PAKISTANI ACTRESS MAHIRA KHAN TALKS VERNA AND PROMOTING WOMEN’S RIGHTS
by ASJAD NAZIR
ACTRESS Mahira Khan has not only become a huge international star but also a powerful Pakistani role model who is inspiring women globally with her girl power-led approach to work and everyday life.
With her newly released film Verna , Mahira continues her approach of inspiring others through her art. She has teamed up with acclaimed director Shoaib Mansoor, who previously delivered blockbusters Khuda Kay Liye and Bol , for a gripping drama about a rape survivor fighting for justice.
One of the most anticipated Pakistani movie of recent years, Verna is expected to clock up big numbers and open up an important debate about women’s rights. Eastern Eye caught up with Mahira to talk about Ver na , women’s rights, inspirations and more...
You are very much in-demand; what did you like about Verna?
First and foremost it was Shoaib saab. As you know, I made by debut with him in Bol . So just to get a call from him after six years was amazing. We have kind of stayed in touch, but he is not someone who stays in touch with anybody. So for him to reach out to me and say I have this and want you to be the protagonist of my film meant a lot to me. Then when I read the script, I knew that I had to do it. Everything else that I was considering I sort of put aside and gave my all to this. So mainly it was the combination of Shoaib saab and the script.
The last time you worked with him you were a debutante and now you are a huge star. How did the working dynamic with Shoaib Mansoor change?
Like you said, the first time I was a newcomer. I was a baby who was roaming around with a baby because (my son) Azlaan was a few months old. I was so unaware and didn’t know where the camera was. (Laughs) Even now he tells me you still don’t know where the camera is. Most actors know where the lights and camera are, but I forget.
But what was amazing this time was I had this lead part in his film so the directions were different. I had my own experiences, so he found me different. I would ask him so many more questions. We would joke around and the relationship evolved into a more comfortable one with me telling him so many more things.
I would sit with him on the script. So it was a different relationship. Any success that has come my way didn’t play a part in any way.
Tell us about the story and character you play...
The story is about a woman who has been wronged. She has been sexually abused and is a rape survivor. This girl is someone you find out from the get-go won’t take wrongdoing lying down. It’s about what happens to someone who is already a fearless, educated girl who is wronged. She is almost like an activist, so if she weren’t a teacher that is what I would look at her as. So the journey is of this wronged girl and how she decides to fight her way through it.
It looks like an emotionally demanding role. Did it affect you mentally?
I would agree with you Asjad that it is an emotionally demanding movie. I don’t know if it affected me mentally. I feel that it did drain me. There were times I would feel tired or exhausted.
I would think why am I feeling like this and would realise it is because I am playing a heavy part. Even though it is one of the most serious films I have done, it was on one of the most non serious sets I have been on
What do you mean?
Behind the scenes we were constantly laughing. I would be laughing and then get called in to do a serious scene. All the scenes were important and I would have to quickly get into character.
What helped me was a great cast and crew. It was mostly young people working on their first film. They helped me not to take it too seriously.
Are you hoping Verna opens up a debate?
Yes, and that is something all of Shoaib Mansoor’s films do. By the time you leave the cinemas, you are talking about it and debating it. That will especially happen with this film. The ending will leave room for a lot of debate because it isn’t a regular one.
Even when I read the script, there was a lot of debate I had with Shoaib saab. So I can imagine people will leave the cinemas talking about it.
This film shines a light on women’s rights, but what more can be done in Pakistan with that issue?
Well, a lot can be done. And a lot is being done. I have met several women who have joined forces with us on the promotion of this film, who are doing a lot. When you meet these people, you realise the kind of work people are doing.
I met Dr Fouzia Saeed and her sister. They have been working for the last 20 years and you haven’t heard about them. They haven’t come into the spotlight. You realise there is a lot of people out there doing the groundwork for women’s rights or for women who are abused on a daily basis or don’t understand their rights.
Is women not understanding their rights the biggest problem?
Yes, I think the number one thing first and foremost that can be done is to create awareness. Until you are aware of the basic rights we have, you are not going to be able to fight for yourself because you don’t have that awareness. I think slowly but surely the narrative for women in Pakistan is changing.
How much of a role do men need to play in the fight for women’s rights?
They have a very important role and have stepped up. I see it all the time. In the case of Khadija Siddiqi, which was a very famous case in Pakistan this year, I found out through a male activist and got her number. We all got together and I spoke out about it.
So often when we talk about women’s rights, we unfortunately separate men out of it. Including men is the most important thing we can do because together we have to fight for one another.
What message would you give women going through struggles?
They will take whatever message they want from the movie, but from me to the women who are going through struggles I think it is important for them to understand they do not need to think that anybody or anything should define them.
Secondly, they should be aware that they have rights and fighting for them is not wrong. It is something they deserve. Simple basic human rights are what women and men deserve. Abuse is against humanity.
Believe me, in researching for this role I can’t tell you what I read and it would blow my mind. Everyone is just five minutes away from being aware. I got onto a forum and found out all this is happening. I was not previously aware. So it’s important they educate themselves, go out there and ask for their rights because they deserve it.
You are an inspirational woman, but what inspires you?
It might sound cliché, but everything is constantly inspiring me. Then there are days that nothing inspires me. But most days I am constantly inspired by everything around me.
I am inquisitive and love talking to everyone. I get told all the time to stop talking to everybody. For a day I’ll take that advice, but get bored because I feel the best thing we can do is just connect. So connecting ultimately inspires me.
ARUNDHATI ROY’S forthcoming memoir, Mother Mary Comes To Me, is about the author’s close but fraught relationship with her mother, Mary Roy, whose death in 2022 her daughter has likened to “being hit by a truck”.
Mary Roy, who insisted her children call her “Mrs Roy” in school, belonged to the Syrian Christian community. She does not seem a very nice person.
The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
In 1996, someone tipped me off that a publisher had won an auction by paying £1 million for The God of Small Things by an unknown Indian writer. This was unprecedented for a debut novel. But the buzz among the bidders was that the novel was a possible contender for the Booker Prize.
As I was writing my story at the Daily Telegraph, the night editor, Andrew Hutchinson, leant over and quipped: “Writing about your sister again?” As we know, Arundhati Roy did win the Booker in 1997. I had actually met Arundhati two years previously when she had stuck up for Phoolan Devi, the subject of Shekhar Kapur’s movie, Bandit Queen, based on Mala Sen’s biography.
Phoolan had been repeatedly raped by upper class Thakurs (the men were later lined up in the village of Behmai and executed by Phoolan’s gang in 1981). The film was exploitative, claimed Arundhati, because for Phoolan, it was like being raped again. She wrote a piece in Sunday in Calcutta (now Kolkata), headlined, “The Indian rape trick”.
Mala arranged for me to interview Phoolan who was refusing to talk to Channel 4 which was making a documentary in India on the controversial movie. In public, she supported Arundhati, but behind the scenes did a deal with C4 which paid her £40,000.
The FT interview says Arundhati “left home at 16, putting the length of the subcontinent between her mother in Kerala and herself in New Delhi, where she was admitted as one of the few women students at the School of Planning and Architecture. ‘I left in order to be able to continue to love her, because I knew she would destroy me if I stayed,’ she says.
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.
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Works are painted on bark cloth from Lake Victoria
Artist Shafina Jaffer presents a new chapter of her Global Conference of the Birds series.
The exhibition runs from 7–12 October 2025 at Mall Galleries, London.
Works are painted on bark cloth from Lake Victoria, combining spiritual themes with ecological concerns.
Exhibition details
Artist Shafina Jaffer will open her latest exhibition, Whispers Under Wings (Global Conference of the Birds), at the Mall Galleries in London on 7 October 2025. The show will run until 12 October 2025.
This practice-led series reinterprets Farid ud-Din Attar’s 12th-century Sufi allegory, Conference of the Birds, reflecting on themes of unity, self-realisation and the idea that the Divine resides within.
Material and meaning
Each work is painted on sustainably sourced bark cloth from the Lake Victoria region, using natural pigments, minerals and dyes. Large panels are formed from the bark of single trees, aligning material ecology with the spiritual narrative.
The series weaves together sacred geometry, Qur’anic verses and depictions of endangered bird species, underscoring the connection between ecological fragility and spiritual awakening.
Previous recognition
Whispers Under Wings follows earlier presentations in London and Dubai, extending the project’s message of peace, unity and environmental care.
A central work from the series — the Simurgh, conceived as a symbol of light (Noor) — was recently acquired by Prince Amyn Aga Khan for the new Ismaili Centre in Houston. A feature on the exhibition also appears in the September edition of Twiga, Air Tanzania’s inflight magazine.
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Each character in the set has been carefully designed to reflect cultural narratives
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”