Painting timeless portraits

Express Tribune

19-02-2025

When illustrating history with every indelible mark of the pen, an artist must prepare to live life out of a suitcase - though no one told Usman Riaz this when he joined the Oscar race. Riding high from the ever-expanding success of Pakistan's first hand-drawn 2D animated film, Usman has had much to learn from his experiences as an independent filmmaker and the trailblazing creator of The Glassworker.
"From the beginning, with all the journalists and everyone at the Academy, I realised that I'm not even the underdog in the streets. I'm the flea that lives on the underdog. Because this is the first movie I've ever made," Usman tells me. "And even though we were competing with a lot of other independent animated films, these were a lot of people's second and third movies that were in contention. So, it was a huge honour."
The Glassworker was selected as Pakistan's submission for the International Feature Film category at the Academy Awards in September 2024. Since there were only about thirty-one films in the animation category, Usman feels that it is stupefying to be able to make that far, with his film only a step away from being nominated.
"Obviously, it would've been a miracle if we got nominated. But that's the nature of miracles - they are inherently miraculous. I never discounted that," he says. "To just be in the conversation with some of the best movies to come out of 2024, that was very special. Am I disappointed? I would be lying if I said I was. I always tempered my expectations because it's been a very difficult journey. So, I'm very proud, grateful, and excited for the future."
A hectic process
But glamour seems to be a discriminating force, as Usman tells me that independent filmmakers must keep their pockets ready for the festival season, since hurdles hinder their journey at every turn.
"We're so used to seeing a big studio tour for film promotions. Independent movies do not have that. Everything comes from either your own pocket or the festival pays for you, and it's just a lot of travelling," he says.
But truth be told, Usman has no qualms about that part. Exhaustion aside, he thrives in the spontaneity of promoting his film. "I think, on average, I was at an airport every four days for almost three months. It kind of tapered down in the last few months, but it's still happening. Like I was just in for the Napa Valley Asian American Film Festival that went incredibly," he says.
The best part? He has no regrets. "There's this wonderful line from The Matrix Reloaded that Morpheus says to Neo. He says, 'Everything that happened couldn't have happened any other way.' Neo says, 'How?' He answers, 'Because we're still here.' So, I think like that," Usman explains.
A passion project
As with any creator pursuing a lifelong dream, Usman's passion kept him tied to the project. "In behind-the-scenes documentaries, you don't really hear about the struggle it takes to make a movie. It requires a lot of grit, a lot of obsession almost. And this being a ten-year journey, I had to sustain that obsession for ten years through all the highs and lows," he shares.
And the longer the journey, the sweeter seems to be the fruit. "It was the day that I said, 'You can finally watch it.' The cinema was packed and everyone was excited to see the film. That was the moment when I teared up a lot," he reveals. Likening his journey to that of Frodo from The Lord of the Rings, he adds, "That's how I feel. It's just been this incredible, gruelling adventure. Once you come back, you're just grappling with all of that."
Romanticising the adventure was what kept his gears turning, as Usman also compared himself to Ash from Pokémon. Unlike Ash, however, Usman feels he's far from being the very best, though he does agree that making history in Pakistan makes him a champion in his own right.
Why animation?
Usman has been an admirer of the arts since a young age, having invested time and energy into both fine arts and music. Dropping the initial thought of making The Glassworker a live action film, Usman combined his crafts and constructed a piece that echoes the intricacies of his personality.
The artist deems hand-drawn animation a timeless medium, citing old Disney films and Hayao Miyazaki's works as prominent examples. "It was always a dream to combine everything I love into one product, and that was a hand-drawn animated movie, which encompasses all of the things I love about storyboarding, animation, music and film," he says.
On personal stories
Usman's devotion to his crafts reflects in his characters, Vincent and Alliz, both of whom have an affinity for the arts. Although the two characters debate over what makes a true artist, he believes that those ideas are the fragments that make up his whole. He acknowledges the beauty in interpreting and replicating art. However, what truly resonates with him is his own work.
"I would give up every instrument that I can play just to be able to play the violin at the level that I can hear in my mind," he admits, pondering the what-ifs of his musical journey. "Alliz plays the violin because that's the greatest instrument for me, and I'd love to be able to play it the way she does."
Exploring a part of oneself is the gateway to creating a story clad with character depth. "That's the thing most people are afraid of doing. Most of the time, they want to write for the masses. But the stories that resonate the most with people are the ones that are inherently personal because then people can find things they can relate to more," Usman believes.
Off the top of his head, he cites Saim Sadiq's Joyland and Zarrar Khan's In Flames as two stories that offer complexity that makes the audiences think. "There has to be a blend of personal touches and public appeal in creating a good story," he says.
What comes next?
While much of Usman's upcoming endeavours remain under wraps, he has an interesting future lined up with both the Gotham Group and Mano Animation Studios. After serving a tale infused with magical intrigue, he wishes to use his enchanting medium to explore South Asian folklore more.
"I'm not trying to be mysterious. I genuinely don't know what's ahead of me, but I'm excited to find out. And I hope I don't have to wait another ten years for that," he says. As for whether audiences should expect something from Mano Animation Studios in the near future, Usman offers a simple "Insha Allah."