Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain

Special Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain
People gather outside cinema hall at the Cinepax, Jinnah Park in Rawalpindi, Pakistan on June 10, 2024, during Eid Al-Adha celebrations in Pakistan. (Photo courtesy: Azadar Kazmi)
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Updated 13 June 2025
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Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain

Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain
  • Pakistani films ‘Love Guru’ and ‘Deemak’ led box office collections surge this Eid Al-Adha, says Cinepax Cinemas sales head
  • Love Guru’s team says flick generated $676,500 during first five days, Deemak distributor says movie collected $142,000

KARACHI: Pakistani films that released on the Eid Al-Adha last week attracted the highest Eid box office collections in five years, the sales and marketing head of the country’s largest cinema chain said on Friday.

Pakistani romantic comedy ‘Love Guru,’ starring acting powerhouses Humayun Saeed and Mahira Khan released in cinemas worldwide on Eid-ul-Adha. The other prominent Pakistani movie that released in theaters across the world was “Deemak,” a horror movie with A-list actors Faysal Qureshi, Sonya Hussyn and Samina Peerzada starring in lead roles.

As per official figures released by Love Guru, the Pakistani film collected Rs 12.8 crores [$457,143] in Pakistan during the first three days of Eid Al-Adha, making it the biggest ever Eid weekend opener in the country.

“If we look at Eid [film] business since Covid, we did the biggest business this year [on Eid],” Adnan Ali Khan, the sales and marketing head of Cinepax Cinemas, told Arab News. “Meaning highest in five years.”

He said this does not include The Legend of Maula Jatt film, which enjoyed record-breaking box office business but was not released on Eid.




People gather outside cinema hall at the Cinepax, Jinnah Park in Rawalpindi, Pakistan on June 10, 2024, during Eid Al-Adha celebrations in Pakistan. (Photo courtesy: Azadar Kazmi)

“Love Guru got 50 percent of the shows and that is why it generated huge numbers,” Khan explained, adding that Deemak was the second-best performing film on Eid while Hollywood flick “From the World of John Wick: Ballerina” secured the third-highest collections.

The film’s official team announced that its international box office collections for the opening weekend surged to Rs15.4 crores [$546,000]. This means the film raked in a total of Rs28.2 crores [$999,186] in the first three days of the release.

After the first five days of their release, Love Guru’s team said it collected Rs19.10 crores [$676,500] locally while Deemak distributor Nadeem Mandviwalla said the horror flick generated around Rs4 crores [$142,000] at the box office.

Mandviwalla said the film is expected to secure over Rs7 crores [$248,000] in box office collections by the end of this week.

“It is a very encouraging figure for Deemak,” Mandviwalla said.

However, there have been speculations around the authenticity of these figures, particularly at the local box office. There hasn’t been an official detailed division of box office collections in cinemas across Pakistan.

Pakistani film critic Kamran Jawaid, however, brushed aside claims that Love Guru’s box office collections were fabricated.

‘ONLY FOR THE DELUDED’

“When the audience comes out of cinemas in droves at seven in the morning— and that too from multiple shows— then countering claims about fabricated figures is only for the deluded,” Jawaid told Arab News.

He said the high footfall in cinemas across the country puts to rest the opinion that attendances at cinemas are too low due to expensive ticket prices or that audiences no longer harbor interest in Pakistani movie.

“One just has to make movies that people are willing to shell money out on, whether it is Mission: Impossible: The Final Reckoning, which also ran shows till morning two weeks before Eid, or Love Guru,” Jawaid said.

The Pakistani film critic broke down the numbers based on the number of screens and seating capacity of Pakistani cinemas.




People gather outside cinema hall at the Cinepax, Jinnah Park in Rawalpindi, Pakistan on June 10, 2024, during Eid Al-Adha celebrations in Pakistan. (Photo courtesy: Azadar Kazmi)

“Although not big, counting all 91 screens, Pakistan’s total seating capacity is a little above 21,000, which equates to 21 million in ticket sales per show/slot, with an average ticket price of a thousand,” he said.

“An average of four shows per day leads to 84 million in gross income. Depending on the number of screens a film like Love Guru gets — which is roughly between 30-40 percent of the country — per-day estimates range between 25 to 33 million in gross receipts,” Jawaid explained.

“Given that the tickets are selling hot, one cannot refute the legitimacy of the quoted figures.”

Khan said the movies garnered the highest numbers at its cinemas in Packages Mall in Lahore, followed by Jinnah Park in Rawalpindi.

“We are running late night shows every day,” Khan said, adding that the coming weekend was also expected to feature “packed” theaters as the cinemas have bookings in advance.

“We need four Pakistani movies like Love Guru every year,” he said. “However, Deemak has started gaining momentum now alongside Love Guru.”

Jawaid, however, looked toward the future of Pakistani cinema.

“Pakistan’s cinema needs one Love Guru a month to revive audience’s interest,” he said.


Middle Eastern art takes center stage in Sotheby’s London exhibition

Middle Eastern art takes center stage in Sotheby’s London exhibition
Updated 21 August 2025
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Middle Eastern art takes center stage in Sotheby’s London exhibition

Middle Eastern art takes center stage in Sotheby’s London exhibition

DUBAI: Highlights from Sotheby’s exhibition of highlights from its upcoming Modern & Contemporary Middle East and Arts of the Islamic World & India auctions.

Abdulhalim Radwi 

‘Untitled (Desert Scene)’ 

The late Abdulhalim Radwi is one of the most significant Saudi artists of all time. He studied in Italy in the 1960s and his work has drawn comparisons to that of the great French impressionist Paul Cézanne and the Dutch master Vincent Van Gogh. “Radwi’s ability to merge popular culture and sentiments with newly acquired artistic techniques serves as a precursor to contemporary Saudi art today,” an old Sotheby’s catalogue states. At first, however, his style was met with confusion in his homeland, where local artistic sensibilities “very much remained grounded in more realistic artistic renderings.” Discussing his first local exhibition in 1964, Radwi said: “My works were shot down in exoticism, irony and surprise, while the people’s visual imagination in that era was held by representation and copying from reality.” The Sotheby’s catalogue continues: “He was driven by the conviction that art has a cerebral function in an environment that considered it as ornamental. According to Radwi, the very essence of a piece lies not in its physicality but in the emotions it triggers.” This piece — a mix of oil paint and sand on canvas — was created in 1975, and is expected to fetch between £40,000 and £60,000 (SAR 203k-305k) in October’s auction.  

 

Ahmed Mater 

‘X-ray Painting 5’ 

This work from arguably Saudi Arabia’s most important contemporary artist comes from the series that established him as a pioneer of the Kingdom’s art scene back in 2004, when he was featured alongside Abdulnasser Gharem and Sahraf Fayadh in a Jeddah exhibition. It combines his two occupations: medicine and art. “In these works, the first synthesis of art and science, faith and medicine can be seen,” Mater writes on his website.  

“Ahmed Mater demonstrates the very special ability to speak in a universal voice but from a personal perspective,” Linda Komaroff of the LA Country Museum of Art wrote in a 2010 essay in which she also noted of the artist’s “X-ray” series: “What could be more intimate and personal than literally to see inside another individual? … The skeletal images suggest some elemental form of humanity, stripped of the skin, hair, eyes, and clothes that differentiate as well as separate us.” 

 

Paul Guiragossian 

‘Portefaix en Chomage’ 

This depiction of unemployed porters is typical of the acclaimed Jerusalem-born Lebanese-Armenian artist’s work, in terms of both subject matter and style. “Guiragossian was primarily a painter of clustered people: elongated figures, huddled close together, hunched or squatting. They crowd the canvas, never over-spilling its edges. Togetherness usually feels threatened, somehow, but also a spell that might ward against loss,” the art writer and curator Sam Thorne wrote in 2014. Speaking to Selections, the art website, in 2019, one of Guiragossian’s daughters said: “He would say he was like a reporter of his environment. When he was unemployed, he painted the street porters who were unemployed and hungry. When he got married … (and) had children, he painted families. I would say his objective in the early stages was portraying marginalized people based on his own life.” 

 

Fahrelnissa Zeid 

‘Untitled (Flowers)’ 

Zeid was an extraordinary artist who lived an extraordinary life, which included seeing her brother convicted of the murder of their father, marrying an Iraqi prince, and becoming the first woman to have a solo exhibition at London’s Institute for Contemporary Arts (in 1954). “Her practice underwent transformations ranging from a figurative expressionism to the abstract sublime,” an old Sotheby’s catalogue states. “Untitled (Flowers)” dates from the late 1940s, a time when Zeid’s artistic style was in the midst of that transition from figurative artwork to a more complex abstraction, and bridges those two worlds. It is expected to fetch between £40,000 and £60,000 at auction.     

 

Hassan Hajjaj 

‘BB Stance’ 

This work from 2000 is a classic example of the Moroccan filmmaker, designer and photographer’s signature style — vibrant colors, stylized poses, and a border of that puts a twist on Andy Warhol’s “Campbell’s Soup Cans” by using products local to the Moroccan market (in this case, beef mortadella). “His frames are at once a nod to the twentieth-century avant garde concept of the readymade, as well as to his childhood in Morocco, where recycling was an everyday part of his life,” an entry on Sotheby’s website reads. “Hajjaj’s inclination to such materials is prompted by their immediacy and multifaced nature; in another act of recovery, the repeated patterns also make reference to Moroccan zellige tiles.” This particular image also references another of Hajjaj’s major influences — hip-hop. 

 

Monir Shahroudy Farmanfarmaian  

‘A Drawing (Variations on a Hexagram)’ 

Arguably Iran’s best-known female artist, Farmanfarmaian crafted her own definitive style over the course of her six-decade career, mixing classical Iranian culture and Islamic geometry with avant garde ideas often inspired by her time in New York in the 1940s and 1950s — and again in the Seventies and Eighties. She is perhaps most well-known for her mirror mosaics, but drawings such as this one clearly show her fascination with geometry and the principles of Islamic art, which was the cornerstone of those famed mosaics.  


‘Night Always Comes’ — Netflix poverty thriller needed to pick a lane

‘Night Always Comes’ — Netflix poverty thriller needed to pick a lane
Updated 21 August 2025
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‘Night Always Comes’ — Netflix poverty thriller needed to pick a lane

‘Night Always Comes’ — Netflix poverty thriller needed to pick a lane

DUBAI: In “Night Always Comes,” British director Benjamin Caron and British star (and producer) Vanessa Kirby attempt a gritty look at the lengths to which the ever-increasing wealth gap in the US can force those on the wrong side of the gap to go. Part-suspense thriller, part-social-realist diatribe, the film (written by Sarah Conradt) seems fueled by genuine anger and good intentions. Whether that’s enough to justify you actually watching it… well, maybe.

Kirby plays Lynette, a young woman with a trouble past holding down multiple jobs (including working at a bakery and being an escort) and trying to secure the finances to ensure that her childhood home, where she lives with her nightmare narcissist mother Doreen (Jennifer Jason Leigh), and her older brother Kenny (Zack Gottsagen), who has Down syndrome. As the film begins, she has 24 hours to get the required down payment of $25,000 to the landlord — cash that she believes she and her mother have squirreled away. Then Doreen turns up in a new car. Guess how much it cost? Yep. As a spur to get the plot moving, this works. But it’s an act so malicious that it undermines the film’s later attempts to explore the mother-daughter relationship in a more-balanced way and to suggest that Doreen isn’t all bad.

Terrified that she — and, particularly, Kenny — will be out on the streets the next day, Lynette throws herself into increasingly desperate attempts to secure the necessary funds by 9 a.m. These attempts include ripping off an old friend; returning to sex work and asking her rich client to “invest” in the property; stealing the rich client’s car when he refuses; and trying to sell some stolen/found cocaine. Kirby is compelling (which is just as well, as she’s in literally every scene of the film’s almost-two hours), and the decision to make Lynette a genuinely complex, multi-faceted, confrontational and not entirely likeable woman is a welcome one. But each step of the way, her actions become increasingly reckless and dumb, and harder to believe. And as the grim revelations about Lynette’s traumatic past pile up, the tension — impressively stoked for the first 45 minutes or so — actually drops because the film becomes formulaic.

There’s plenty to admire here — the believable sibling chemistry between Gottsagen and Kirby, for example — and Leigh, one of her generation’s finest actors, is excellent. But, as a whole, “Night Always Comes” is trying to be too many things, and ends up being great at none of them.


Stockholm in the summertime 

Stockholm in the summertime 
Updated 21 August 2025
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Stockholm in the summertime 

Stockholm in the summertime 
  • Sweden’s capital is a cultural delight, and a joy to explore on foot 

STOCKHOLM: Sweden’s capital city, Stockholm, is spread across 14 islands connected by 57 bridges. Here, the freshwater of Lake Mälaren meets the brackish tides of the Baltic Sea. Even the city’s Viking-coded name reflects this layered geography and history: stock, meaning log or post, and holm, meaning islet. It’s a Viking city. 

I stayed at a boutique hotel in Gamla Stan, Stockholm’s oldest neighborhood — a storybook setting of cobbled lanes and medieval buildings; compact, walkable, and full of surprises. Up any elevated alleyway, you’ll find small specialty shops and local vendors selling ice cream or hot snacks. A short walk away are popular chains with more international offerings. 

I happened to visit during Midsommar, the festival marking the peak of Swedish summer. While viewers of the film might worry, I saw no bears or cults — just floral headpieces and white linen dresses. It’s one of the most earnest, unironic national celebrations I’ve ever seen.  

The ABBA Museum. (Getty Images)

The sky stubbornly stays lit until nearly midnight — it is just as bright at 10 p.m. as it was at 10 a.m., making an early bedtime feel irrelevant. However, many of the nearby shops and cafés close around 7 pm. 

As a self-professed foodie-in-training, meals were a feast for the eyes and stomach. I indulged in fresh salmon, brown meatballs, and nearly every pastry I could find. I also squeezed and sampled the condiments that seem to only come in toothpaste-like tubes for some reason. My hotel breakfast was full of quirky and fun delights — my plates looked like mad scientist experiments. I also tried every fresh juice and immune-boosting liquid potion they offered.  

One of my favorite rituals was fika, the Swedish pause for coffee and something sweet. Unlike the Spanish siesta, fika is meant to be social. Coined in the 19th century by scrambling the syllables of kaffi (old spelling of coffee), it’s a cornerstone of calm and connection. While it traditionally involves hot coffee and a pastry, iced drinks are just as common these days. I quickly developed a preference for the cardamom bun (kardemummabulle) over the more common cinnamon (kanelbulle). 

Stockholm’s intellectual energy is no surprise — it is, after all, the home of the Nobel Prize. A visit to the Nobel Museum offers deeper insight. Another fun fact: Sweden introduced the world’s first banknote in the 1660s, and yes, there’s a museum for that too. Their colorful krona banknotes feature portraits of notable women. 

Kanelbulle in Stockholm. (Getty Images)

The Royal Palace is an architectural masterpiece overlooking the water and well worth the price of admission.  

My favorite activity of all, though, was simply wandering round the city. I found bookshops dedicated entirely to science fiction, another to transportation, and dozens more with niche themes. 

Stockholm is also a city of boats. Ferries and leisure craft buzz between the islands, reflecting the city’s deep history of fishing and trade. 

There’s also a pleasing architectural balance: clean lines contrast with centuries-old facades. Even the metro doubles as art. Often called the world’s longest art gallery, over 90 of its 100 subway stations contain murals, mosaics, and sculptures — many carved into raw bedrock. Even short commutes feel like cultural excursions. 

One such trip took us to Skansen, the world’s first open-air museum, on Djurgården island. Founded in the 1890s, it combines living history with a Nordic animal park. Inside, you can stroll through a recreated 19th-century town, then turn a corner to see animals lounging beneath giant trees. With live musicians playing folk songs and so much greenery, it truly feels like stepping into a fairytale. 

Nearby, the ABBA Museum celebrates Sweden’s most famous musical export. And all across the country, Dala horses — carved wooden steeds painted in red, blue, and white — stand proudly in shops and public spaces. They became my favorite souvenir, along with hand-painted kanelbulle earrings. 

While I didn’t catch the aurora borealis this time and wish I’d explored more of the country — there’s always next time. I had such an enriching experience, I will definitely be back. Sweden is a place that invites you to build your own destiny at your own pace — much like an IKEA cabinet. 


Acclaimed British musician Paul Weller sues accountants that cut ties over his pro-Palestine views

Acclaimed British musician Paul Weller sues accountants that cut ties over his pro-Palestine views
Updated 20 August 2025
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Acclaimed British musician Paul Weller sues accountants that cut ties over his pro-Palestine views

Acclaimed British musician Paul Weller sues accountants that cut ties over his pro-Palestine views
  • Accounting firm Harris and Trotter ‘offended’ by his assertion that Israel is committing genocide
  • The Jam ex-frontman: ‘Silencing those who speak this truth is not just censorship — it’s complicity’

LONDON: British musician Paul Weller is suing his former accounting firm after it reportedly ended their business ties over his pro-Palestinian comments.

Harris and Trotter had a professional relationship with Weller spanning more than three decades, The Independent reported on Wednesday.

The acclaimed musician and former frontman of The Jam filed a discrimination claim over the accounting firm’s decision.

It followed public statements by Weller that Israel is committing genocide in Gaza. He was told in March that Harris and Trotter would no longer work with him or his companies, his lawyers said in a pre-action letter.

A partner at the firm sent a WhatsApp message to Weller saying: “It’s well known what your political views are in relation to Israel, the Palestinians and Gaza, but we as a firm are offended at the assertions that Israel is committing any type of genocide.

“Everyone is entitled to their own views, but you are alleging such anti-Israel views that we as a firm with Jewish roots and many Jewish partners are not prepared to work with someone who holds these views.”

In ending its relationship with Weller, the firm illegally discriminated against his protected philosophical beliefs, his lawyers said.

Weller has publicly supported moves to recognize Palestine as a state. “I’ve always spoken out against injustice, whether it’s apartheid, ethnic cleansing or genocide. What’s happening to the Palestinian people in Gaza is a humanitarian catastrophe,” he said.

“I believe they have the right to self-determination, dignity and protection under international law, and I believe Israel is committing genocide against them.

“That must be called out. Silencing those who speak this truth is not just censorship — it’s complicity.”

According to his lawyers, Weller will donate any received financial damages toward humanitarian campaigns in Gaza.

“I’m taking legal action not just for myself, but to help ensure that others are not similarly punished for expressing their beliefs about the rights of the Palestinian people,” he said.

The firm Hodge Jones and Allen is representing Weller. One of its lawyers, Cormac McDonough, said the case “reflects a wider pattern of attempts to silence artists and public figures who speak out in support of Palestinian rights.

“Within the music industry especially, we are seeing increasing efforts to marginalise those who express solidarity with the people of Gaza.”


Member of rap trio Kneecap out on bail on terror charge, calls lawsuit ‘distraction’

Member of rap trio Kneecap out on bail on terror charge, calls lawsuit ‘distraction’
Updated 20 August 2025
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Member of rap trio Kneecap out on bail on terror charge, calls lawsuit ‘distraction’

Member of rap trio Kneecap out on bail on terror charge, calls lawsuit ‘distraction’
  • O hAnnaidh says charge a ‘distraction,’ as lawyers try to throw it out
  • Judge will rule whether prosecution can continue on Sept. 26

LONDON: Hundreds of fans turned out to support a member of Irish rap group Kneecap on Wednesday at a London court as he sought to throw out a terrorism charge for allegedly displaying a flag in support of Iran-backed Lebanese militia Hezbollah.

Liam Og O hAnnaidh, who was initially charged under the Anglicised name Liam O’Hanna and whose stage name is Mo Chara, is alleged to have waved the yellow flag of Hezbollah during a Kneecap gig in London on Nov. 21, 2024.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by KNEECAP (@kneecap32)

 

O hAnnaidh is accused of holding up the flag on stage while saying “Up Hamas, up Hezbollah.” Kneecap have said the flag was thrown on stage during their performance.

The 27-year-old was charged in May under the Terrorism Act, which makes it a criminal offence to display an article in a way which arouses reasonable suspicion that someone is a supporter of a proscribed organization.

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O hAnnaidh appeared at Westminster Magistrates’ Court on Wednesday wearing the keffiyeh scarf associated with the Palestinian cause and had to fight his way through a scrum of photographers to get inside the building.

He sat alongside an Irish language interpreter during the hearing and his bandmates Naoise O Caireallain, stage name Moglai Bap, and J.J. O Dochartaigh, who goes by DJ Provao, were also in court, with supporters filling the public gallery.

RULING NEXT MONTH

Irish music was played outside the court throughout the hearing, with many supporters waving Irish and Palestinian flags while others held placards reading “Free Mo Chara.”

O hAnnaidh’s lawyers say the charge was brought too late and the prosecution case should be thrown out, as O hAnnaidh was formally charged on May 22 this year, one day after the six-month limit for such charges.

Prosecutor Michael Bisgrove, however, argued that O hAnnaidh was charged on May 21, within the time limit. Judge Paul Goldspring said he would give a decision on Sept. 26.

O hAnnaidh left the court to cheers from supporters, telling the crowd the charge against him was “a distraction from the real story” of Israel’s actions in the Palestinian territories.

Belfast-based Kneecap, who rap in Irish and English and regularly display pro-Palestinian messages during their gigs, previously said the charge was an attempt to silence them.

The group — who rap about Irish identity and support the republican cause of uniting Northern Ireland with the Republic of Ireland — have been increasingly vocal about the war in Gaza since O hAnnaidh was charged.