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Heer Is Very Close To Hareem

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Hareem Farooq is among the A list stars of our entertainment industry. She is a successful actor of theatre, television and film with venturing her luck into production as well. Born in the capital city of Islamabad, Hareem did her bachelors in Social Sciences from Quaid-e-Azam University. In 2012, she started her career with the theatre play ‘Pawnay Chauda August’ by veteran Anwer Maqsood. Next year, Hareem entered into television and since then, has played pivotal roles in 11 drama serials. At just the start of her career, she put her feet into the difficult field of film production, for which she was discourage in the beginning but the determine lady did it and produced her first film Janaan in 2014, which was rated as a successful film of that year. Being an actor as her first choicd, she appeared as successful main lead in fims; Dobara Phir Se (2016) and Parchi (2018). Her recent flick ‘Heer Maan Ja’, in which she playing the title role of Heer, is releasing this eid. HMJ is also Hareem’s third film as co-producer. Here is she in special conversation with Pakistan Today.

What ate the hopes about Heer Maan Ja?

Many hopes! We have put our hearts in this project and worked very hard with utmost sincerity. I must say this that main reason of making this film is to bring enjoyment to viewers. It is their film. We hope that when they get out after watching this film, there must be a smile on their faces and a lot of love and positivity in their hearts.  

HMJ has a glimpse of your last film Parchi. Is it true? 

I have never come across with such comment. By the way it is entirely different from Parchi.

Then what is the uniqueness of HMJ?

A complete family entertainer, though with some masala in it, but it doesn’t mean that you cannot watch it with your families. Usually, people have a perception about a comedy films that it would have some adult jokes that cannot be watched with families. This is not the case with HMJ. It has a lot of ingredients and many funny moments with which you can also relate with.

Billo created too much buzz last year. What Heer is giving this year?

You have seen our title song Heer Maan Ja. Hope it will create that buzz.

After Parchi you have done another film with the same team. Any special reason?

First of all, I think it is all is on merit. Secondly we have formed a good team which is very important for the success of anything. Third reason of doing it again is that people wanted to see Hareem and Ali in an interesting romantic story.

Your chemistry with Ali Rehman Khan is getting stronger with time as you have worked with on three consecutive projects. So, will you miss that chemistry if working with someone else?

Obviously, I will miss working with him as we are so much comfortable with each other when it comes to acting. But the beauty of this profession is that you should work with so many people and get to learn. So, as far as I miss working with him, I will also acquire a lot professionally while working with others. 

There are two more films releasing on eid. So do you feel any strong competition? 

I look at very positively when audience are getting three different types of films on a single eid. Every film have its own flavour and genre which is quite interesting for the audience and the business overall.  I consider it as a success and achievement of our industry. So, I think it is more of complementing each other instead of competing.

You are the producer of this film and many others in the past as well. Being a female producer did you face any problem in the field?

I think problems arise in the beginning whatever you start but you have to tackle them. I started production with start of my acting career. At that time people advised me not to come into production so soon as it can lessen my glamour and damage my acting career. But I don’t believe in such things. I think we should start whatever we want to when we are sure and confident that we can be honest and do justice with it. Otherwise, people would always come with excuses and comments. It ok.

What is more challenging? Acting or production.

Both are challenging in their own capacity specially when being done together.

What is next? Or which type of role you want to do in future?

Many things are in pipeline. We will disclose it on time. As far as any specific type of character is concerned, my all-time favoutire is Nicole Kidman’s character in Moulan Rouge. It is one of my desired roles to get.   

What do you prefer most? Television or film.

Film! Why because I believe that it is an ultimate dream of every actor. Film is larger than life, a fantasy world, where everybody wants to go in.

In these times, when it is almost impossible to get a Bollywood film released in Pakistan, do you think that it is affecting our cinema too?

It is true that we need their films for time being to sustain our cinema, but at the same time we also need to work more on our films and should make good and enough films that we must not have to rely on other industries.  

Do you think that there should be a good exchange of content between both the countries?

Yes of course as both countries share the same language so it will be viable for their audience and film makers as well. It must be on the business point of view not that we should rely on their content. But in current political situation between the countries, it seems almost impossible.

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Raaz-e-Ulfat Very Well Relates to a Pakistani Girl Living in a Strict Household

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Raaz-e-Ulfat is one of the latest dramas that has instantly struck a chord with masses owing to its relatable story-line and amazing performances by the remarkable cast. For the uninitiated, what exactly is the plot?

Putting it briefly, Mushk Iftikhar dreams of exploring the world outside her conservative house. She accomplishes her dream life to some extent when she comes across a friend in her university who introduces her to the colours of life. Though, little does Mushk know that Sehba secretly envies her simplicity and innocence and wishes to ruin her life.

Mushk’s life is somewhat a true depiction of most Pakistani girls belonging to strict households, and hence the show has become more interesting and connecting for the younger lot in Pakistan.

You can’t move a bone without your parent’s permission

Yes! Parent’s approval is mandatory in everything you do. You can’t study, sleep, eat, choose a career, go out, come late, etc. as per your own will. You can only breathe on your own… rest will depend on your parents’ will. Poor Mushk is in the same boat.

Privacy is a luxury you can never afford.

Mushk has got no private space in her house. She shares a room with her sister, like how it is usually in most households. Even when she is on a call with a friend, someone comes to inquire about the whereabouts of the caller. Privacy is indeed an out of the world thing for Mushk and others like her.

You have to be responsible like a grown-up, but you can never act like one.

Like Mushk, most Pakistani youth, particularly girls, are expected to grow up and take responsibilities but are not allowed to think that they have grown up in a literal way. Hence, you are always a bachi/ bacha who is bound to live by what your parents say.

Marriage is your ultimate goal in life

You dream about marriage and your khuwabon ka shehzada because that’s what your parents aim for you on completing your studies.

 

Modern Friends Are A Big No!

You cannot stay in touch with rich and modern friends as they are supposedly some spoilt kids who will definitely leave a bad influence on you.

 

 Dating someone is a big struggle!

Going out on a date is a real struggle yet you want to experience it despite knowing that if your parents find out, you are gone for life.

 

Since the very first episode, Raaz e Ulfat has turned every local TV drama trope on its head to offer a refreshingly new insight by subverting all the typical clichéd plot-lines of most local dramas, bringing forth such nuances that make the entire watching experience oh so relatable and befitting for people around us.

 

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Bunyad Foundation: Countering cerebral health issues with Mindcamp

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Mental health, despite holding paramount significance, is largely ignored in third world countries. With societal progression, the rise of the middle class, and a certain ‘tilt’ or ‘shift’ towards westernization, issues associated with mental health have started to exacerbate. According to recent studies, one of the biggest reasons behind suicidal tendencies or suicide itself is mental health issues such as depression, anxiety, OCD, PTSD and other traumas, different phobias, bipolar disorder, personality disorder and other related disorders.

If we travel a few years back in time, mental health issues were unheard of in Pakistan, in fact, someone found complaining or discussing a mental health issue was either given a particular look or called out for being ‘overly-sensitive’. But over the past few years, things have changed drastically. Now, there are more and more people suffering from mental disorders and psychiatric consultations have increased considerably over time, but even now, a certain amount of people hesitate to seek psychiatric consultation.

The onslaught of Covid-19 has further aggravated the situation throughout the country, with people reporting severe cases of depression and anxiety amid continued lockdowns. It is pertinent to mention here that, although, the issues mentioned are usually associated with urban areas, but the situation in rural areas of Pakistan isn’t much different. Alarmingly, unlike popular opinion, that villages are happy-go-lucky people, even the village dwellers are unknowingly harnessing several mental disorders in this modern age.

In order to facilitate the underprivileged living in less developed, far-flung areas, the Bunyad Foundation in collaboration with Mind organization, has started organizing bi-monthly mind-camps in Hafizabad. The purpose of these camps is to provide free-of-cost facilities to underserved communities. Under these free camps, patients are provided free consultation, medicine and an intervention plan; that too free of cost.

Shaheen Attiq-ur-Rahman, Project Lead and founder of Mind Camp Bunyad, told us that, ‘rural folk suffers from the same mental disorders as more privileged people but often the intensity is greater. Most of the people do not have access to basic medication for relief. Since a lot of unhealed psychiatric disorders can lead to physical ill-health, rural folk face a double burden. At Mindcamp Bunyad, our mission is to give suffering villagers a chance at peace and to ease their task in life’.

It took some time, the involvement of Key Opinion leaders and sustained efforts to convince people to seek help for mental disorders and now there’s better awareness about these issues. In addition, the organization has been carrying out these activities for the past 9 years, by engaging experienced and trained mental health professionals, even in extreme weather, just for the betterment of the society. However, now, the number of mental health professionals offering services has dwindled, in fact, the patient-to-doctor/mental health professional ratio is discouraging.

In order for the unabated and unrestricted continuation of these services, and in order for better, sustained facility provision to the patients; financial backing is imminent, without which such a great initiative gradually might have to retreat. To facilitate the imperative service, Bunyad Foundation is playing a major role.

Get in touch with them to see how you can help.

For donations, please donate here.

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Quiet Women: on Surrealism, Beauty and the Female Voice

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Lahore based poet, editor and columnist, Afshan Shafi launched her first full-length poetry collection, ‘Quiet Women’ last month. Stocked at Readings, the collection is a unique all-female collaboration featuring the illustrations of acclaimed artists, Samya Arif (Pakistan), Marjan Baniasadi (Iran) and Ishita Basu Mallik (India).

TS Eliot award nominee and winner of the Forward Prize for Poetry, Vahni Capildeo termed ‘Quiet Women’ as one of the ‘new poetries emerging in the twenty-first century which are characterized by a ferocity that spans yet exceeds love and outrage, involvement and observation’.

 

 

‘Quiet Women’ is an exploration of form and linguistic artistry, propelled by a sense of creative freedom espoused by the surrealists and abstract artists. Inspired by the creations of both Eastern and Western female artists and writers this book is a tribute to women and the power of their collective voices. Afshan Shafi has studied English Literature and International Relations at The University of Buckingham and Webster Graduate School London. Her poems have appeared in Poetry, Blackbox Manifold, Poetry Wales, Flag + Void, Luna Luna, Clinic, 3 am magazine, Ala Champ Magazine, and others. Her poems have also appeared in the anthologies, Smear (edited by Greta Bellamacina), The New River Press Yearbook and Halal if you hear me ( edited by Fatima Asghar and Salma Elhilo). Her debut chapbook of poems ‘Odd Circles’ was published by Readings (Pakistan) in 2014. For her work as a poet, she has been interviewed by Arte Tv (France) and Words Without Borders. As part of the Jane Austen Society of Pakistan she has appeared on BBC (World), The Times (UK), and in The Economist’s culture magazine. She has also served as a poetry editor for “The Missing Slate” and is currently a senior contributing editor at Pakistan’s leading literary journal “The Aleph Review”. She also serves as an editor-in-chief for the online Pandemonium Journal, which is a platform for emerging creatives from Pakistan and abroad.

 

Inspiration to write this book: 

This is my first full-length collection and is a tribute to the panoply of female artists that continue to inspire me. From the creations of Iranian artist Farideh Lashai to the work of lesser-known poets like Veronica Forrest, there is a rich engagement with the work of these female trailblazers in ‘Quiet Women’. What makes the book different is its collaborative nature. Each artist I have collaborated with in ‘Quiet Women’ possesses something unique to their perspective. Samya Arif’s illustrations are defined by their bold and stylized detail. She thinks in an opulent manner. Marjan Baniasadi, hails from Iran and has studied at the NCA and her paintings are elegant, deeply intelligent and beautiful. Ishita Basu who lives in Calcutta, India, is a poet as well as an artist and there is such a yearning and melancholy to her creations. Their art complements my writing seamlessly in the book.

 

 

On how ‘Quiet Women’ came together

 

‘Quiet Women came together over a period of two years, where my poems were being frequently accepted by European magazines for publication. I decided to put together a collection of these poems with some newer verses with the intention to collaborate with artists for the final product. The titular poem of the collection ‘Quiet Women’ deals with the notion of female silence and the policing of a women’s language and her personal choices. For one reason or the other, this notion of ‘quietude’ had been drilled into me from an early age, and as I grew as a writer I started questioning all kinds of enforced silences, which in turn led me to critically examining all kinds of oppressive practices aimed at ‘containing’ the very agency of a woman. ‘Quiet Women’ as a book, functions for me as a bridge across a myriad number of fears; these verses are bridges across patriarchal structures, restrictive artistic ideologies, and perhaps purely existential concerns

 

On the collaboration with artists for ‘Quiet Women’

 

I would say that I have been a student of the Surrealists my whole life, as I have often been drawn to the interplay of artist mediums, in which they reveled. Surreal output has always been concerned with juxtapositions and techniques like ‘collage’ and ‘frottage’, and indulgence in hybridity. For example, Surrealist collaborations include films based on poems, in the way that the filmmaker Man Ray adapted poems by Robert Desnos to his medium. Since my poems are often initiated by visual ephemera, and my imaginative focus is on delineating these visuals (triggered of course by emotion or artistic curiosity), I found collaboration with these artists to be a natural progression. Each artist was sent the poem to illustrate without any instructions, the idea was for there to be a fluidity of connection, one derived purely by imaginative means, and for the artworks to be instinctual and primal.

 

Creative influences and the impact of Surrealism on my work

 

Each poem in ‘Quiet Women’ is a tribute to the marginalised, whether that figure be that of a woman or an artist or poet. Each poem aims to counter reality with the dream and to re-engineer the accepted image of the creative as ‘outlier’. Whether in terms of stylistic experimentation, influence or tribute, this book aims to upset normative modes of thought and glorify one’s creative faculty. The founder of Surrealism, Andre Breton, spoke much of how the imagination is seen as a threat to all dimensions of order, similarly, much of my work is concerned with consistently upending language, mass-perspective and received ideas.

 

On why I enjoy poetry as a genre and as my chosen form

 

A poet often writes a poem as a postscript to an emotion. ‘High tragedy’ or ‘wondrous joy’ need not compel the writing of verse, it could be a retained sense of childlike wonder for say an owl or the precise engineering of a pistol. I feel that I write primarily to escape a powerful inborn reticence. In that vein these words by the great James Joyce encapsulate perfectly the retaliatory bent of my mind as it stitches a sentence together; ‘poetry even when apparently most fantastic is always a revolt against artifice, a revolt, in a sense, against actuality’.

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