadocia’s natural geography and existing flight operations set it apart from other international ballooning venues: “Balloon festivals are held in many parts of the world, including major events in the United States, France, Belgium, and Mexico. Cappadocia’s greatest advantage is its extraordinary landscape, where 156 balloons fly every day. It is a place where thousands of people come both to fly in hot air balloons and to watch them. When we decorate the skies with special-shaped balloons, it creates an incredible spectacle. That is what distinguishes us most from other festivals.” A key highlight of this year’s gathering will be the debut of a whale-shaped balloon designed by sixth-grade student Bengi Serra Kaya. Her entry won first prize in the “My Dream Balloon Design Competition,” organized for primary and middle school students, and the specially manufactured balloon will take its inaugural flight during the festival. Cappadocia remains one of the world’s premier hot air balloon destinations, drawing hundreds of thousands of international tourists annually. Organizers note that while global interest in the festival continues to rise, participation numbers are carefully managed to accommodate the region’s busy daily airspace safely.