Canadian Pakistani filmmaker Zarrar Kahn’s latest movie “In Flames,” now showing in theaters, leverages the horror genre to dissect the terrors of patriarchal dominance. Set against the backdrop of Karachi, Pakistan, the film delves deep into themes of oppression, misogyny, and violence, portraying these issues through a suspenseful narrative.
The story revolves around Mariam, a 25-year-old medical student played by Ramesha Nawal, who resides with her mother Fariha, portrayed by Bakhtawar Mazhar. Following the death of Mariam’s financially supportive grandfather, an estranged uncle arrives under the guise of aiding the family. However, Mariam suspects his true intentions are to usurp their home and inheritance.
As personal and familial tensions build, Mariam’s fleeting romance with a fellow student introduces a layer of complexity to her already tumultuous life, further complicating her emotional landscape as she navigates her dreams and daily challenges in a patriarchal society.
Zarrar Kahn, known for his poignant short films, expressed a shift in cinematic vision influenced by his evolving worldview. He emphasizes the resilience and triumphs of women in Pakistan, countering the typical cinematic narrative of tragedy with one of overcoming and empowerment. Kahn’s focus is clear: to portray his characters as multifaceted individuals who are defined not by their suffering but by their entire human experience, including small joys and personal victories.
During the Toronto International Film Festival, Kahn discussed the collaborative and honest scriptwriting process enhanced by the pandemic, which brought deeper insights into the lives of women in Pakistan, shaping the script of “In Flames.”
Producer Anam Abbas echoed Kahn’s sentiments, emphasizing the importance of depicting women of color as more than victims of their circumstances. This narrative choice is intended to challenge and reshape audience perceptions, moving away from dehumanizing portrayals towards those that celebrate resilience and agency.
“In Flames” critically explores the normalized notion of male saviors within the framework of patriarchal control, showcasing the profound implications and often destructive outcomes of this belief system. Kahn advocates for self-rescue through community support, challenging the traditional roles assigned to men and women in society.
This film not only serves as a commentary on societal structures but also as a beacon of hope for those navigating similar challenges, emphasizing community and self-reliance as keys to not just survival, but flourishing.