Fahad's upper hand in style
Be it acting roles or outfits-of-the-day, Fahad Mustafa aces the challenge of bringing something new to the table. Now with Ramazan in full swing, the actor is back to stun his audience with a new ensemble everyday. Though, what stands out across all these garments are the uppers that he tops them off with. From vests to blazers to jackets, here are eight times Fahad triumphed in the upper game.
More is more
One of his latest attires to stir up a storm was a cream pixel-printed kurta shalwar, topped with an embroidered jacket. Geometrically sewn with pastel threads and a delicate spangle of sequins, the pale jacket added an elegant finish to the soft colours of the outfit, especially the light turquoise of the kurta's print. The embroidery featured abstract shapes and botanical touches, reminiscent of a painting.
While his Monday post was all about the lighter palettes, the Sunday one shone in vibrant colours. Draping his beige kurta and trousers was a jacket displaying patches of dark browns, brick reds, and bright yellows among others. While the cream jacket's embroidery indulged gentle chaos, the patched jacket put on a brazen display with its irregularly stitched presentation. With nothing but veiny threads separating its patches, this Frankenstein-esque article celebrated variety in bold abundance.
Cold and colder
Never limiting himself to one direction, Fahad also knows how to keep it simple and classy. Keeping a uniform-toned ensemble with the exception of standout golden zippers, he donned a deep brownish purple jacket, exhibiting a silken look. With the weather getting warmer by the day, breezy outfits are becoming a natural go-to, and the Kabhi Main Kabhi Tum star is not one to stay behind. He finished the look off with dark shades and a black leather watch.
The sun may be high in the skies, but Fahad still keeps it cool on the streets. "Confidence is the best outfit. Rock it and own it!" he said with this next outfit, which went for a deep blue canvas and intricate floral patterns on the jacket. Opting for dimmer colours on the flowers this time, the film star channelled regal excellence with this jacket, which was accentuated by a trickle of glittering sequins. He complemented the suave look with cool blue shades.
Best in brown
Fahad's next jacket slid over a dark green kurta shalwar, like the shadowy comfort of a rainforest. The jacket incorporated a blueish green hue among various shades of brown, all divided by wave-like, rugged patterns, adding to the soft tropical feel of the ensemble. Once again, the jacket seemed to be a player of its own, stealing the spotlight from an already impressive collection of fabrics.
In sharp contrast to the dim feel of this jacket was a sepia vest over a brown and white florid top. The vest sported simple line art sprouting from the hem and extending to the chest. Fahad wore the collared piece loosely, keeping his signature casually cool way of presenting himself. This look also indicated his inclination towards botanical themes infused with intricate patterns and a motley of colours.
Dark and classy
Speaking of vests, please don't assume that this adored film and TV star only sticks to vibrant colours, for one of his most gleaming looks this month has been a navy ensemble. His deep blue pants and vests were dotted with stars, swimming in an impression of a constellation. Again, the upper vowed to stand apart, its openings laced with pale yellow to separate it from the rest of the ensemble. Staying true to his accessory inclinations, Fahad rounded the look with a pair of soft purple glasses, tying the midnight look together.
And finally, no one can avoid black for too long, which was the Na Maloom Afraad star's safe start for this month. Donning a stylish shalwar kameez stitched with intricate patterns, he put on a black blazer patched down the chest and along the wrists. The touch of glamour elevated what could have been a plain and traditional look, embellishing it with finery that sparkled though without overwhelming the onlooker. Hardly anyone looks bad in black, yet Fahad still found a way to make the colour his own.
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Express Tribune
5 days ago
- Express Tribune
Nobody's content with the 'content'
Recently, Fahad Mustafa's old comments against family vlogging and the overuse of the word 'content' resurfaced online and caused an uproar among Tiktokers and YouTubers. "'Content' is the most overrated word in this country. There is no such thing as content. Everyone is selling their families. They haven't even left graveyards alone. They go to their mother's grave, and record themselves saying I'm missing my mother, please pray for her. What kind of 'content' is this?" Mustafa had said when asked about sharing the screen with digital content creators during a TV appearance. "I can tell a good or a bad story. But I can't sell my family. I can't sell myself. If you go on a film or TV shoot, it takes time to do this. They can't understand that this takes us 8 to 10 hours since they live in a 10-second world." While the comment offended the Instagram, TikTok and YouTube content creators especially Rajab Butt, as Ricky Gervais says, "Just because you're offended doesn't mean you're right." This back-and-forth has sparked a debate between the traditional media vs digital 'content'. But it's not a clash between Mustafa and Butt. The actor didn't even mention the YouTuber by name. The scope of this is much bigger than a forced, illogical personal feud. Content overload What Mustafa spoke about is a worldwide concern of artists in the face of countless challenges faced today. Be it AI coming in as a wrecking ball to destroy authentic human expression, shorter attention spans engineered over the last decade by social media overconsumption or the declining understanding of storytelling and art due to the aforementioned issues, there are already more than enough battles artists today are fighting to preserve their chosen media and forms of expression. This is not to defend shows like Mustafa's Jeeto Pakistan, which feed into the same Black Mirror-esque humiliation-in-exchange-of-gifts convention. But Mustafa has created work with a certain artistic integrity in film and TV both, namely Actor in Law and Kabhi Main Kabhi Tum. However, phone cameras and social media platforms combined today have created an illusion that everyone is an artist, actor, or filmmaker. While the democratisation of the media has had numerous benefits, and this is certainly not an issue of gatekeeping, talking into a camera and showing what you cooked for lunch does not exactly require an abundance of talent or skill. There are many arguments to be made against family vlogging. The internet is full of stories of disgruntled and traumatized individuals forced by their in-house vlogger, be it a parent or a child, to be documented 24/7 for the sake of views. But the crux of the matter isn't even that. It's the fact that 'content' has replaced art, cinema and storytelling. The issues start with the usage of the word 'content' which piles up every artform into one giant automated factory where every creation serves the algorithm and the algorithm, in turn, feeds it back to us. It disintegrates the distinguishing characters of each art form and strips it of any value. This is why Mustafa's comments about the word ring true. If everything is content, then there's no difference between a feature film that takes years to produce and a bag of apples. This argument doesn't devalue platforms like YouTube which can be used for a myriad of purposes from education to art and music and everything in between. It criticizes the forced homogeneity of all art forms. And family vlogging is definitely not an art form. Casting influencers In recent years, even in Hollywood, we have seen a number of so-called social media influencers turn to film and TV. But none comes to mind when thinking about who has excelled and been recognized for their skills. One can bring up Logan Paul but he has succeeded in WWE and pro-wrestling is a vastly different kind of storytelling than film or TV. Films which star the influencers usually land on streaming platforms which again play by the algorithm and casting content creators becomes essentially the same as product placement or a gimmick to cater to the said individual's social media following. Earlier this year in an interview with Variety, Ethan Hawke also lamented the fact that filmmakers are being forced to cast based on Instagram following. He said, "Sometimes I'll be setting a movie up and someone will say, 'Oh, you should cast Suzie.' I'm like, 'Who is she?' 'She has 10 million followers.' I'm like, 'OK cool, has she acted before?' 'No, but ' And you're like, 'Wow, so this is going to help me get the movie made? This is crazy.' So if I don't have this public-facing [platform], I don't have a career? And if I get more followers I might get that part? What?" Just because someone is a social media 'content' creator doesn't automatically mean they'd be good at acting or creating any kind of art. The mindset involved in both is on the opposite ends of the spectrum. That ties in with another question: aren't most studio films made with the intent of profit and hence, they cast bankable actors to attract their fanbase. How is that different from casting a digital content creator? One response to that would be that the bankable actors can usually, if not always, act and do their job well. It's the same as when Pakistani media networks and digital platforms tried to make the 'Chaiwala' into the next big star after he went viral for his looks. It didn't work. As a filmmaker, there's a massive difference between working with trained professionals and amateur enthusiasts. Most of the time, the lack of understanding of the process results in a low-calibre work. But we live in a world where everyone only wants to be on screen and get those 15 minutes of fame. And if 10-second reels can do that, who would spend months and years to tell a good story?
Express Tribune
25-05-2025
- Express Tribune
Iffat believes Fahad needs to go easy on vloggers
In an interview with Hina Niazi, seasoned actor Iffat Umar expressed her opinion on the clash between content creators and showbiz professionals. "I'm not the kind of person who lives in the past. I've always changed myself according to the times. I have nothing against anyone," she said. "Whatever someone wants to do to attain fame, I feel that we should let them." Iffat believes that actors, especially someone as high up in the industry as Fahad Mustafa, should not be too critical of vloggers like Rajab Butt. "Don't criticise everyone," she stressed. "'Don't do this, don't do that.' I mean, why must it be a competition between Fahad and him?" The film-and-TV star has voiced his distaste for content creators on multiple occasions in the past. In an interview with Shoaib Akhtar, he disapproved of the idea of sharing the screen with a TikToker, asking whether his peers would do the same. Condemning the process of content creation, he said, "'Content' is the most overrated word in this country. There is no such thing as content. Everyone is selling their families." The Na Maloom Afraad actor has also been critical of the influence of YouTubers on the entertainment industry in the past. He pointed out that, in his opinion, celebrities exercise great caution when giving interviews, as some content creators tend to focus on sensationalising and misrepresenting their statements to generate content for their platforms. Fahad's firm views caught the attention of YouTuber Rajab Butt, who in turn criticised the actor for accusing content creators of exploiting their families. While defending himself and his craft, Rajab also stated that a senior doesn't get respect by default but must earn it through their actions. Addressing Fahad in reference to this feud, Iffat said in her interview, "You've worked hard yourself, Fahad. You are the pride of Pakistan. Measure your hard work with dignity, not with your financial status. And again, you are the highest paid actor in this country. Tend to your own business. Get out of the clutches of frequent criticism. Live and let live." Differences aside, Iffat went on to say that things have changed for the better in the entertainment industry. Speaking of her juniors, she said, "I'm very happy for these kids, who are able to build a grand lifestyle with the help of their hard work and talent. This wasn't the case in my time. I'd tell people I'm an actor, and they'd ask me what my real profession was." She believes that younger actors no longer need to deal with these conversations. "Now nobody asks Fahad or these other kids what they actually do."
Express Tribune
21-05-2025
- Express Tribune
From Hyderabad to Cannes
The sound of Japanese drums Taiko echoes in a rhythm during the opening credits. The madness of the rhythm builds up not unlike that of a pre-war buildup as we see a Kurosawa-esque montage of a broken city — damaged walls, doors, empty alleyways – until we come to what looks like a homeless man waking up amidst the dark ruins. This is how filmmaker Aleem Bukhari opens his latest short film Karmash. The film premiered as part of the Director's Fortnight at Cannes Film Festival on May 22, and is the first ever Pakistani short film to have earned the honour. Going guerrilla Karmash, Bukhari says, is his third short film, and is about the last survivor of a fictional Karmash tribe, who recalls the fragmented memories of his long-dead ancestral traditions. The 15-minute, black-and-white film plays out like an essay rather than a conventional linear narrative. And its structure and absence of information become its biggest strengths. Bukhari is a visual artist and a self-taught filmmaker, who has been working independently since 2016. A number of short films and music videos later, Karmash has now become his breakthrough project with its inclusion in Cannes. "It was surreal," says Bukhari of the moment he found out Karmash was going to Cannes. "Very overwhelming." The Hyderabad-based filmmaker started the project last year, shot it in August and finished it early this year, just in time for Cannes' submission. Besides the film's haunting beauty, perhaps the most fascinating aspect of the project is how it was made. Six friends – Irfan Noor K, Ebad Talpur, Shahzain Ali Detho, Muhammad Ali Shaikh, Qadir Abbas and Bukhari – created Karmash on a shoestring budget, minimal resources and borrowed equipment. The film is a collaboration between Bukhari's Sleepbyte Films and Noor's Braanz Films. "I'm the writer, director, and cinematographer of the film," says the filmmaker. "Irfan Noor K is the actor and producer. Shahzain Ali Detho is the assistant director, co-editor and co-sound designer. Muhammad Ali Shaikh served as the location sound recordist and mixer. Ebad Talpur is the script supervisor and second AD. Qadir Abbas is the line producer." He continues, "Basically, the six of us made the film ourselves. We have done everything ourselves, just the six of us who share this passion for cinema. And under Sleepbyte Films, it was our aim to produce artistic, auteur-driven, unconventional cinema. Now we wouldn't need approval of bigger producers or companies so we can continue to make the kind of films we love. These six people are the reason why Karmash is at Cannes right now." He also credited Salman Israr for coming onboard as the co-producer. Bukhair quips that the film is so low budget that the festival submission budget was higher than the production cost. "The production was difficult since we worked with a very low budget and bare minimum resources. No proper cars, only our bikes and equipment. You can imagine the summer heat in Hyderabad. We just survived, I don't know how. Most of the budget was spent on fuel and food. Other than that, we went completely guerrilla the way we produced it." The film, shot on Sony a6400 with a 35mm lens (which works as an approximately 52mm lens on the A6400's crop sensor), looks tightly framed. But rather than a limitation, it works as a deliberate creative choice and helps Bukhari create this strange, decaying world. The filmmaker also utilised mostly natural light, except a small LED panel for a couple of sequences. Experimental storytelling Bukhari shares how the story behind Karmash came to him. "The Karmash tribe doesn't exist. It's fictional. We kept the name since the word means 'the one who follows his duty and legacy'. And the film's themes are connected to the meaning. The character is trying to follow his familial legacy." The filmmaker was keen on creating an experimental film that was "narratively non-linear in its structure so that it becomes like a journal, an essay or a memoir", and this character of the last remaining member of a tribe, who he is trying to recall his past, came to him. "Then the horror and supernatural elements came in." As far as the themes are concerned, Bukhari says the film is about oppression. "It's about stealing the sense of belonging from someone who belongs to a particular place and culture." Considering the socio-political conflicts and erasure of certain communities around the world and within Pakistan, Bukhari essentially formulates a universal depiction of oppression which can fit the state of the current world and its many injustices without naming any one in particular. The creation of a fictional tribe serves him well here. Earlier in the conversation, he states something rather interesting. He says, "He [the protagonist] wants to stick to his ancestral traditions and he's narrating it to an audience that perhaps doesn't exist." This line, and a few others, opens up new interpretations of the film best kept unsaid for those who are yet to watch it and to honour the mystery and magic of cinema. Stillness Bukhari credits a long line of legendary filmmakers as some of his influences – Edward Yang, Paul Thomas Anderson, Nuri Bilge Ceylan, Satyajit Ray, Hou Hsiao Hsien, Leo Carax, Apichatpong Weerasethakul, David Lynch and Bela Tar. The 29-year-old, who has previously made shorts such as 'Sapola' (2018) and Anaari Science (2024) is very much inspired by science fiction, cosmic and supernatural horror and magical realism genres. From all the filmmakers and the genre tropes, he has picked up things that he uses to mold himself into a unique cinematic voice. He says the learning process includes eventually letting go of all influences to develop his own voice. For him, cinema is a personal endeavour and he prefers to tell stories which emotionally resonate with him. "I want to tell stories I care about, perhaps about feelings of alienation and isolation, the bittersweet aspects of life." He adds, "That's the kind of stories I want to tell, of people going through life in my city Hyderabad. The city plays a big part in my films. I want to keep that." But Bukhari sees cinema as more than just storytelling, placing atmosphere, mood and feeling over story. He wants to create "an experience, the atmosphere, feeling and a world" that stays with the audience even if they don't fully comprehend the story. With Karmash, Aleem Bukhari definitely accomplishes that.
