Nighat Shah: 'Gunjal' brings child labour in focus
By cleverly combining the issue of child labour with an investigation, the multi-layered movie is attempting to connect with a wide international audience
By Asjad NazirNov 24, 2023
FROM small taboo-busting independent films like Joyland to record-breaking blockbuster The Legend of Maula Jatt, Pakistani cinema has been on the rise in recent years.
Forthcoming film Gunjal looks like adding to that momentum, with the Pakistan-set story based on real events of child labour activist Iqbal Masih, who was brutally murdered in the 1990s. By cleverly combining the issue of child labour with an investigation, the multi-layered movie is attempting to connect with a wide international audience.
Eastern Eye caught up with US-based producer Nighat Shah to discuss Gunjal, the issues it deals with and child labour.
What connected you to filmmaking?
I stumbled into filmmaking by chance. In 2020, I produced the short film Darya Kay Iss Paar (This Bank of the River) to raise awareness about mental health. Its success encouraged me to become a filmmaker.
What inspired you to produce the new film Gunjal?
Child labour is something I find deeply troubling. Even though I didn’t personally witness child labour while growing up in the village of Chitral, Pakistan, I became aware of the stark reality when I moved to the city for higher education. I witnessed young children working in restaurants and as domestic help, even taking care of children their own age. It became clear that this was not just an isolated occurrence, but a widespread problem fuelled by societal norms. Instead of attending school, these children were toiling away in other people’s homes.
What led that towards making a movie about it? As
I delved deeper into the issue, I discovered that child labour extended far beyond domestic settings. It permeated factories, restaurants, and fields. As of 2022 data, 160 million children are engaged in child labour globally, a rise of 8.4 million since 2016, with nearly half (79 million) involved in hazardous work jeopardising their safety – an increase of 6.5 million over the same period, according to the International Labour Organisation. Even in the US, certain states are relaxing child protection laws, which is like a step backwards. As a responsible adult and filmmaker, I was compelled to bring this issue to the forefront and share it with a broader audience.
Tell us about the film...
My new movie Gunjal is a fictional narrative inspired by real events in Iqbal Masih’s life. Gunjal revolves around Shahbaz Bhatti, investigating the murder of the child labour activist in 1990s Pakistan. Flashbacks and narratives engage viewers, providing a fresh perspective on child labour and justice.
What drew you to this story?
As a mother, the story resonated with me. I imagined the situation of a mother who sells her child into servitude. Also, people like to hear about a hero’s journey, and Masih’s story is heroic. I recognised its potential to connect with audiences and provoke meaningful discussions.
What inspired the interesting title?
The title Gunjal means entangled, representing the story’s web of truth and justice.
What was the biggest challenge of making this film?
It was my first feature film and my director Shoaib Sultan’s. I was the sole financier and producer. We faced numerous hurdles, from shooting in the scorching heat of Lahore and scheduling to managing post-production work across different time zones in Pakistan, India, and the United States simultaneously. Overcoming these challenges required dedication, resource allocation, and teamwork, underscoring the importance of perseverance and collaboration in filmmaking.
Resham (left) and Ahmed Ali Akbar in Gunjal
Tell us about some of the issues this film covers?
Gunjal tackles injustice, child labour, and society’s tendency to overlook problems. The film aims to foster understanding, empathy, hope, and dialogue.
How important was it for you to get a strong cast?
It was crucial to assemble a cast that could effectively portray the complexities and nuances of the story, and I am delighted that our actors have delivered outstanding performances.
Could you share a favourite moment from the film? One favourite moment is when the young protagonist, upon learning he cannot become president, responds with resilience, saying, “I will fight for our rights because we only want equality”.
Who do you hope connects with this film?
I hope this film resonates with individuals who appreciate thought-provoking storytelling, sparking conversations and reflection.
Pakistani cinema has been successful in recent years, what do you think is the root of that?
Pakistani cinema’s recent success can be attributed to talented filmmakers, improved production values, diverse narratives, increased audience engagement, and digital platforms.
What can we expect next from you?
I am developing my next project in collaboration with another filmmaker, focusing on a social cause.
Why should we all watch this film?
Led by compelling performances from Ahmed Ali Akbar, Amna Ilyas, Resham, Ahmed Ali Butt and Syed Muhammad Ali, Gunjal aims to challenge perspectives through its narrative. By exploring meaningful social issues, the storytelling invites conversations and lasting impact.
Why do you love cinema?
Cinema, for me, is a medium of expression and connection. It transcends barriers, evokes emotions, challenges perspectives, and inspires change.
Samantha Ruth Prabhu says she is entering a “new chapter” in her 15-year career.
The actress has slowed down her workload to focus on projects that truly inspire her.
She is prioritising both fitness and films, balancing work with physical and mental health.
Samantha will next be seen in Rakt Brahmand: The Bloody Kingdom, directed by Raj and DK.
A new chapter in her career
Samantha Ruth Prabhu has revealed she is stepping into a refreshing new phase of her career, where intention and passion guide her choices. After more than 15 years in the film industry, the actress said she is deliberately slowing her pace, focusing only on projects that connect deeply with her.
Choosing projects with passion
In an interview with Grazia India, Samantha explained: “I’ve reached a point where I do things I’m extremely passionate about, and that includes both fitness and films.” She admitted that in the past, not every project was one she fully connected with, but now — whether acting, producing, or investing in businesses — she commits wholeheartedly.
Balancing health and work
The actress revealed that she no longer juggles multiple projects at once, instead prioritising her physical and mental wellbeing. “I no longer shoot five films at a time. One thing I’ve realised is that I need to listen to my body, so I’ve reduced the amount of work I do. But now everything I do and put my energy into matters so much more. Nothing is for the heck of it. The quantity may have reduced, but the quality of projects has definitely increased.”
Recent and upcoming projects
Most recently, Samantha appeared in a cameo role in the Telugu film Subham. She was also seen in Prime Video’s action thriller Citadel: Honey Bunny, where she starred opposite Varun Dhawan in a spy series created by Raj and DK.
Looking ahead, she will feature in Rakt Brahmand: The Bloody Kingdom, another high-octane series directed by Raj and DK. Currently in production, the project also stars Aditya Roy Kapur, Ali Fazal, Wamiqa Gabbi, and Jaideep Ahlawat, and is expected to release in 2026.
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Helen Mirren says she would instantly return for a sequel
The film stars Mirren, Pierce Brosnan, Celia Imrie and Ben Kingsley as amateur detectives.
Richard Osman’s bestselling series already has three sequels in print, with another due this year.
Mirren praised her chemistry with Brosnan and her long friendships with Kingsley and Imrie.
Mirren open to sequels
Helen Mirren has revealed she would jump at the chance to reprise her role in Netflix’s upcoming adaptation of The Thursday Murder Club.
The Oscar-winning actress stars alongside Pierce Brosnan, Celia Imrie and Ben Kingsley in the crime comedy based on Richard Osman’s bestselling novel. The story follows four pensioners in a retirement village who band together to solve the murder of a local property developer.
Mirren said filming was such an enjoyable experience that she would return for more without hesitation. “(I’d do another) in a nanosecond. And it would be the team getting back together, which would be great. We did have a wonderful time shooting this. So all of us would jump at the chance, quite honestly,” she told Radio Times.
Osman’s books pave the way
Richard Osman has published three follow-ups to The Thursday Murder Club — The Man Who Died Twice, The Bullet That Missed and The Last Devil to Die — with another instalment due later this year. The ready-made sequels boost the chances of the film being developed into a series.
Bonding with co-stars
Celia Imrie, Sir Ben Kingsley, Dame Helen Mirren and Pierce Brosnan attend The Thursday Murder ClubGetty Images
The 80-year-old actress also reflected on the friendships and professional ties behind the film’s ensemble cast. “Ben and I started out together in the Royal Shakespeare Company, both ambitious and obsessed. Celia and I became really good friends on Calendar Girls. Pierce is my wonderful late discovery. I’d like to work with Pierce for the rest of my life. I feel that we have a real chemistry.”
Mirren and Brosnan have since reunited for the crime drama series MobLand.
Release date
The Thursday Murder Club will have a limited cinema run before arriving on Netflix on 28 August.
FIFTY years since Sholay was released, it has been watched by generations of audiences, but its director has said it is not a perfect film.
Written by Salim Khan and Javed Akhtar, Sholay tells the story of two small-time criminals hired by a former policeman to capture the ruthless gangster, Gabbar Singh.
The action-adventure movie was praised for its gripping storytelling, powerful dialogues and unforgettable characters played by Amitabh Bachchan, Dharmendra, Hema Malini, Jaya Bachchan, Sanjeev Kumar and Amjad Khan in his first major role as the villain Gabbar.
Director Ramesh Sippy said, “The fact that Sholay was made means something better than Sholay can also be made and people will learn to like that kind of film as well.”
He added, “I think you always want to better Sholay. That’s how you keep your spirits up. Otherwise, how will you carry on?”
In an interview at his office in Mumbai, the renowned filmmaker acknowledged the audience’s enduring love for every frame of the classic as “amazing”.
Gabbar Singh’s evil laughter, Jai-Veeru’s undying friendship (played by Bachchan and Dharmendra, respectively), Thakur’s (Kumar) quest for vengeance, Soorma Bhopali’s boastful banter and Basanti’s (Hema Malini) exuberant defiance are part of Indian cinematic history.
Since it was released on August 15, 1975, the film has stayed on in the hearts of generations of film goers who discovered it later.
Sippy said the entire team worked hard on the project and, when shooting was completed, he knew he had a “fine film” in hand. “You can’t think of any of these characters being played by any other actor or actress. It was just simply so good. They did their best. I was able to get performances which were amazing, because they are such fine artists and because as a script it was very satisfying and promising and everybody worked towards achieving what they could in their own capacities.”
“At the end we had a fine film in our hand which till today we are here talking about it 50 years later, it’s amazing,” he said.
Sippy’s filmography also includes hits such as Seeta Aur Geeta, Shaan, Shakti and Saagar, but the popularity of Sholay sets it apart. “I have tried my best to make good films before and after Sholay and I have succeeded as well, but somehow nothing stands out like Sholay,” the 78-year-old said.
“I do hope one day there is a film that beats Sholay. That’s the way the world is.
“You need to be better than what was. So everybody has to strive to do that.
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Anurag Kashyap has condemned the AI film Chiranjeevi Hanuman – The Eternal for undermining artists
Filmmaker Anurag Kashyap criticised Vijay Subramaniam for backing the AI-made film Chiranjeevi Hanuman – The Eternal.
Kashyap said the project undermines creativity and betrays the artists represented by Subramaniam’s agency.
Vikramaditya Motwane also expressed disapproval, warning of AI sidelining writers and directors.
The AI film is produced by Abundantia Entertainment and Collective Media Network, with a 2026 release planned.
Filmmaker Anurag Kashyap has sharply criticised the upcoming project Chiranjeevi Hanuman – The Eternal, promoted as India’s first fully AI-made film. The director targeted Vijay Subramaniam, head of Collective Artists Network, accusing him of betraying the very writers, actors and directors his agency represents. The backlash follows recent controversy over AI’s use in altering the Tamil release of Aanand L Rai’s Raanjhanaa.
Anurag Kashyap has condemned the AI film Chiranjeevi Hanuman – The Eternal for undermining artists Getty Images/ Instagram/abundantiaent
What is Chiranjeevi Hanuman – The Eternal ?
Earlier this week, production houses Abundantia Entertainment and Collective Media Network unveiled the poster of Chiranjeevi Hanuman – The Eternal. Marketed as the country’s first “Made-in-AI, Made-in-India” film, it is scheduled to release on Hanuman Jayanti 2026.
Producers claim the project will combine mythology with modern innovation, reimagining Lord Hanuman’s story for global audiences. They described the initiative as a tribute to India’s cultural legacy, brought alive through technology.
However, the announcement triggered heated debate within the industry. While backers framed the film as innovation, critics argue it risks erasing the role of human storytellers in cinema.
Anurag Kashyap, known for outspoken views, voiced his anger on Instagram after the poster launch. Addressing Subramaniam directly, he wrote:
“Here is the man heading an agency representing artists, writers and directors, now producing a film made by AI. End of the day, all these agencies are only interested in making money off you. Any actor or anyone who calls themselves artists and has a spine should be questioning him or leaving the agency.”
The filmmaker went further, describing the project as “the future for the spineless and cowardly so-called artists in the Hindi film industry.” His remarks reflect wider concerns that agencies profit from talent while backing projects that remove creative workers from the process.
Kashyap has previously worked on films tackling issues of power, exploitation and authenticity in cinema. His latest outburst adds to growing resistance against AI in filmmaking.
Kashyap was not alone in condemning the move. Director Vikramaditya Motwane, who recently explored AI themes in his project CTRL, reposted the announcement on Instagram with the blunt caption: “And so it begins. Who TF needs writers and directors when it’s ‘Made in AI’?”
Motwane’s reaction highlights a fear shared by many in the industry: that studios may prioritise cost-cutting AI tools over human creativity. His remarks echo discontent following Raanjhanaa’s AI-altered ending, which led to protests from Aanand L Rai’s team.
The Chiranjeevi Hanuman backlash has therefore become symbolic of a larger struggle, of filmmakers fighting to safeguard artistic integrity in an era of technological disruption.
Filmmaker Vikramaditya Motwane criticised the AI project and warned of the threat to writers and directors Instagram Screengrab/motwayne
What has the producer said in defence of AI films?
Vijay Subramaniam, head of Collective Artists Network and producer of Chiranjeevi Hanuman – The Eternal, defended the film at its launch. He argued that the project is not replacing tradition but enhancing it, describing it as “a unique opportunity to reimagine cultural storytelling for audiences who value both heritage and innovation.”
Supporters of the film insist that AI technology can make epic stories more accessible and visually ambitious without the usual budget constraints. Yet the criticism from Kashyap and Motwane shows strong resistance within Bollywood towards projects perceived as sidelining human talent.
The debate reflects a broader global conversation on AI’s role in creative industries, from Hollywood writers’ strikes to controversies in Indian cinema. With Chiranjeevi Hanuman – The Eternal set for release in 2026, the clash between technological innovation and artistic integrity is likely to intensify.
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Shah Rukh Khan supports son Aryan Khan during the Netflix launch of his debut series
Aryan Khan made his first public speech at the launch of his Netflix series The Ba**ds of Bollywood.
The debutant director admitted he was nervous and joked about keeping his father Shah Rukh Khan as backup.
The show stars Sahher Bambba, Lakshya, Bobby Deol, Mona Singh and Manoj Pahwa.
The Ba**ds of Bollywood will release on Netflix on 18 September.
Shah Rukh Khan’s son Aryan Khan stepped into the spotlight at the preview launch of his directorial debut The Ba**ds of Bollywood. Delivering his first-ever public speech, Aryan openly admitted he was “extremely nervous,” a moment that has quickly drawn attention. Speaking with a mix of honesty and humour, Aryan said he had been rehearsing for days and even carried backup notes in case the teleprompter failed. The much-anticipated Netflix series marks his debut as a director after four years of preparation.
Aryan Khan makes his first public speech at The Ba**ds of Bollywood* preview in Mumbai Getty Images
What did Aryan Khan say in his first speech?
Aryan Khan confessed that facing the media for the first time left him anxious. “I’ve been practising this speech for two days and three nights,” he said, before joking that he had even written it down on paper in case of a power cut. He added, “Aur agar iss sab ke baad bhi mujhse galti ho jaaye toh papa hain na (And even then if I make a mistake, my dad is here).”
In a lighthearted moment, Shah Rukh Khan joined in by showing a copy of Aryan’s speech taped to his back, drawing laughter from the audience. Aryan ended his address by requesting forgiveness if he stumbled, saying, “This is my first time.”
The Netflix series The Ba**ds of Bollywood is described as a high-energy, stylised drama set against the backdrop of the film industry. It features Lakshya and Sahher Bambba in lead roles, with Bobby Deol, Mona Singh, Manoj Pahwa, Raghav Juyal, and Anya Singh in pivotal parts.
The series, produced by Red Chillies Entertainment, also features cameos from Salman Khan, Ranveer Singh and Karan Johar. According to Aryan, the project took four years of development, with “hundreds of discussions and thousands of takes” before reaching its final form.
Netflix has confirmed that The Ba**ds of Bollywood will begin streaming worldwide on 18 September. The platform has promoted it as a fresh take on the glitz and chaos of the industry, promising stylised visuals, sharp humour, and a look at ambition and rivalry in the world of cinema.
For Aryan, the series represents not just a professional debut but also the culmination of years of behind-the-scenes work. He said at the launch: “We’ve tried to bring entertainment to people everywhere, and I want to thank everyone who made this possible.”
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How did fans react to Aryan Khan’s speech?
Clips of Aryan Khan’s speech quickly spread online, with many fans pointing out his striking resemblance to his father’s manner of speaking. Comments like “Sounds just like SRK” and “Aryan’s voice = SRK’s voice” dominated social media reactions.
The warm reception suggests that Aryan’s entry into filmmaking has sparked high curiosity, both because of his family legacy and the scale of the project. With his directorial debut soon arriving on Netflix, expectations are running high.