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Express Tribune
4 days ago
- Entertainment
- Express Tribune
‘Deemak' review: Brilliant until the ghosts arrive
Without question, Deemak is the most divisive Pakistani release of the year. For those who still invoke 'support local cinema' regardless of a film's craft or coherence, this is perhaps the moment they've been waiting for. A harsher critique of director Rafay Rashdi's horror-family drama might be too easy — were it not for the sobering state of Pakistani cinema. When the only local competition is a film like Love Guru, hopes for a lively Eidul Azha at the movies are already dim. If audiences are weary of seeing Humayun Saeed and Mahira Khan replay the same formulas Hollywood created and Bollywood retired, Deemak is at least a departure. Rashdi deserves credit for venturing into a genre still novel in Pakistan's mainstream — psychological horror — and for roping in A-listers like Faysal Quraishi, Sonya Hussaiyn, and Samina Peerzada, who are compelling enough to carry a lesser film. Unfortunately, there's little novelty, or even the bare minimum, to distract an audience raised on Zee Horror Show or accustomed to the polish of big-budget US and UK. The result is a film that reminds you — every ten minutes, if not every second — how much better it could have been had it dared to be original. There are brief stretches when you can lose yourself in Samina's commanding performance or the slow unravelling of Faysal and Sonya's marriage. But just then, the ghosts arrive in all their ridiculous CGI glory. An ugly genre It's hard to tell whether the film assumes its audience is gullible and unfamiliar with horror, or simply so starved for content that it'll watch anything. Because there's no way the filmmakers genuinely believed their GTA-gameplay-style CGI ghosts would convince anyone. If the cross-border success of last year's Stree 2 is anything to go by, the lucrative appeal of comedy-horrors is undeniable. Stree 2 in particular — unlike the Bhool Bhulaiyaa franchise — leans heavily on preposterous CGI and still manages just fine. However, Deemak is anything but a comedy-horror. Cut the CGI ghosts, and you're left with a politically resonant, emotionally intelligent family saga — not groundbreaking, but grounded. The writing does well to reimagine a typical saas-bahu conflict as a multi-generational horror, haunted less by ghouls than by grief, control, and intergenerational rage. Most remarkably, Samina delivers the performance of her career as the embittered mother-in-law who knows only how to wound those around her. Sometimes she's domineering and ruthless, other times sickly and scheming, and by the second half, somehow all at once. Samina is also, single-handedly, Deemak's most effective off-screen source of fear. If Samina is gorgeously uninhibited, Sonya, as the begrudged daughter-in-law, cannot escape the demands of stardom. Most scenes find her composed and impeccably put together — not a hair out of place. It's no secret that the pressure to look attractive often clashes with acting freedom. But Sonya may be a star beyond her looks. When she lets go of the prim, proper façade — her gel-manicured nails forgotten — and comes undone over a plate of bland rice and curry, she becomes something else entirely. With rice and grime smeared across her face, she looks simultaneously deranged and ethereal. If horror is an ugly genre, Faysal gets the memo and enthusiastically complements Samina, his on-screen mother. Their dynamic as a possessive mother and protective son isn't surprising, especially if you recall the 2008 supernatural drama The Ghost, a Pakistani TV adaptation of Danielle Steel's novel. Set in an old, eerie Scottish castle, Faysal knows a thing or two about being haunted by the ghosts of the past when Samina is around. And boy, does it show. He's livid, raging, and spooked — not by what he sees, but by what he remembers. For those wary of mama's boys, watching Faysal's patience snap as yesterday's horrors bleed into the present adds the film's richest layer of emotional complexity. Missed opportunities It is these powerful performances that dash any hope of passing Deemak off as a comedy horror. Unfortunately, this leaves us with an emotionally rich palette that cannot reconcile its comical reliance on ghosts without revealing an underlying confusion. It's not just that Deemak fails to scare — after all, few films genuinely do. The bigger indictment is that it haunts you in ways it never intended. While the frequent appearances of CGI ghosts are hard to ignore, the film feels burdened by a rigid allegiance to what a horror film should be. Cue the infamous scenes of people levitating off their beds, and the exorcist who spells out the supernatural menace for the audience. If the resources to execute special effects and clichés are sparse, a film like Deemak could arguably dispense with them altogether. Its primary audience is, after all, well-versed in the visual vocabulary of the unseen. We cherish our saints, myths, and spirits — even when they have no face or flesh. With the right direction, it's clear that Deemak's real horror lies in grief, not the ghosts. Unfortunately, Deemak is unwilling to risk being misunderstood at any cost. But there's only so much you can explain within a reasonably paced two-hour runtime before it borders on boring and pedantic. By the time Deemak ends, the leading trio will have delivered solid performances, bolstered by capable child actors and memorable turns from Bushra Ansari, Javed Sheikh, and Saman Ansari — all anchored by a promising emotional core. Yet, at the end of the day, Deemak remains a ghost story haunted by its own potential. Have something to add to the story? Share it in the comments below.
Express Tribune
5 days ago
- Entertainment
- Express Tribune
Haunted by missed potential
Without question, Deemak is the most divisive Pakistani release of the year. For those who still invoke "support local cinema" regardless of a film's craft or coherence, this is perhaps the moment they've been waiting for. A harsher critique of director Rafay Rashdi's horror-family drama might be too easy — were it not for the sobering state of Pakistani cinema. When the only local competition is a film like Love Guru, hopes for a lively Eidul Azha at the movies are already dim. If audiences are weary of seeing Humayun Saeed and Mahira Khan replay the same formulas Hollywood created and Bollywood retired, Deemak is at least a departure. Rashdi deserves credit for venturing into a genre still novel in Pakistan's mainstream — psychological horror -— and for roping in A-listers like Faysal Quraishi, Sonya Hussaiyn, and Samina Peerzada, who are compelling enough to carry a lesser film. Unfortunately, there's little novelty, or even the bare minimum, to distract an audience raised on Zee Horror Show or accustomed to the polish of big-budget US and UK. The result is a film that reminds you — every ten minutes, if not every second — how much better it could have been had it dared to be original. There are brief stretches when you can lose yourself in Samina's commanding performance or the slow unravelling of Faysal and Sonya's marriage. But just then, the ghosts arrive in all their ridiculous CGI glory. An ugly genre It's hard to tell whether the film assumes its audience is gullible and unfamiliar with horror, or simply so starved for content that it'll watch anything. Because there's no way the filmmakers genuinely believed their GTA-gameplay-style CGI ghosts would convince anyone. If the cross-border success of last year's Stree 2 is anything to go by, the lucrative appeal of comedy-horrors is undeniable. Stree 2 in particular — unlike the Bhool Bhulaiyaa franchise — leans heavily on preposterous CGI and still manages just fine. However, Deemak is anything but a comedy-horror. Cut the CGI ghosts, and you're left with a politically resonant, emotionally intelligent family saga — not groundbreaking, but grounded. The writing does well to reimagine a typical saas-bahu conflict as a multi-generational horror, haunted less by ghouls than by grief, control, and intergenerational rage. Most remarkably, Samina delivers the performance of her career as the embittered mother-in-law who knows only how to wound those around her. Sometimes she's domineering and ruthless, other times sickly and scheming, and by the second half, somehow all at once. Samina is also, single-handedly, Deemak's most effective off-screen source of fear. If Samina is gorgeously uninhibited, Sonya, as the begrudged daughter-in-law, cannot escape the demands of stardom. Most scenes find her composed and impeccably put together — not a hair out of place. It's no secret that the pressure to look attractive often clashes with acting freedom. But Sonya may be a star beyond her looks. When she lets go of the prim, proper façade — her gel-manicured nails forgotten — and comes undone over a plate of bland rice and curry, she becomes something else entirely. With rice and grime smeared across her face, she looks simultaneously deranged and ethereal. If horror is an ugly genre, Faysal gets the memo and enthusiastically complements Samina, his on-screen mother. Their dynamic as a possessive mother and protective son isn't surprising, especially if you recall the 2008 supernatural drama The Ghost, a Pakistani TV adaptation of Danielle Steel's eponymous novel. Set in an old, eerie Scottish castle, Faysal knows a thing or two about being haunted by the ghosts of the past when Samina is around. And boy, does it show. He's livid, raging, and spooked — not by what he sees, but by what he remembers. For those wary of mama's boys, watching Faysal's patience snap as yesterday's horrors bleed into the present adds the film's richest layer of emotional complexity. Missed opportunities It is these emotionally turbulent performances that dash any hope of passing Deemak off as a comedy horror. This leaves us with an emotionally rich palette that cannot reconcile its comical reliance on ghosts without revealing an underlying confusion. It's not just that Deemak fails to scare - after all, few films genuinely do. The bigger indictment is that it haunts you in ways it never intended. While the frequent appearances of CGI ghosts are hard to ignore, the film feels burdened by a rigid allegiance to what a horror film should be. Cue the infamous scenes of people levitating off their beds, and the exorcist who spells out the supernatural menace for the audience. If the resources to execute special effects and clichés are sparse, a film like Deemak could arguably dispense with them altogether. Its primary audience is, after all, well-versed in the visual vocabulary of the unseen. We cherish our saints, myths, and spirits — even when they have no face or flesh. With the right direction, it's clear that the film's real horror lies in grief, not the ghosts. Unfortunately, Deemak is unwilling to risk being misunderstood at any cost. But there's only so much you can explain within a reasonably paced two-hour runtime before it borders on boring and pedantic. By the time Deemak ends, the leading trio will have delivered solid performances, bolstered by capable child actors and memorable turns from Bushra Ansari, Javed Sheikh, and Saman Ansari — all anchored by a promising emotional core. Yet, at the end of the day, Deemak remains a ghost story haunted by its own potential.
Time of India
15-05-2025
- Politics
- Time of India
Panchayat poll winner in trouble over violating three-child norm
Silchar: A Congress member, who recently won the panchayat election, has become embroiled in a controversy for allegedly breaching the Assam Panchayat (Amendment) Rules, 2018, which bars candidates with more than two children from participating in the rural polls. Allegations have surfaced against Samina Begum Barbhuiya , who secured victory as anchalik panchayat member from Katagaon Nityanandpur GP under Kalinagar Paikan Zila Parishad in Hailakandi district , for reportedly withholding information about her family size in her election documents. Her BJP opponent, Kamrun Nehar Laskar, lodged a complaint with district commissioner (Hailakandi) Nisarg Hivare on Wednesday. The memorandum states that Samina has three children, and by withholding this information, she has contravened the 2018 amendment of the Assam Panchayat Act. Birth certificates from the Hailakandi health department confirm Samina Begum's children as Farhin Sultana Laskar (born on May 20, 2016), Marzin Sultana Laskar (born on June 24, 2017), and Sahar Alam Laskar (born on June 26, 2020). The complainant asserts that Samina provided incorrect information in her election affidavit and has called for her immediate removal from the elected position, citing legal violations. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Ótimas notícias para os cidadãos brasileiros! Leia mais Undo District administration sources said an investigation has been initiated following the memorandum's submission. Should the accusations be confirmed, Barbhuiya could face dismissal from her position as stipulated in the Panchayat Act. Attempts to reach Barbhuiya for her response were unsuccessful.
Express Tribune
09-04-2025
- Express Tribune
Couple, son held for exploiting young girls
Police have arrested a couple and their son for allegedly luring the poor young girls for jobs on attractive salaries and forcibly involving them in immoral activities for the sake of money. The accused used to blackmail the girls by making obscene videos. After receiving a complaint, the Dhamial police raided a place and detained the suspects. A case was also registered on the complaint of a victim. The suspects would target young girls from poverty-stricken families in remote rural areas of Punjab and use them for heinous activities by promising them jobs. A 14-year-old girl from Kot Urdu complained to the police Amir Abbas, his wife Samina and a woman named Farazana came to their house and told her parents that they will get their daughter employed at a house as maid against good salary. The accused brought the victim to Girja Road Rawalpindi by promising to give their parents good salary. They kept the victim at a place, subjected her to alleged rape and also made videos. The suspects kept blackmailing her through videos. The couple and their son Zaman would take her to different places on bookings and collect money. In December last year, Aamir Abbas and his accomplices again went to the victim's village and brought her cousin by tricking her. The same exercise was meted out to the other girl. The suspects kept dropping the two victims at different places for sexual pleasures of their clients. On Eidul Fitr, the two cousins came back home, but the suspects were blackmailing them to come back with warning to make their videos public. The victims returned to Rawalpindi to officially lodge complaint with the police. Their video statements also surfaced in which the girls could be heard telling the stories of their miseries. Dhamial SHO Saleem Qureshi said that the police had received information that the girls were being blackmailed, which led to a raid and the affected girls were safely rescued. The three accused were taken into custody, a case was registered against and further investigation is underway, he added. Saddar SP Nabeel Khokhar said that the medical examination of the victim girls had been initiated and that the case would be investigated on merit and in the light of solid evidence. The police have assured the public that strict action will be taken against the accused, and efforts are being made to identify and arrest any other individuals involved in similar criminal activities. Authorities are also working closely with child protection and social welfare organisations to provide the victims with necessary support, including counselling and rehabilitation.
Express Tribune
18-02-2025
- Express Tribune
Five women among 8 kidnapped separately
Eight people including five women and a youth were kidnapped across city on Tuesday. Police said Omar Ijaz's wife Samina and his teenage son Ahad were kidnapped by unknown persons in the area of 69 RB, an area of Balochni police station. Jamil's 18-year-old daughter Minahil Jamil was kidnapped by Saad Akram, Abdul Rehman and Bilal in Chak 266 RB. Riaz's daughter Nayab was kidnapped by Zulfiqar Ali and Aamir in 227 RB. Shahryar's wife Aniya Shahryar was kidnapped by unknown persons in 81 GB. Amin Faizan's sister Sharifan Bibi was kidnapped by unknown persons from Aminpur Bangla. 22-year-old Ikram, who had come to watch a fair in area 263 RB, an area of Dijkot police station, was kidnapped by unknown persons and Afzal's brother Zahid was kidnapped by unknown persons while going from home to work in 81 GB. Meanwhile, Jhumra police have arrested two burglars who broke into a house in Ahmed Town, Street No. 2, of Chak Jhumra police station and fled with Rs 1.2 million in cash and a licensed pistol. The stealers forcibly broke the lock of the house to access the valuables.
