The Intersection of Art, Technology, and Economy in Pakistani Cinema

Having a close connection to the Pakistani film industry through friends like Manzar Sehbai, I have gained a unique insight into the intricate balance between artistic vision, technological limitations, and economic realities that shape filmmaking in Pakistan. The story of Bol, shot on the prestigious ARRI 435 by the talented cinematographer Salman Razak, epitomizes this dynamic. Razak, known for his work in commercials and music videos, not only brought technical excellence to the film but also personally owned the camera and lighting equipment. This ownership gave the production unprecedented control over its visual quality, a privilege few films in the region had enjoyed before. Yet, even with high-end cameras and skilled hands behind the lens, achieving cinematic excellence was far from straightforward.

A critical factor that often goes unnoticed is the quality of film processing labs. Unlike the state-of-the-art facilities available in places like Thailand, where Bol was processed, Pakistan’s color labs historically struggled with inconsistent chemical processes, poor temperature control, and inadequate storage conditions. These deficiencies often degraded the image quality, resulting in the harsh, washed-out look characteristic of many local films from earlier decades. It was not the cameras that failed but the fragile chain of post-production that betrayed the medium’s potential. The Arriflex 2C, for example - a legendary camera used in Pakistani productions up until 2010 - was fully capable of producing stunning imagery. It had served generations of filmmakers well, but without access to proper labs and post-production environments, the results rarely reflected what the camera could truly achieve.

This technological struggle reflects a broader story about how film stock costs deeply influenced creative decisions on set. I recall from conversations with Manzar Sehbai that Shoaib Mansoor, the director and producer of Bol, was particularly frugal with retakes because film stock was the single most expensive resource on the production. There’s one particular anecdote that captures this tension beautifully. During one scene, Sehbai, ever the perfectionist, requested a retake because he wasn’t fully satisfied with his performance. Shoaib Mansoor replied - half-joking, half-serious - that he’d be happy to oblige, but would have to deduct a five-figure amount in Pakistani rupees from Sehbai’s salary to cover the cost of additional film and processing. Without hesitation, Sehbai agreed. This small but telling moment reflects the broader constraints filmmakers worked under, where every foot of film was measured against budgetary survival. It also shows the deep commitment of artists like Sehbai, willing to shoulder the cost of their own artistic integrity.

And then, quite suddenly, the game changed. Around 2010, the arrival of digital cinematography transformed the Pakistani film industry almost overnight. Cameras like the Canon 5D Mark II, RED One, Sony EX3, and later the ARRI Alexa gave filmmakers a new level of freedom. Gone were the days of hoarding precious film rolls or worrying about processing delays. With digital media, directors could shoot more takes without worrying about stock and lab costs. Color grading could now be done digitally, with precision and consistency, bypassing the long-standing weaknesses of the analog lab system. Young cinematographers who had long honed their craft in advertising and music videos suddenly had a platform to bring their skills to cinema. A new wave of talent emerged - DPs and directors who had grown up watching global cinema and now had the tools to make their own visions come alive with comparable polish.

Films like Khuda Kay Liye, Bol, Mah-e-Mir, Waar, Zinda Bhaag, Cake, and Laal Kabootar ushered in a new era. Not just in terms of visual storytelling, but in how films were conceived, financed, and executed. No longer bound by the rigid economics of celluloid, filmmakers could experiment more freely with style, performance, and narrative. Digital cinematography didn’t just democratize filmmaking - it raised the bar. It allowed stories to be told that looked like cinema, not videotape. And it empowered a generation of cinematographers and directors to push boundaries that were once considered unreachable.

Ultimately, the evolution of Pakistani cinema is a complex dance between technology, talent, and economics. It teaches us that having world-class cameras alone does not guarantee cinematic excellence. The entire ecosystem - from film stock handling to processing labs, from lighting setups to post-production grading - must work in harmony. The shift to digital showed how, when just one piece of the puzzle is improved dramatically, the whole industry can rise. But even in the era of digital abundance, the discipline, focus, and resolve honed during the age of film continue to define the best of our artists. The story of Bol, its crew, and the lessons from earlier eras serve as both a cautionary tale and an inspiration - reminding us that creativity flourishes not in excess, but in the struggle to do more with less.