Rejected for its edgy content, Shoaib Mansoors timely revenge thriller has finally made it into cinemas after a public backlash. Is the countrys film industry ready for change?
In recent years, Pakistan has seen a huge resurgence of its film industry, which has emerged from the shadow of Bollywood to find its own identity, one at the forefront of the battle between a growing conservatism in the country and an emboldened youth hungry for change. Theres a notable trend towards female-led narratives, which are not only setting new standards in storytelling, but also challenging taboos around the treatment of women in society.
The battle to get the voices and experiences of women on screen achieved a much-needed victory this week when the Pakistani censor board backed down over a decision to ban a new film about the injustices faced by rape victims in the country a development that shows that Pakistan might be ready for change both on screen and off.
Verna, which stars popular actor Mahira Khan, was originally denied a certificate by the Central Board of Film Censors (CBFC) because of its mature themes and edgy content. This caused an outcry among womens rights campaigners, who accused board members of censoring womens voices and putting their heads in the sand at a time when, says Gulalai Ismail from the campaigning NGO Aware Girls, rape is a rampant issue in Pakistan and movies like Verna are crucial in moving society forward.
Soon the ban had inspired a Twitter campaign under the hashtag #UnbanVerna, which emerged as Pakistans own #MeToo movement. High-profile supporters of the film included xXx: Return of Xander Cage star Deepika Padukone, who is facing a similar backlash over her latest Bollywood film, Padmavati, based on a 16th-century poem about a mythical Indian queen.
Just hours before Verna was due for release, the censor board cleared it for viewing. The publicity around the ban meant that most cinemas were sold out before the decision had been made something unheard of for a home production, many of which are usually dwarfed by the latest Marvel adaptation or Bollywood blockbuster.
The film is a stylised thriller drawing on elements of film noir and Japanese cinema, with a plot that falls somewhere between the 1998 Jodie Foster drama The Accused and the revenge horror Audition. Khan plays Sara, a teacher who is abducted while out on an anniversary trip with her husband, then held captive and raped for three days. After failing to get any redress from the justice system, Sara takes matters into her own hands.
However, despite its genre flourishes, the film also holds a mirror up to societys shortcomings in its attitude to rape, and the failure of the justice system to protect victims: in one telling scene, a female doctor makes Sara wait for her forensic examination until after lunch, then tells her between mouthfuls that the chances of her getting justice are negligible.
It is ultimately a revenge film about a girl seeking justice, says Khan. The character is not how society would envisage a rape victim to be. She is strong, very urban, educated and feisty. This is a woman who doesnt feel sorry for herself. It was a very challenging role to play as we didnt want the audience to feel sorry for her, but to root for her, while at the same time acknowledging that what she went through was horrific.
We wanted to show how the honour of a woman is connected to everyone except herself. Her honour belongs to the man of the house, her parents, her country, everyone apart from her, yet she is responsible for it. In our culture, when a woman is raped, we say she was robbed of her honour. If a woman is raped, she has not been robbed of her honour, it is the rapist who has for doing such a crime. The film reflects the gender and power dynamics this hypocrisy creates.