The mother and daughter duo are forced to come together
Zarrar Kahn’s In Flames was Pakistan’s official entry for the 2024 Oscars, however, it has failed to make it to the shortlist.
In Flames was recognised at many film festivals, including the likes of Cannes, Sitges, Red Sea and Busan.
It is based on the patriarchy whilst highlighting the resilience of communities who come together in the power of hope.
In Flames was a strong contender for a place in the Oscars shortlist, with its enthralling narration and cinematic excellence.
Chairperson of PASC (Pakistani Academy Selection Committee) Mohammed Ali Naqvi previously spoke with pride when the film was considered for ‘International Feature’ at the 96th Academy Awards.
He admitted the film was scintillating and signified the imminent rise of bringing Pakistani cinema to a global stage.
In Flames is a horror movie based on the struggle of a mother and daughter after the head of their family dies.
The mother and daughter duo are forced to come together in a bid to fight against the hardships thrown at them after being left to fend for themselves.
The film focuses on the difficult situations women are faced with in Pakistan and highlights the reservations humans have in accepting favours from others.
It is a journey through a dreary existence that has garnered much positive feedback from its audience.
In a previous interview, Zarrar stated he was grateful that his efforts had been recognised by Pakistan’s Oscar Committee and said he had faced many challenges in getting his film the recognition that it deserved.
In Flames stars Ramesha Nawal, Bakhtawar Mazhar, Mohammad Ali Hashmi, Adnan Shah Tipu and Omar Javaid.
Since its release, In Flames has been appreciated by various individuals who have complemented Zarrar on his script.
A statement from The Hollywood Reporter read:
“In Flames teases out how the patriarchy, a large unruly force, fractures the relationship between a mother and daughter.”
“Kahn depicts Mariam and Fariah’s parallel experiences, observing how each of them tries to regain a sense of agency.
“Mariam uses a sympathetic driver to help her figure out what happened to Asad, while Fariah attempts to seduce a lawyer she hired to fight Nasir into lowering his legal fees.
“These scenes are tinged with a stressful desperation as the women find themselves further constricted by society.”
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