Bill Kenwright Presents
MY PURE LAND
Based on a true story
Written and directed by Sarmad Masud
Starring:
Suhaee Abro
Eman Malik
Syed Tanveer-Hussain
Razia Malik
Atif Akhtar Bhatti
Tayyab Azfal
Ahsen Murad
INTERNATIONAL SALES:
Independent Sarah Lebutsch
[email protected] 195 Wardour Street, London W1F 8ZG, UK
+44 207 257 8734
SHORT SYNOPSIS
MY PURE LAND is a film based on a true story.
A young woman called Nazo and her mother and sister are called to defend their home after
a bitter family feud leads to her father’s incarceration.
In their isolated farmhouse in Pakistan, the women find themselves surrounded by armed
men hired by their Uncle Mehrban to take back the land. When Nazo’s resistance leaves two
of the men dead, an enraged Mehrban calls in a local ragtag militia - two hundred armed
bandits.
But even with only a handful of bullets left, Nazo refuses to give in…
LONG SYNOPSIS
A secluded house in a rural village in Pakistan, NAZO DHAREJO (18yrs), a strong and proud
girl is stood AK-47 in hand with her mother WADERI (50) beside her outside the gates to their
home warning her Uncle MEHRBAN (40) and his few men not to step any closer. Mehrban
says he won’t leave, the place is rightfully his. Gun fire follows as both parties duck for cover.
Nazo closes the gate behind her and tells her sister SAEDA (16yrs) to head upstairs and fire
from there, already upstairs firing is ZULFIQAR (20), a friend of the family. One of the men
has managed to creep into the back of the house and catch Nazo by surprise, they exchange
fire and he is hit, he falls to the floor unconscious. Nazo grabs his pistol and runs out of the
room.
KHUDA BAKSH (“BABA”) (50) is quickly driving his old white car along a dirt road where it
is stopped by Nazo and Saeda; both are stood in the middle of the road dressed as boys and
holding AK-47’s. Nazo slowly approaches the driver’s side of the car, she gestures with her
gun for him to lower the window, Khuda Baksh waits for a moment and then puts his foot down
on the gas and accelerates away. Nazo and Saeda chase after him via a shortcut through
some fields. Khuda Baksh jumps out of his car and heads to the rooftop of a house, from
where he playfully lets off some fireworks in the direction of the girls, they look at each other
and smile. Nazo and Saeda arrive on the rooftop where Khuda Baksh asks them what
happened; they have guns so why didn’t they stop him? The girls can’t take him seriously,
they say he’s their dad; they aren’t going to shoot at their own family. Khuda Baksh tells them
this is their land and they need to protect it, no matter what.
Mehrban manages to grab a handful of bullets from the boot of his car before Nazo fires in his
direction to make him retreat. He heads back to his men and tells them the women won’t
actually shoot anyone; they are only firing to try and scare them away.
Khuda Baksh and his son are attending a funeral. Mehrban is also there and is watching them
closely, there is no love lost between them.
Zulfiqar is still firing from upstairs doing his best to help, but Nazo is too stubborn to
acknowledge it or thank him. Nazo looks on in hope as a police jeep arrives. The officer shakes
hands with Mehrban, they make small talk before the officer drives away without arresting
anyone. Mehrban shouts out to the house that no one is coming to save them; this is their last
chance to leave. Nazo fires manically in his direction and instead tells him that this is his last
chance to leave. Mehrban directs two of his men to keep a lookout while he gets on a
motorbike and heads off to get more recruits.
Khuda Baksh and his son walk away from the funeral, as Khuda Baksh gets into his car he is
confronted by Mehrban and his men; they want to know when he plans to leave the house.
Khuda Baksh tells them he has no intention of leaving. He helped to build the house with his
own hands, it’s his and after him it will belong to his children and their children after them.
Mehrban points out whatever happens from here is now Khuda Baksh’s fault.
With only two men outside, Nazo sees an opportunity to steal bullets and another gun from
the boot of Mehrban’s car. She somehow manages to make her way back without getting hurt.
Khuda Baksh is helplessly looking on through the bars of a jail cell as his son is dragged in by
the same police officer we saw earlier. Despite pleading his innocence his son is beaten, and
then ruthlessly shot dead. Later, Nazo and Saeda arrive and fall to pieces in fits of tears as
they hug their dead brother. Khuda Baksh tells them they need to be strong, they are now his
sons and on the day he dies they will have to bury him. And he insists they need to promise
they will not show any weakness, not even shedding a single tear…
Mehrban returns to the house with 20/30 more men acquired via the help of a notorious local
bandit. Zulfiqar recognises him; he is the same man who once offered to help Khuda Baksh.
Khuda Baksh and Mehrban are sat opposite a village elder trying to settle their dispute. He
tells them they are their father’s first born sons but from different mothers, so it’s questionable
who deserves what. He also says until one or two people are killed neither he nor the police
can get involved. On the way home Khuda Baksh meets the notorious bandit, who offers to
help him.
A weak looking Khuda Baksh has been moved to a larger prison where a young boy named
HAMZAH (15) offers him a way out; Hamzah claims for a small amount of money he can either
buy his freedom, or have people on the outside bribed or even killed on his behalf.
Zulfiqar shoots one of the bandits dead as he tries to climb over the boundary wall, but he
himself is wounded in the process. Zulfiqar and Nazo do what they can to barricade all the
doors and sit tight hoping the bandits won’t try to enter again. During the quiet moment Zulfiqar
asks Nazo if she realises they were once promised to each other when they were younger.
Nazo says she will only marry him under three conditions; 1) They live in this house. 2) She’s
allowed to study and work. 3) She’s allowed to travel. Zulfiqar agrees, impressed and amused
by the demands. The frustrated bandit leader sends for further reinforcements. Before the sun
goes down the house becomes surrounded by a further 200 armed men, who all sit tight
waiting for night fall.
Khuda Baksh has fallen ill in prison; he is rushed to hospital where he passes away amongst
a crowd of sick people without anyone even noticing. Nazo and her sister are the only two
women attending the funeral procession, the rest are all men. As they arrive at the grave yard
they are told no women are allowed, but they have no intention of leaving. They watch as their
father is lowered into the ground, neither Nazo or her sister shows any emotion, not even
shedding a single tear.
With night having fallen, the bandits begin their assault. Nazo and her family are doing their
utmost to keep the bandits at bay, but with ammunition running low their Mother has decided
surrendering is not an option, Nazo is given three bullets by her Mother, they would rather die
than be thrown out of their own home. Nazo loads her gun, closes her eyes and takes a
moment, her mind drifts away and she is now outside walking amongst the bandits listening
to her Father telling her an old folk tale. She follows the sound of his voice in hope of finding
him at the end. Instead she awakes back in the room with her Mother and sister waiting for
her to fire. She again closes her eyes and hears her Father telling her “It will all work out.
You can’t fight destiny, destiny is God.” Nazo opens her eyes and prepares to fire the gun
at her Mother. Outside it appears as though the cavalry have arrived a moment too late, the
charge is being led by Hamzah driving Khuda Baksh’s white car.
The local police officer arrives in the morning and shouts out to Nazo and her family to put
their weapons down and to leave peacefully. They are breaking the law being in the house
and on this land. There is no response; he asks if anyone knows if they are even still alive. A
moment later Nazo opens the gate and steps outside with her AK-47 in hand. Anger and pain
drips from every word she says “You want men? Here, take us. Arrest us. You want guns?
You can take all our guns. But we have the papers for this house... This is my father’s
house. This is my father’s land. This house is mine.” Nazo has no intention of going
anywhere. She stares out and meets the eye of anyone who dares look back at her. Eventually
she looks straight into the camera and we too can feel her intensity and see the strength of
her resolve as she says “This is my land.’’
Nazo recently joined a local political party and intends to be a non-corrupt politician fighting against bandits.
Nazo and Zulfiqar married soon after, and now have four children.
Nazo and her family remain in the house to this day.
THE DIRECTOR
My Pure Land is Sam’s first feature. Previously his short film; Two Dosas, funded by Film
London was voted best film in their London Calling Plus category by David Yates and then
went on to be long listed for both a BAFTA and an Oscar after picking up numerous awards
on the festival circuit; winning at London Short Film Festival, Aspen shortsfest, River to River
in Florence and Shufflefest voted by Danny Boyle. Sam also wrote and directed Adha Cup
which was the first Urdu language drama commissioned by Channel Four, going on to develop
it as a six part TV series with the BBC.
BILL KENWRIGHT FILMS
Bill Kenwright Films is an independent film and television production company, owned by
Everton Football Club chairman and theatre producer Bill Kenwright. Previous film credits
include: The Day After The Fair, Stepping Out, Don't Go Breaking My Heart, and Cheri,
starring Michelle Pfeiffer, and Rufus Norris's Broken, (winner of the Best British Independent
Film Award, 2012). In addition to My Pure Land, Bill Kenwright Films recently produced
theatre director Sam Yates’s debut drama short The Hope Rooms starring Ciarán Hinds and
Andrew Scott (winner , and the World War II feature film, Another Mother’s Son about the
Nazi occupation of Jersey in the Channel Islands.
Q & A WITH SARMAD MASUD
How did the film come about?
I was looking to go out and make a film in Pakistan. I didn’t really have an idea at the time but
I was considering remaking Copland, I felt the themes of Police corruption and cover ups were
very transferable. I Googled police cases in Pakistan for a bit of background, at which point I
came across an article about a woman called Nazo Dharejo who had defended her home and
land from 200 bandits, I straight away thought that’s a much better idea for a film!
I made contact with Nazo herself through the man who wrote the article, and asked if anyone
was making a film about her. She said no and was happy for me to do so. She did have some reservations/questions – Would she be in the film? I said no. Would there be a song and a dance in the film? I said no. So it will be a documentary…? I said no, it will be a song and a dance film without a song and a dance. I continued to speak with her and her husband and did as much research as I could before
embarking on the script. I spoke to my family as well who have land in Pakistan. Very early on
I had the idea of making it a non-linear film which jumped back and forth in time; I felt this
would keep the siege element of the story tense and interesting while also allowing us to learn
more about the characters past.
I knew given we would be filming the story on location in Pakistan it would be difficult to raise
money through traditional funding bodies in the UK, so my plan was to raise the money through
private investors, and that given this was my debut feature the budget would no doubt need
to be very small. I had the initial idea in 2013, I got married in 2014 and the plan was to make
the film in 2015 before we had any cats or kids of our own.
It was tricky to raise the money, a lot of phone calls, emails and meetings later I had managed
to raise enough to shoot the film through the very kind investment of friends and family, the
plan was to shoot the film and come back and then raise the rest later. It was around this point
that my agent set me up with a meeting Bill Kenwright Films, they were looking for directors
for a feature currently on their slate, I successfully talked my way out of that and instead
pitched my idea for a Pakistani Western. Later on I sent the script to them and before I knew
it I was in front of Bill Kenwright himself. That was an amazing experience. He shook my hand
there and then and said “Let’s do it”. Not long after that, me and my wife Caroline, who was
the Production Designer, were soon on a plane to Pakistan ready to start pre-production.
Tell us a bit about the casting process
We got ourselves a fixer in Pakistan. I’d sent him references ahead of flying out there, but the
pictures of the actresses he sent me back just didn’t have the right look. It appeared as though
they were all aspiring to be glossy Bollywood actresses, which is fine but it wasn’t the right
look for our film. I really wanted the lead actress to be comfortable in her own skin, I wanted
her and the rest of the cast to have a natural look, but this is not what actors are used to in
Pakistan. When we got to Pakistan I made it clear that we needed authentic actors for this
subtle film. We approached theatre companies, colleges, universities and had numerous open
call sessions. Eventually I was sent a photo of an actress who is also a dancer in Karachi,
Suhaee Abro, who I thought looked really interesting. She travelled up for a casting the next
day and I knew immediately that she was the one. Same rule applies for all our principle cast
actually, as soon as they walked in the room I knew they were the one, it just took a bit of time
to find them.
Casting was a long process, and I think all in all I auditioned over 300 people. Tanveer Bhai,
who we cast for the father is actually a teacher who had just come in to support his friend.
Needless to say his friend wasn’t impressed we had given him the part! There was an element
of street casting as well. So if I saw someone while we were out on location shooting, who I
thought was interesting, I’d bring them into the shot and give them a line. I remember for the
scenes in the jail, we had two sets which Caroline had designed and built from scratch in a
studio in Pakistan, I decided to cast some of the actual labourers as prisoners because they
had the right look. Casting wise and in terms of performances in the final film, I am very happy
with the end result.
How well do you know Pakistan?
I think I now know Pakistan a lot better than I did. Previously whenever I had been it was to
visit family, and I’d made a short film there in 2008. Now, having lived and worked there for 12
weeks, I know it much better. I came back saying “anything is possible in Pakistan, and
everything is impossible”. There’s a chaos to the country that I really enjoy but arguably it’s
not the most conducive environment for making a film. Organisational stuff is difficult out there,
plus there always seems to be something happening politically. However, it’s where my family
come from and I am a proud British Pakistani, and I definitely have an affinity to the country.
People did say to me that we should film in Morocco or India due to the security issues in
Pakistan, but I was adamant that we shoot in Pakistan because I wanted to make an honest
film that came out of that country, and for other Pakistani’s to be proud of. There is certainly a
revival of cinema in Pakistan with more and more films being produced which is great news
for everyone.
What was it like filming on location in Lahore?
It was an experience and a half filming there. I’m quite a positive person so I would say I really
enjoyed the madness. Turning up to find out that one of the actors will be two hours late, the
camera is there but not the lenses, that it’s 40 degrees in that given moment but it’s going to
rain later on, somebody might have been bitten by a snake plus we all need to leave in convoy
so we don’t get robbed on the way and of course there is every chance we might get shot at…
again! There’s all of that stuff which you don’t need while trying to shoot a film on top of which
you’re not in your natural environment, you’re not really eating or sleeping properly, you and
your wife have both been in hospital during the shoot and yet you need to make sure you have
the energy and clarity to make the right decisions all day long. But it really concentrates you.
And I like the blood and thunder of being on set. It challenges your instincts.
Unlike in the UK guns are commonplace in the rural villages in Pakistan. Initially for me
whenever I saw someone casually walking around with a gun it was like I had seen a dinosaur.
I spotted it, made sure I knew where it was heading and whether or not it was likely to attack…
We did have security on set, but oddly enough as time went on we became a bit blasé about
the presence of guns ourselves. We did have a number of hairy moments, I recall one incident
when we were filming at night with a number of extras during a dream sequence scene. It was
a complicated shot with the extras, a wedding band and fireworks going off in the background,
all in the dead of night in a village in the badlands of Pakistan, what could go wrong… anyway,
one extra was constantly running into people and being a general nuisance so a member of
the production crew took him aside and sent him home. Later the same night as we were doing
another shot, after I said cut we heard what sounded like a firework, but it was actually this
extra who had returned with a gun and was firing it towards us. By this stage of the shoot I
was fully consumed by the film and the environment, and while our Cameraman hid behind a
wall I stood there doing my best impression of Robert Duvall in Apocalypse Now trying to work
out what we’ve got left to shoot.
Toughest day?
The first day of filming was probably the toughest and set the tone. We were filming outside
in a market from 7am. Caroline headed off to paint the jail set in the studio. As she’s a white
British woman, we felt it was safer not to have her on the streets while we were filming on the
first day. It was a slow day at the market as we all tried to find our rhythm. We didn’t really
have enough extras so I managed to convince the hundreds of onlookers gathered behind the
camera to join us in front of the camera. They happily did so, but after two takes they hid in
the shade because it was so hot! It gets to 4pm and I haven’t had lunch, so I grab an apple. A
little later Caroline texts me to say she thinks she might have carbon monoxide poisoning from
the petrol generator in the studio?! We wrapped as the sun went down on a painful first day
and I quickly returned to our flat and took Caroline to the hospital where they gave her gas
and an injection, she did indeed have carbon monoxide poisoning. It was a tough few hours
but the doctors were good and she slowly began to feel better, it certainly gave me some
perspective.
Best day?
Tough to say, but the day we filmed the armada of bandits coming over the hill was a
particularly crazy day. Every time I’d pitched the film I’d said it was about a girl fighting off 200
bandits, so we needed to deliver on these 200 bandits... The place we filmed was actually built
by my granddad many years ago, it had a single small dirt road leading up to the house and
I’d asked our fixer for a turning circle to be built further back because I knew we’d have 200
extras driving up there and we’d need them to be able to turnaround for different takes.
Obviously, it was never built. We had one Assistant Director for 200 extras and she didn’t have
a walkie talkie, so we stole our security guards instead. We had numerous vehicles, people,
guns and we were shooting it in magic hour. In Pakistan the magic hour is more like magic 20
minutes! We filmed the whole scene with one camera and a drone camera. The drone camera
had about 30 minutes of battery, and the operator forgot to press record on the first take.
However, we got the shots. I don’t know how, but we got it. That’s been the running theme in
the making of this film really!
MUSIC
The film’s original soundtrack includes vocal performances from Sanam Marvi, a Pakistani folk
and sufi singer. She sings in Punjabi and Sindhi languages, and performs sufi concerts around
the world. She is considered among the finest performers in the Sufi, ghazal and folk genres.
THE REAL NAZO DHAREJO
Nazo Dharejo (01/01/1960) was the eldest daughter of Haji Khuda Buksh Khan Dharejo and
his second wife, Waderi Jamzadi, in Qazi Ahmed. From a young age Nazo demonstrated a
strong willingness to learn and explore the world beyond the small village where she lived.
Although she stopped going to school in second grade, she asked her father to allow her to
study with her younger sister's private tutor so she could continue to learn to read and write in
English. Khuda Baksh had a great respect for the women of his family and did everything in
his power to offer his daughters the opportunity to gain an education and also the chance to
have a life of equality in an unequal society. He would give them boy’s nicknames, show them
how to use guns, to not believe in hopelessness, and most of all, that “nothing, not even your
life, is more important than honour”.
When Nazo’s grandfather died the family ruptured as arguments broke out over inheritance
issues, and Nazo was forced to pick up arms to defend her father’s agricultural land in rural
Sindh. During this long and strenuous feud her father was accused of killing a relative,
arrested, jailed and then released on bail, but he was diagnosed with hepatitis C and despite
his family’s best efforts he sadly lost his life. It was in that instance that all of Khuda Baksh’s
teachings became of extreme value, as it was up to the women to defend the family’s honour
and protect what they felt was rightfully theirs. When they finally won, which seemed to be a
sort of miracle as the opposition was a lot stronger, Nazo said that her success was due to
the fact that she had two men, her father and husband Zulfiquar, who gave her inspiration and
support throughout the fight and in life.
From that day onwards Nazo became a legend in the village. Another example of when her
fearless attitude and sense of justice took over dates back to 2010, when floods swept away
homes and livelihoods of the villagers of Qazi Ahmed Taluka in Sindh’s Shaheed Benazirabad
district. The natural waterway that the floodwaters should have passed through had been
artificially blocked causing water levels to rise by up to three feet. The multiple attempts made
by the villagers to ask for help were fruitless, until Nazo encouraged them to take matters into
their own hands by breaching the blockage in five different places. And when local notables
searched for someone to hold responsible for these acts of defiance, not a single witness was
found to testify against her. To show her commitment and to motivate them to keep a united
front she said: “If there are bullets fired, I’ll take the first one. If they arrest us, I’ll be the first to
offer myself.”
In 2 decades she has managed to raise four children, three daughters and one son, and
ensure that her land remains productive and profitable. She is also taking part in politics and
supports PML-N, her aims are to get children educated in her local area and is proud to report
that women in the district are beginning to question long-standing conventions and are
studying and learning to be independent. Her ultimate dream is to become Chief Minister of
Sindh.
CREDITS
BILL KENWRIGHT PRESENTS
MY PURE LAND
BASED ON A TRUE STORY
WRITTEN AND DIRECTED BY
SARMAD MASUD
PRODUCED BY
BILL KENWRIGHT
DIRECTOR OF PHOTOGRAPHY
HAIDER ZAFAR
PRODUCTION DESIGNER
CAROLINE BAILEY
EDITED BY
OLLY STOTHERT
SOUND DESIGN BY
VICENTE VILLAESCUSA
ORIGINAL SCORE BY
TRISTAN CASSEL-DELAVOIS
CAST
Nazo Suhaee Abro
Saeda Eman Malik
Waderi Razia Malik
Baba Syed Tanveer Hussain
Sikander Atif Akhtar Bhatti
Zulfiqar Tayyab Ifzal
Mehrban Ahsen Murad
Tariq Sahib Ahmad
Safdar Muhammed Safdar
Aslam Muhammed Aslam
Wounded man/driver Abdul Qadir
Amir Salman Ahmed Khan
Police Chief Malik Aslam
Bandit Leader Abbas Ali
Ahmad Ghulam Muhammed Khan Naizi
Boy in Prison Ishtiaq Ahmad
Prison Guards Munir Ahmed
Mairaj Ud Din
Dr Philip Bailey David Pridmore
Dr's Assistant M Amir Waqar Ghuman
Father in Hospital Saad Azher
Nurses Fizah Ali
Amber Shahzad
Dr on Phone Farrukh Shah
Prisoners Mohammed Hussain
Naeem Khan
Salman Goher
Shazil Maqsod
Imran Ali
Mukeet Ahson
Bandits Mohammed Asghar
Sadam Khalid
Nabeel Qureshi
1st Assistant Director Hira Tariq
2nd Assistant Director Ahmad Baig
Production Manager Waqar Akbar
Script Supervisor Mudeera Ghayyur
Focus Puller Shahzad Rafiq
Camera Team Sohail Sabar
Rashid Ali Khan
Hassan Bhatti
Khizer Hayyat
Naveed Bhatti
Sajjad Ali
Amir Mehmood
Lighting Team Asif Kaleem
Boota Rajput
Mubashar Ahmad
Gaffer Ejaz Abid
Production Sound Mixer Syed Ather Ahmad
Boom Operators Rizwan Dilawar
Zaheer Mushtaq
Art Department Runner Salmoon Hashmi
Props Buyer Sami Hassan
Costume Supervisor Kainat Ali Khosa
Dress Master Fizza Ahmad
Make-Up Artists Irfan Muna
Rajab Seethi
Armourer Muhammed Yousaf
Armoury Assistants Muhammad Safdar
Shamshad ali
Abbas Ahmad
Unit Drivers Kamil Hassan
Haji Mehtab
Aktar Rasool
Nazeer Ali
Driver to the Director Iqbal Bhai
Spot Boys Muhammad Aamir
Zeeshan Ali
Muhammad Saeed
Wazir Ali
DIT Khizer Rajput
Construction Manager Malik Saab
Set Construction Mohammad Maulvi
Mohammad Iqbal
Mohammad Aslam
Mohammad Abbas
Mohammad Asghar
Mohammad Javed
Mohammad Rashid
Mohammad Abbas
Mohammad Ibrahim
Mohammad Arshad
Generator/Grip Mak Productions
1st Assistant Director (UK) Dan Channing Williams
Line Producer (UK) Ian Murray
Picture Finishing Post MET FILM POST
Colourist Jon Olav Stokke
Online Editor Alex Murray
Post Producer for Met Film Post Cavan Ash
Digital Intermediate Facility FINAL FRAME
DI Consultant Simon Marbrook
Senior Colourist Susumu Asano
Technical Advisor Richard Welsh
ADR Recording Studio in Pakistan SOUNDBOX, Lahore
Additional Score recorded at TREW BREW RECORDS, Lahore
Additional Vocal Performances by Sanam Marvi
VFX Supervisor Max Crow
Music Supervisor Gary Welch
For My Pure Land Ltd
Executive Producers Naomi George
Steve Potts
Sarmad Masud
Associate Producers Philip Bailey
Ace Bhatti
Russell Daly
Charles George
Jane George
Kiran Hari
Brian Lake
Ed Nassau Lake
Samia Masud
Cyrus Patel
Himesh Patel
Richard Renwick MBE
Anathan Sivayogananthan
For Wide Angle Films
Line Producer Fayyaz Adrees
Assistant Producer Munir Ahmed
Production Manager Waqas Adrees
Continuity Supervisor Jawad Sheikh
For Mateela Films
Producer Mazhar Zaidi
Assistant Producer Azhad Mehdi
For Bill Kenwright Films
Managing Director Bill Kenwright
Executive Director Steve Potts
Finance Director Alan Sharp
Executive Producer Jonathan Rae
Associate Producer Naomi George
Provider of Extras & Background Artists Zaman Gull
Camera & Lighting Equipment Wide Angle Films
Security provided by Rehman Security Systems. (Pvt) Ltd
Mr. Waseem Shazad Butt
Mr. Umar Saddique
Security Guards M. Ramzan
Aftaab Shah
Accountants Nyman Libson Paul
Legal Services Manderley Media
Lee & Thompson
Insurance Israel & Co
WK Insurance
International Sales Independent Film Sales
Collection Account Management Freeway Cam Plc
Archive Images Ayisha Mir
The Express Tribune, Pakistan
Special Thanks to
The real Nazo and Zulfiqar for their continued support and encouragement throughout. A
real inspiration.
The director would like to personally thank:
My wife Caroline and all my family in the UK and in Pakistan – Sameer Mandhro -
Mohammad Altaf - Major Arshad
– Riaz Bhai and his brothers – Ghaffur Bhai – Iqbal Bhai – Joe Phillips – Jenn Lambert -
Sarah DeSilva
– Rachelle Constant – Hamish Greer – Jeremy Meadow- Kate Leys – Anna Seifert-Speck -
Meena Khatwa – Lionel Openshaw - Ahmed Choudhry – Amjid Ibrahim – Amjid Pervaiz –
Atif Ghani
– Nissanka Goonetilleke – Dean Palinczuk – Kashif Hassan – Ayesha Mir - Omri Rose –
Keir Siewert
"Precious Memories" "Golden Flowers"
Composed by Gulshan Bawra and Rajesh Roshan Composed by Gulzar and Rd Burman
Chappell Recorded Music Library Ltd Chappell Recorded Music Library Ltd
Licensed courtesy of Universal Licensed courtesy of Universal
Publishing Production Music Publishing Production Music
"Love Rules" "Bewitched"
Composed by Majrooh and Rd Burman Composed by Madan Mohan and Raja
Mehdi Ali Khan
Chappell Recorded Music Library Ltd Chappell Recorded Music Library Ltd
Licensed courtesy of Universal Licensed courtesy of Universal
Publishing Production Music Publishing Production Music
"Haida e-Naat " "Dam e-Rukhsat"
Composed by Dr. Safdar Munir Ansari. Composed by Dr. Safdar Munir Ansari.
Lyrics by Ahmad Masud Lyrics by Ahmad Masud
Performed by Dr. Safdar Munir Ansari. Performed by Ustad Naeem Salaria
Licensed courtesy of Ahmad Masud Licensed courtesy of Ahmad Masud
"Funeral Song" "The End Song"
Composed by Tristan Cassel-Delavois Composed by Tristan Cassel-Delavois
Lyrics by Ahmad Masud Lyrics by Ahmad Masud
Performed by Sanam Marvi Performed by Sanam Marvi
Licensed courtesy of My Pure Land Ltd Licensed courtesy of My Pure Land Ltd
Filmed on location in Pakistan
This film is a dramatization based on real events. Therefore certain characters, events,
chronology, and dialogue have been fictionalised for dramatic purposes. Any similarity
between such fictional characters and events and real life characters and events is therefore
purely coincidental.
