Pakistan has never lacked creativity. From the sharp wit that dominates social media today to the brilliance of Urdu literature, this country has always produced storytellers capable of inspiring audiences. Our musicians, poets, actors and writers have repeatedly shown that talent is not Pakistan’s problem. The real tragedy is that the space needed to nurture creativity has steadily narrowed over the years. The rise of extremism and social conservatism pushed art and entertainment to the margins. Creative expression increasingly became vulnerable to censorship, outrage and moral policing. Filmmakers and artists who once thrived in a culture of experimentation became hesitant and constrained.
Against this backdrop, the Punjab government’s decision to establish a 50-acre Film City in Lahore is an important development. If implemented seriously, the initiative could help revive an industry that has suffered for decades from neglect, fragmentation and inconsistent support. Pakistan’s film industry has long struggled with weak infrastructure and underinvestment. The decline of cinema theatres over the past decade is one example. When Pakistan banned the screening of Bollywood films in 2019, many theatres faced severe financial difficulties. Since English films alone could not attract large audiences and local film production remained limited, several theatres were unable to sustain operational costs and shut down.
Filmmaking in Pakistan also remains structurally difficult. For years, directors and producers have had to outsource major parts of production – including visual effects, sound design and post-production – to foreign markets. This not only raises costs but also limits creative independence. A fully integrated Film City, equipped with sound stages, VFX labs and post-production facilities, could help reverse that dependency. More importantly, it could keep both talent and investment in Pakistan. Still, caution is necessary. Pakistan’s film industry has seen repeated cycles of revival and decline, with promising projects often collapsing due to poor governance and lack of continuity. Without transparent management, professional collaboration and long-term policy support, a ‘film city’ risks becoming another underutilised project. For the initiative to succeed, policymakers must also recognise that creative industries cannot flourish in an atmosphere of fear and constant interference. Art requires openness, experimentation and freedom. There is already proof that Pakistani audiences are eager for quality local content. The revival of the music industry over the past two decades introduced remarkable talent that may otherwise have remained undiscovered. Similarly, recent television dramas have shown that Pakistani storytellers can still produce compelling narratives that attract audiences at home and abroad. The Punjab Film City, therefore, should be seen as an opportunity to reclaim creativity as a national strength.
