Reels of a vanishing heritage
For generations of Peshawar residents, a trip to the cinema was more than an evening's entertainment. It was a shared cultural ritual where families gathered, friendships were forged and Pashtun stories unfolded on the silver screen.
Today, many of those iconic cinema halls have disappeared, replaced by shopping plazas and commercial complexes, reflecting not only changing business priorities but also a profound transformation in the province's cultural landscape.
Every weekend, Ehtisham Khan would drive his friends to Firdus Cinema on GT Road, where long queues stretched outside the ticket window and the aroma of roasted peanuts welcomed eager moviegoers waiting for the latest Pashto blockbuster.
The lecturer in Urdu literature now returns to the same site only to find a bustling shopping plaza standing where one of Peshawar's best-known cinemas once stood. "It was heartbreaking to see Firdus Cinema disappear," he recalled.
"I watched countless Pashto films there during weekends since my childhood and came here on Eid days with my family and friends. Now, all I see are glass and cloth shops. The cultural soul of the place has vanished after the cinemas were bulldozed for commercialisation."
His experience mirrors that of thousands across Khyber-Pakhtunkhwa, where social media platforms, streaming services and artificial intelligence have dramatically reshaped entertainment habits.
While digital technology has made films and educational content instantly accessible, cultural experts, filmmakers and rights advocates fear it has also hastened the decline of cinema culture, weakening community interaction and eroding an important element of the province's cultural identity.
The transformation is visible across Peshawar. Cinema halls that once remained packed until late at night now struggle to attract audiences as younger generations increasingly spend their leisure time watching short-form videos, streaming films online or using AI-powered applications for entertainment.
For decades, Peshawar was regarded as the heart of Pashto cinema, where entertainment also served as a vehicle for language, culture and social values. Landmark cinemas such as Capital, Falak Sair, Sabrina, Metro, Shabistan, Palwasha vand Naz drew thousands of visitors each week.
But today many of those landmarks have disappeared under the pressure of commercial development and changing entertainment preferences. Of nearly 15 cinemas that once operated in Peshawar, only a handful, including Arshad, Aaeena, Naz and Shama, remain open, and even they face an uncertain future.
"Even on weekends, when we once expected full houses, we barely sell enough tickets to cover electricity bills," said Gohar Yousafzai, manager of Sabrina Cinema. "Operating costs continue to rise while audiences continue to shrink. Without policy support and investment, survival has become increasingly difficult."
Veteran filmmakers remember a period when Pashto cinema reflected the aspirations and traditions of its people. The release of 'Yousuf Khan Sher Bano' in 1970, the first Pashto-language feature film, marked the beginning of a flourishing industry that celebrated honour, courage, love and family values.
Actors such as Badar Munir, Yasmeen Khan and Asif Khan became household names whose performances resonated across generations. "Pashto cinema was our cultural treasure," said veteran director Shahid Khan. "When we lost our cinemas, we also lost an important connection with our history."
Industry veterans believe several factors contributed to the industry's decline. Shahid Khan said filmmakers in the 1990s increasingly shifted towards sensational and horror-based productions that alienated family audiences.
The situation deteriorated further as terrorism targeted cinema halls, including the bombing of Shama Cinema, while worsening security forced theatres in Swat, Mardan and Kohat districts of K-P to close permanently.
Pride of Performance recipient Javed Babar said the absence of a provincial censor board following the 18th Constitutional Amendment created a regulatory vacuum that encouraged piracy through memory cards, DVDs and online leaks, severely affecting box office revenues.
"Hundreds of artists, technicians and cinema workers became unemployed first by terrorism and later by Covid-19," he said. "Some actors now drive rickshaws or work as labourers to support their families," Babar added.
Officials say efforts are under way to support the film industry through financial incentives, tax exemptions, a national film institute and improved production facilities. However, industry stakeholders argue that long-term revival will require stronger anti-piracy laws, modern cinema infrastructure, support for scriptwriters and a provincial film policy that reflects local needs.
Experts warn that the disappearance of cinemas represents more than an economic loss. Dr Malik Riaz said cinema, theatre and live performances have traditionally created spaces where communities interact, exchange ideas and strengthen social bonds.
Human rights lawyer Asif Khan Yousafzai argued that protecting cultural spaces is as important as preserving physical infrastructure because they nurture identity and social cohesion.
Despite the challenges, optimism remains. "The audience still exists but we need quality films," Shahid Khan said, expressing hope that successful releases during Eid and the coming Independence Day season would encourage viewers to return. "If quality films are produced, people will certainly return."
For Ehtisham Khan, however, no new multiplex can replace the memories of Firdus Cinema. He now travels to Rawalpindi or Lahore whenever he wants to watch a newly released film, but says today's generation may never experience the excitement that once made a visit to the cinema an unforgettable part of growing up.
Whether Pashto cinema can reclaim its former place, many believe, will depend as much on society's willingness to preserve its cultural heritage as on government support for the film industry.