In an age where media and storytelling define global perceptions, cinema has become much more than a form of entertainment — it is now a weapon of narrative control. Across the subcontinent, films have increasingly been used not just to tell stories, but to shape ideologies and reinforce political worldviews. While India’s Bollywood industry has long mastered this art, Pakistan’s filmmakers are now stepping into the same arena — not merely to compete, but to correct.
This awakening of Pakistani cinema has gained new momentum in recent years, particularly in the wake of repeated disinformation campaigns and “false flag” operations portrayed through Indian media and cinema. The most recent example of this counter-narrative movement comes in the form of “Begunah,” a Pakistani telefilm directed by Shamoon Abbasi and produced under the banner of Multiverse Entertainment. Written by Ali Moeen and Irfan Chandio, the film brings together a powerful cast — Faraz Farooqui, Nazish Jahangir, Kamran Jillani, Hassan Niazi, and Saleem Sheikh — to dramatize a story inspired by the Pahalgam attack, which Pakistani media and analysts have described as a “false flag operation.”
Bollywood’s Role in Narrative Construction:
For decades, Bollywood has projected its soft power far beyond the borders of India. What began as a vehicle of culture and song gradually evolved into a tool of national influence — one that subtly, and at times aggressively, promoted political messaging. Particularly over the past two decades, Indian cinema has been deeply intertwined with nationalist narratives, with recurring themes of heroism, patriotism, and anti-Pakistan sentiment.
Films such as Uri: The Surgical Strike and The Kashmir Files are not just blockbusters — they are political statements packaged as entertainment. These productions have been widely criticized for distorting facts and fueling polarization. The line between cinema and state messaging has blurred, with film scripts often echoing the language of political rhetoric.
This trend did not go unnoticed in Pakistan. While Bollywood shaped international perceptions of South Asia through its vast distribution network, Pakistani stories were often silenced, overshadowed, or misrepresented. The media ecosystem was dominated by a single voice — one that portrayed Pakistan only through the lens of extremism or conflict.
The Pahalgam Episode and Media Manipulation:
The Pahalgam attack, which occurred in the disputed region of Kashmir, was immediately presented by Indian media as an act of terrorism linked to Pakistan. However, within hours of the incident, conflicting reports and questionable evidence began surfacing. Pakistani commentators and independent observers argued that the operation bore signs of an orchestrated “false flag,” designed to frame Pakistan and influence domestic and international opinion.
Indian television channels, without awaiting investigation or confirmation, launched an aggressive wave of coverage that turned speculation into “fact.” Graphics, dramatic music, and emotionally charged headlines filled screens — while balanced journalism took a back seat.
This pattern is not new. Over the years, incidents in Kashmir and elsewhere have often been used to stir nationalist sentiment in India, particularly ahead of elections or sensitive political moments. What makes Begunah significant is that it turns this very dynamic into the subject of artistic reflection — transforming political commentary into cinematic narrative.
Begunah – A Story from the Other Side:
Begunah, which translates to “Innocent,” is more than just a telefilm; it is a cinematic statement. Directed by Shamoon Abbasi — known for his intense storytelling and bold direction — the film dramatizes the events surrounding the Pahalgam incident through the eyes of those who are unheard. It explores how misinformation, state interests, and media manipulation can destroy lives and distort history.
By focusing on characters trapped between truth and propaganda, the film humanizes a story that mainstream narratives tend to simplify. The central message is not about revenge or rivalry — it’s about reclaiming the right to tell one’s own story.
The screenplay by Ali Moeen and Irfan Chandio avoids excessive melodrama and instead relies on tension, realism, and strong performances. The film’s tone is patriotic, but its approach is reflective. It asks viewers to think: Who controls the truth when cameras are weaponized? Who benefits when wars are fought through headlines instead of bullets?
Media, Truth, and the Power of Film:
Pakistan’s response to disinformation is no longer confined to press conferences or diplomatic rebuttals. A new generation of filmmakers is realizing that visual storytelling can be as powerful as any political statement. In the digital era, where audiences consume more visual content than written text, a film can reach hearts that a report never could.
Platforms like Green Entertainment have played a vital role in this transformation. Known for their socially conscious and intellectually engaging dramas, Green has given space to filmmakers who dare to address complex themes — from politics and propaganda to social justice and national identity. Begunah fits perfectly within this vision: a story that challenges the dominant discourse while entertaining and educating its audience.
This evolution reflects a broader trend within Pakistani media — an awakening of “narrative sovereignty.” For years, Pakistan’s global image has been shaped externally. Now, the nation’s artists, journalists, and storytellers are reclaiming that image, asserting ownership of their truth through creativity rather than confrontation.
Cinema as Intellectual Resistance:
The significance of Begunah lies not only in its political content but in what it symbolizes for Pakistan’s creative industry. It represents a form of intellectual resistance — a refusal to let others define Pakistan’s place in global discourse. Through art, the country is crafting its counter-voice to the hegemonic cultural influence of Bollywood.
In many ways, this is the rebirth of Pakistani cinema’s purpose. Where once film was largely escapist, it is now purposeful. Where entertainment was once detached from national identity, it is now deeply intertwined with it. The creative revival driven by filmmakers like Shamoon Abbasi demonstrates that Pakistan’s industry can produce cinema that is both aesthetically strong and politically conscious.
The film industry, though smaller in scale compared to Bollywood, carries a moral weight that stems from authenticity. Unlike state-funded propaganda, these projects emerge from independent creators who see themselves as custodians of truth and history. They do not seek to demonize but to deconstruct — to peel back the layers of manipulation and reveal the human realities underneath.
Towards a Confident Future of Storytelling:
The rise of projects like Begunah signals a new era of confidence in Pakistani storytelling. It shows that Pakistani filmmakers are no longer content with being reactive; they are proactive, visionary, and willing to engage with difficult subjects. The camera, once an instrument of others’ narratives, is now firmly in their hands.
By turning national experiences into art, Pakistani creators are not only informing their own people but also offering the world a more nuanced understanding of South Asia — one where Pakistan is not a passive subject of stories, but the author of its own truth.
Cinema, in this context, becomes not just a mirror of society but a shield of identity. It reminds the world that stories have power — and when told with conviction, they can reclaim dignity, truth, and perspective from the hands of propaganda.
Article By KamranAshraf
