There is something special about seeing a Pakistani film being talked about at an international film festival.
This is where the film begins because you are aware that it began among people who knew the culture and life we grew up in. But now, there is someone at the other end of the world watching this too. When we speak of Pakistani films, the usual discussion is of our major releases and stars, but there is another facet of Pakistani films that should be considered: the independent film makers who have made films for themselves and found audiences outside Pakistan.
This isn’t the first time our movies have gotten so far. Joyland was an absolute hit after its premiere at Cannes in 2022, and In Flames too, having made its debut at Cannes in 2023. Then there is Zinda Bhaag, which got nominated for Oscar representation of Pakistan in 2013. All these movies paved the way for discussions on Pakistani cinema among people other than us. They also reminded us that our films do not have to look or feel like anyone else’s to connect with an international audience.
And that is what makes these moments worth celebrating. Every time a Pakistani film finds a place at an international festival, it opens a door for more filmmakers to be seen and heard. These films may tell very different stories, but they share something important: they bring pieces of Pakistan with them. Our languages, our traditions, our complicated family relationships and the realities of life here all have a place on the big screen. This October, three Pakistani independent films are drawing attention on the international festival circuit, and each gives us another reason to take an interest in the stories our filmmakers are telling.
Here are three films you should know about.
Lali
Directed by Sarmad Sultan Khoosat, Lali is a 2026 Punjabi movie set in the town of Sahiwal, where Zeba (Mamya Shajaffar) marries Sajawal (Channan Hanif) through an arranged marriage, in a bid to move on in life. However, there is a lot of history behind Zeba, but none of it is very pleasant. Zeba has had three other suitors die before getting married to her, making everyone believe that she is cursed. Sajawal, with his own insecurities to contend with, becomes paranoid and starts to show possession tendencies in order to deal with his fears in the marriage.As Zeba tries to make sense of her new life, she finds comfort in her sharp-witted mother-in-law, Sohni Ammi, and Bholi, a neighbour who seems to understand more than she lets on.
Blending Punjabi folklore, dark humor, and the supernatural, Lali portrays the power that superstitions and fear have on the nature of relationships when a woman is already under the scrutiny of everyone around her. The film made its debut at the 76th Berlin International Film Festival in February 2026, becoming the first all-Pakistani film to premiere at the Berlinale. Since then, the film has traveled through many countries and has been screened at the Indian Film Festival of Los Angeles, the BFI London Film Festival and the Vancouver International Film Festival. It has also made an appearance in the Panorama at Berlin and in several other international film festivals, including Asian Film Festival Barcelona.
How To Kill Your Hunger?
Mehroz Amin’s How to Kill Your Hunger? is a 12-minute short film that takes something as basic as hunger and turns it into a much bigger conversation about poverty, dignity and the things people are forced to live without. Released in 2024, the film follows a middle-aged man who is struggling to make ends meet and survives on leftover food. Hoping to revisit happier memories from his childhood, he returns to a fancy restaurant, but what begins as an attempt to find some comfort soon turns into a haunting experience. The restaurant becomes a reminder of just how far his life has fallen from what it once was.
What makes the film interesting is that hunger here is not just about having something to eat; it is also about longing for a better life and holding on to a sense of dignity when circumstances leave you with very little. The film has already travelled beyond Pakistan, earning a place in the Kanazawa Film Festival, where it received recognition in the Best Actor category, and being selected for the Dhaka International Film Festival. It is also part of the 2026 Gandhara Independent Film Festival’s official selection, giving more audiences a chance to discover Mehroz Amin’s work.
The Last Glance
Directed by Kamran Faiq, The Last Glance is a 13-minute Pakistani short film that puts a family in a situation where simply trying to survive becomes a difficult moral test. The story follows Barkaat, his pregnant wife Bushra and their young son Ahmad as they flee their village amid growing violence. Hoping to reach safety, they travel through the night with the help of a taxi driver, Yousuf, but their journey takes an unexpected turn when they arrive at a remote police checkpoint. Here, the family is confronted with a choice that goes beyond their own escape, forcing them to reckon with the hatred and loyalty demanded of them.
What makes the premise particularly unsettling is that the family is not looking for trouble; they are simply trying to get somewhere safe, yet circumstances force them to make a decision that could change everything. The film has had a successful run on the international festival circuit, most recently winning Best International Short Film at the 2026 Mosaic International South Asian Film Festival (MISAFF) in Canada, which ran from September 30 to October 4. It has also been selected for the Birmingham Film Festival, where it is nominated for Best International Film, and is among the Pakistani short films featured at the 2026 Tasveer Film Festival in Seattle. For a short film built around one family’s desperate attempt to escape violence, this international recognition is a welcome moment for independent Pakistani cinema.
What makes these films worth celebrating is that each of them tells a very different story, yet all three come from the same place: Pakistan. The journey that goes from the folklore and superstitious world of Lali through the difficult reality of How to Kill Your Hunger? and The Last Glance clearly proves that there are a lot of things that our cinema has to say beyond the usual content we see in theatres. The fact that these films travel to international film festivals is also a good reminder that independent filmmakers should have as much recognition as big production houses.
There is also something lovely about seeing an actor like Adnan Shah Tipu take centre stage in both How to Kill Your Hunger? and The Last Glance. He has been part of some of Pakistan’s most successful dramas and is often the actor who adds depth to a supporting character, sometimes leaving a lasting impression even with limited screen time. But there is so much more to his talent than playing the memorable side character. Films like these allow him to carry a story, explore complex emotions and show audiences what he can do when the narrative revolves around him. His ability to make a character feel real, without relying on exaggerated expressions or unnecessary theatrics, is a big part of what makes him such a valuable performer. It is encouraging to see independent filmmakers give actors like Tipu the opportunity to take the lead, and we hope to see more of this kind of work from Pakistani cinema.
We hope to see more Pakistani stories finding their way to international audiences, and hopefully, receiving the recognition they deserve. After all, there is so much about our lives, our people and our experiences that the world has yet to discover.