Sold my house to make 'Babylicious': Director Essa Khan talks vital changes in Pakistani cinema

Filmmaker provides a blueprint for change

LAHORE:

My cinematic opus – Babylicious - was two hours long but it took me five years to make it. I sold my family home, a place filled with cherished memories, to secure 15 more days of filming. Then came the moment I traded my Bitcoin stash for a mere $6,000 to hire slightly prettier extras on shoot day, a decision that would haunt me as it soared to a staggering $40,000 shortly after. 

By the time my movie hit theatres, I was without a car trudging a kilometre through blistering 40-degree heat to get groceries. The result was that a small group of viewers did manage to find joy in my creation. Success! My recent journey into the world of cinema has led me to share some thoughts on revolutionising Pakistan’s film industry. 

End goal

One of the pivotal moves that propelled Korea's cinematic rise was encouraging conglomerates to invest in the film industry by offering them tax incentives. Picture this: a company has a substantial tax bill looming on the horizon. Instead of just cutting a check to the government, it is incentivised to allocate those funds toward financing a film project. This not only drives corporations to engage in filmmaking but also brings with it a structured corporate approach.

Contrast this with our situation in Pakistan. Here, the initial approach was to lobby for tax exemptions on cinemas and film producers without addressing the fundamental question of how these producers would secure the capital necessary to create films that could qualify for tax exemption. It's clear that the Korean model, by encouraging corporate participation, paved the way for a more sustainable industry.

The second innovative policy introduced by the Korean government was the provision of up to 25% cash grants to foreign productions that chose to film in their country under a talent and crew quota system. This not only attracted international talent but also elevated the skills of the local crew. Korean stars landing international work was good marketing for their industry. 

Now, let's shift our focus back home to Pakistan. Some well-intentioned but short-sighted policymakers here are pushing for financial grants to be handed out to local filmmakers. While this may appear to support the industry, it overlooks a crucial aspect: the skill level of our local talent. In many cases, our filmmakers might not yet be on par with international standards, and some may have hit creative roadblocks. Simply injecting funds without addressing the underlying issues does not lead to sustainable growth.

Redefining success

The size of the film box office or the increase in the number of cinemas, while important, is no way to evaluate the health and trajectory of a national film industry.

The most critical statistic we should be examining is the influx of skilled individuals entering our film workforce compared to those departing. If we scrutinise the number of Pakistani students enrolling in film schools and contrast that with the count of graduates actively participating in the film industry, we're confronted with a tragic imbalance. The majority of filmmaking graduates either veer towards advertising agencies or stay at home. Only a select few venture into the world of film and television production.

Here's the harsh reality: Without a continuous influx of talented filmmakers and a nurturing environment for their growth, we simply cannot sustain a vibrant cinema industry. Yet, it seems our policymakers prefer relying on external assistance rather than embarking on meaningful change themselves.

Ending film censorship

In this era of rapid global evolution, any platform that asphyxiates the freedom of thought or operates under government supervision finds itself at odds with the progressive ideals of the 21st century. It is a paradox that politicians, journalists, preachers, and even anonymous voices on social media platforms are free to express their hateful agenda while our artists are subjected to control.

The filmmaker must be freed to make his choices and the cinema owner must be freed to make his. Once the film fraternity wins back its artistic freedom films will appear with greater imagination and themes. While there may be some challenges and concerns, the undeniable truth is that the positives will outweigh the negatives.

Profitability and accessibility

It is a matter of grave concern that the escalating costs associated with producing a feature film have discouraged potential investors. While we can hope that many costs will naturally decrease due to market forces, one expense remains within the realm of government control — location rents. Consider this: filming at the Eiffel Tower in Paris comes at no cost, and capturing scenes on any Parisian street is likewise free of charge. In contrast, filming a scene in Hill Park costs RS50,000, while Port Grand authorities demand a hefty RS700,000 per day. Even Karachi International Airport is printing invoices for an astonishing RS300,000 per hour. Without government intervention, these location rents are bound to keep rising.

It is abundantly clear that the key to fostering a thriving film industry lies in our ability to make public places accessible and affordable for filmmakers. A perfect example is the French New Wave, a cinematic movement characterized by low-budget films created by young, independent directors.

Cinemas

Let’s accept the truth: multiplexes are for the rich and are ideally for shopping malls. This strategy of catering to less than 5% of the population is not working. Instead, let us shift our gaze towards the revival of single-screen cinemas. India has 6000 single-screen cinemas that contributed to more than 75% of the film business in 2023. These theatres consistently boast higher occupancy per show and tend to run shows even after the initial release euphoria dies.

To kick-start the single-screen revolution, the government can lease land to private parties for extended periods with profit-sharing agreements in place. Encouraging local vaderas and zamindars to enter the cinema business by offering tax incentives could also invigorate the industry.  

But, encouraging cinema owners is no good if they do not operate ethically. For instance, Indian films are exhibited on 5000 plus screens in India alone while the average Pakistani film struggles to secure 100 screens globally. But the exhibition fee for both is the same. How is that fair?

No business can progress with greed at the helm, where there is no compassion or respect for the ecosystem they operate within. The government must protect the weak in this industry. An equitable exhibition fee for locally produced films should be set at 25% until we reach the target of 250 screens.

Exhibition of foreign films, be it Indian or American, should be proportional to the release of Pakistani films. For example, if 10 Pakistani films are released in a year, then no more than 20 foreign films should be imported the following year. This approach will incentivize cinema owners to stock up the local film supply chain.

Antitrust laws

We find ourselves at a crucial juncture in the evolution of Pakistan's entertainment industry, one marked by the dominance of oligopolistic structures. Some television channels control the entire production process, from set to theatre and then to streaming. This vertical integration or centralised power discourages competition and makes the industry less likely to survive a slump.

The government must step in and regulate the industry effectively. Issuing and closely monitoring licenses can prevent many firms from wielding majority control over the business. This entails imposing restrictions on television networks, preventing them from functioning as production houses and limiting the influence of production houses over distribution.

In conclusion, our mission is clear: to elevate Pakistan's film industry. Together, we can ignite a transformative journey towards a dynamic and flourishing cinematic landscape that captures the hearts and minds of our nation and the world at large. The time to act is now. Our decisions today will shape the industry's future. Let us embrace this opportunity and lead the way to a brighter, more creative tomorrow.

Eesa Khan is a Lahore-based filmmaker who directed Babylicious