Indo-Pak tension one of the reasons why our content doesn't make it to Netflix: Nabeel Qureshi

Acclaimed filmmaker shed light on the shifting dynamics within the entertainment industry

Famed filmmaker Nabeel Qureshi recently graced The BlackBox on YouTube, diving into the intricate challenges hindering the global exposure of Pakistani content on platforms like Netflix. Among the myriad reasons discussed, the heightened political tensions between India and Pakistan emerged as a prominent factor influencing the visibility of Pakistani films and shows.

The Quaid-e-Azam Zindabad director shed light on the shifting dynamics within Netflix, noting the transition from a centralised head office in Los Angeles to a regional office in India. This, he contended, has significantly impacted the reception and representation of Pakistani content on the streaming giant. At a time when digital platforms play a pivotal role, the director pointed out that the geopolitical climate has created obstacles to the promotion and acquisition of Pakistani films.

"Ever since tensions between India and Pakistan have increased," began Nabeel, "I'm telling people this very clearly, they don't understand. See, Netflix first had its head office in Los Angeles from where all the dealings would take place." He added, "Now, they've made a regional office which is India. Keep one thing in mind, this is a fifth-generation warfare, okay? And India, fine, we talk about friendship and all, that's fine, but that isn't possible anymore. Ever since that regional office, Pakistani content does not make it there. Any Pakistani film - now, leave the originals, they would buy rights, they're not even doing that anymore. And if they are, they're paying so less that there's no point."

Nabeel expanded his insights to include other streaming platforms, such as Amazon Prime, echoing similar challenges stemming from geopolitical tensions. He underscored the complexities surrounding political reasons, which, in turn, impact the availability of Pakistani content to a global audience. "There are many such problems," he shared. "Same for Amazon Prime as well. There are some political reasons for why certain things don't happen. If you look at Netflix now, you'll see the kind of propaganda on there. Whatever content India makes, something Pakistani is in there. It's a bad time for Muslims, especially Pakistanis."

A noteworthy observation made by Nabeel pertained to the prevalence of Indian content on Netflix, suggesting a significant presence influenced by political factors. He contended that the extensive Indian film industry, with its vast repertoire, holds considerable sway over streaming platforms, overshadowing Pakistani content.

Furthermore, the filmmaker touched upon the linguistic aspect, pointing out that the shared language between India and Pakistan might contribute to the lack of a specific niche for Pakistani content. While acknowledging the immense size and historical depth of the Indian film industry, Nabeel suggested that a unique linguistic identity could potentially carve a niche for Pakistani content on global platforms.

"What I mean is, this is one reason for why there is, overall, less Pakistani content on Netflix," said Nabeel. "One: they're not buying. Maybe they don't like it, maybe it's political." He continued, "See, it's foolish. The Indian industry is huge, no doubt about it. It's very big. They can perhaps feed ten products like Netflix. There is a lot of content, it's a huge industry, and it's been running for a hundred years, unlike ours, which is functional for five years and then isn't. Credit where credit is due, that's quite an achievement."

He continued, "Secondly, our language is also the same. Maybe if we had a different language, we may have had a niche. Right now, if an Indian film releases, we'll all go watch it with gusto. It'll be the number one trend. The demand and supply are present. There is no specific niche where something is specifically put so that the Pakistani audience watches it."

In a separate segment of the interview, Nabeel provided insights into the shelving of Fatman. Explaining the unforeseen hurdles, he recounted the impact of the COVID-19 pandemic on the film's production schedule. Notably, the character of Fatman, which had to be essayed by Ahmad Ali Butt, underwent a transformation, leading to a temporary halt in the project. The celebrated film maestro disclosed that Ahmad's significant weight loss rendered the character dynamics unfeasible. Despite the actor's willingness to regain some weight, the director emphasised the importance of authenticity in portraying the character.

"Fatman had to be made," recalled Nabeel. "I remember March 2020 we had to begin shooting. And Februay 2020, COVID hit. The shoot stopped. When the shoot stopped, Ahmad Ali Butt, who was quite the 'Fatman' previously, became fit. The character slipped by. Now, we met a few times, and he said that he could gain some weight - not much, around 10kg - but that would not be any fun. Till he gains more weight, it won't be fun. And I can't really see any other actor doing this yet."

The intricate discussion with Nabeel shed light on the multifaceted challenges faced by Pakistani content creators in the global digital landscape, offering a nuanced perspective on the industry's dynamics and its aspirations for global recognition.

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