shareeka
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syed noor’s latest film, shareeka, revolves around the issues faced by people living in extended families .
shareeka accumulated over rs3 million on the first three days of its release. photo: abid nawaz / express
lollywood’s major production for 2012 shareeka released this eid, accumulating over rs3 million alone on the first three days of screening .
shareeka accumulated over r s3 million on the first three days of its release. and ek t t collect 150 crore inr means 300 crorepkr .
while shareeka ’s actors are all exceptionally talented, what failed to impress about the film was the poor quality of the print and dull action sequences .
shareeka epps was born on july 11, 1989 in brooklyn, new york city, new york, usa. she is an actress, known for
shareeka depicts the issues of a typical joint family system. the dominant theme is that such problems are insignificant and should be overlooked and forgotten if families wish to happily co - exist under one roof .
singer: babaljit song: shareeka album: rang berangi dunia music dir. santosh kataria lyrics: ravi pattowala video director: amrit jsl label: music care produced by: surjit singh lovely (98762 - 85188 )
meanwhile, apart from shareeka, noor’s other venture, meri shaadi karao, is also scheduled to be released in june this year. the director confirmed it will include indian punjabi daler mehndi’s son gurdeep singh in the lead role. the film is a co - production of noor and mehndi .
despite having faced a slump last year due to box office failures coupled with regular bouts of illness, acclaimed film director syed noor knows there is no looking back. at the shabab studio, located in the periphery of lahore, noor, 61, is busy filming his latest venture shareeka, which is set to release on eidul fitr this year .
speaking about the film, noor, considered one of the best film - makers in pakistan, reveals, “ shareeka is a total family drama film. in our culture, joint families are a norm; but within these there are jealousies, negativities and other problems. however, we’ll focus on the importance of understanding these differences and moving past petty issues. ”
“you can probably tell what my character is, ” quips qureshi, adding that he will play the role of the grandfather. “ shareeka is an important story, with an important message. the film makes an analogy to the situation of pakistan and compares it to a big family, consisting of different people from different backgrounds and languages, all living together. ”
t he writing and directing team of anna boden and ryan fleck announced itself as one of consequence with half nelson, the 2006 drama that introduced shareeka epps and produced an academy award nomination for ryan gosling and his portrayal of a crack - addicted teacher. it was followed by the well - received sugar, the star - free story of a dominican baseball player recruited to the american minors .
one day, one of dan' s students, drey (shareeka epps, catches him shooting up after school. this awkward situation ultimately leads the duo into an unlikely friendship where both see their paths influenced by the opinions and ideas of the other. sitting at a crossroads where both their lives can change for the better, they must make decisions about the paths they will take. (kim hollis / bop )
dan dunne (ryan gosling) is a history teacher at a brooklyn school. though well - liked by his students and colleagues, he secretly spends his evenings hopping bars and getting high. a female student named drey (shareeka epps) catches him in a drug - induced haze after a basketball game, and the two strike up an unlikely friendship. as he struggles with his addiction, dan tries to act as a mentor to the girl, whose brother is serving time for dealing drugs .
the punjabi film was screened in cities across punjab including lahore, faisalabad, multan, sargodha, gujranwala, rawalpindi and sheikhupura. despite several constraints, the film has done relatively well, insiders revealed. “it is seen as risky because of the themes it tries to tackle regarding families, ” said achi khan, an actor in the film. “this is a different attempt by syed noor. ”
starring famous actors such as shaan, saima, afzal ahmed, mustafa qureshi and a few others, the movie revolves around the lives of seven conservative families living together in one haveli in a punjabi village. these families face daily disputes, disagreements and even watta satta. qureshi and ahmed are the eldest brothers of the household, with qureshi playing the role of a pious fatherly figure and ahmed playing a victim of paralysis .
shaan and saima on the other hand, play the role of qureshi and afzal’s children respectively. shaan is kicked out of the house at a young age and is raised by villagers while saima is married off through watta satta to her aunt’s son nawab khan. as the story develops, shaan’s character seeks to destroy the family that disowned him .
“it’s been a while since i witnessed families and women from different backgrounds take out time for a film — and that too a three - hour long one! ” says safdar malik, the producer of the film, clearly pleased with the response .
rana naveed, the manager of paragon entertainment who is responsible for the film’s distribution, admitted that although the film benefited from the ban of bollywood’s ek tha tiger, people were reluctant to watch the film due to heightened security in the country on eid. “with mobile networks down the first night, attendance was low, ” he said, adding that the crowds started coming the following night .
naveed then touched upon a problem that is a concern to cinemagoers all over the country. “from a national perspective, it is regrettable that this punjabi film isn’t being screened in cities like karachi or peshawar, ” he said. “it’s hypocritical. ”
despite the reluctance to watch indian movies and lack of funds and government support, producer safdar malik does not understand why punjabi films still aren’t being screened in theatres across the country. “why don’t cinemas across pakistan prefer to show punjabi films? they are also pakistani films, ” he said, frustrated at the thought that only punjab is promoting these productions .
the pakistani film industry hopes to call families to the cinema with new release .
pretty strange that in karachi indian movies could be played but pakistani punjabi movies could not be played despite many punjabi speakers live there? ?. so much for the national unity and prejudice in our country. and punjabis on the other hand are dumping their own language for the love of urdu and so so called proprietors of urdu have such hatred for one language and its people within one country that they dont want to play your movies in cinema. keep on living in fool’s paradise of one nation, one culture and one language fake paradise that actually dont exist .
vishnu dutta your director may be good at making intimate movies, you know what i mean .
@ vishnu dutta: sir, you neither have a driver, not an iphone which btw is made is china. seems like there is no entertainment industry in our shining india anymore .
@ singh: so, what’s the point. billion + people vs 180 million, do the math .
i would much rather watch a punjabi low budget pakistani movie than a cheaply plagiarised flick coming from the eastern neighbour .
curse zia for ruining our movie industry; he actually made friends with rejected actors from the eastern neighbour .
these pakistanis will never learn a lesson. their movie industry is ruining. they dont have enough quality movies to run their cinema hall. they r highly dependent on indian cinema for entertainment. we feed some of their artists. but when it comes to term, they wont feel any shy while abusing eastern neighbor. that is why this country is facing such a harsh situation. for building something by ur own, you should have equal respect for others achievement. if you dont respect anything, you dont have right to own it .
even twilight has a better lovestory than our freaking, low caliber, d - class punjabi movies, believe it or not since the dawn of punjabi movies (specially era of jutt, butt & all those jerks) the downfall of pakistani film industry begins .
please keep ur movies out of our town, even the home made utube vdo are better than ur movies… = p until & unless u direct & produce some subject oriented movies like shoib mansoor’s “bol” .
yes to more punjabi movies and shows being released < 3 it’s amazing that we are the majority in pakistan, yet it seems like our mother tongue isn’t promoted or respected, not like it is in india anyway. i go to lahore and in the upper class areas it would be hard to hear people talking in punjabi, and this is in punjab! so strange to me since most of my family are in rural punjab and people are proud of their roots! none of this pendu shendu talk of the elities, i love punjabi since it was the language that caused so many of our ancestors to revert to islam !
my family in karachi don’t even speak punjabi with their children, very sad .
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note: this is an edited version written for an autonomous people of colour edition of sydney university’s honi soit newspaper. i might upload the longer, original version at a later date .
there are very few coming - of - age films made for girls of colour, at least not in the way there are for white girls. when gurinder chadha’s film bend it like beckham was released in 2002, it was the first time i was able to see myself in pop culture: in a young south asian girl struggling to reconcile her passion and identity with that of her family’s seemingly conservative ideals. thirteen years since the film’s release, it still remains formative. queer - ing bend it like beckham is an attempt to both coalesce my love for the film and interrogate my experiences and growing consciousness as a queer, south asian woman of colour .
i’m convinced that there was an unrealised romantic relationship between the two female leads jesminder “jess” bhamra and juliette “jules” paxton. an interpretation that is not only based on suggestive queerness in the girls’ interactions (ok, and my fantasy); but also the persistent yet unconfirmed rumours that there was a love story between jess and jules, denied out of fear of isolating mainstream audiences .
exploring this seemingly impossible narrative between jess and jules, could unearth the radical potential of queer south asian female desire as a form of resistance. queer identities within diaspora introduce bodies and identities that disrupt gender normativity and challenge the dominant whiteness of queer stories .
jess interacts with her indian identity as if it were a burden, and negotiates this through challenging stereotypes of what a ‘proper’ indian girl is. this fragmentation of identity is a narrative many young south asian women, including myself, can relate to. jess is resistant, resilient and disruptive in more ways than one. she embodies the paradoxes of what it is to wield a hyphenated diasporic identity and be a young woman of colour in a predominantly white community. jess’ potential queerness complicates this further, and dispels presumptions about south asian girlhood and being part of a diaspora .
i’m definitely not advocating for a ‘coming out’ story, but rather i’m saying that queerness here, could operate on multiple levels: sexual, social and political. queer in this sense refers to non - normative sexualities, but is more than ‘just sex. ’ queerness is also about disorientating and complicating dichotomous understandings of identity. queer, for me, offers the political potential of intruding and shattering dominant modes of understanding and interacting .
no doubt, the film sets out to challenge gender roles and narrow conceptions of femininity and masculinity. the title itself, refers to girls ‘bending’ prescribed cultural and gender roles, as well as taking up space in (literally) a male dominated field. both jess and jules have to resist the patriarchy and its stereotypical gender roles, but i feel this is an insufficient reading; as jess navigates britain as a racialized and sexual being as well; orienting her in a specific direction, thereby affecting how she ‘takes up’ space .
‘bending’ also lends itself to a queer interpretation, but chadha opts for its feminist implications. yet, there are many scenes between jess and jules charged with coded queer desires: jules’ awe and wistful staring, the ‘almost’ kisses, the mis - recognitions of a lesbian relationship? these fuel the queer imagination, and leave lingering a dialogue about the potentials of queer diasporic representations .
despite this, there are many derisive references to lesbianism via comedic plot lines of multiple mis - recognitions of lesbianism — trivializing same - sex relationships with one - liners. “mother, just because i wear trackies and play sport does not make me a lesbian, ” intones jules. the attitudes around same - sex relations (from both the south asian and british communities) in this film, however trivial, present these non - normative desires as unacceptable, inadvertently implying that diasporic queerness is in conflict with racial and gender subordination .
though the film is progressive in many senses, mobilizing a queer diasporic framework reveals how chadha utilizes a conventional trope of shutting down the possibility of queer female desire. jess is decreed as heterosexual, and queerness is displaced (with little effort) to her best friend tony. he confesses his homosexuality: “i really like beckham. ”
the dislocation of queerness onto the body of the male supporting character, rather than the central female character, is an act of making invisible the queer female experience. denying jess’ queer potential erases the ways in which queer female identities intrude, resist and reconfigure ‘home’ spaces .
it may seem like i am affording chadha’s film with more political potential than it deserves, but i think it can offer a platform and accessible starting point to interrogate ‘broader’ issues regarding gender, sexuality, race, class, caste, culture, nation, diaspora. exploring moments of deviation from presumed scripts of identity is vital for alternative communities that are inclusive and committed to sustained intersectional politics .
the omission of jess and jules’ love story upholds the erasure and impossibility of queer female desire, which further isolates these members of diasporic communities. this contributes to nationalist, patriarchal and colonial narratives that shrouds and reinscribes norms, which queerness shatters. the relationship between jess and jules could have served as an example of respectful and considerate alliances across difference, as well as the complexities that come with interracial, queer relationships. that’s a film i want to see. but this potential remains unrealised, liminal, impossible .
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urltoken
the earnest mental ward coming - of - age tale is more john hughes than nurse ratched .
now the pair swings for the mainstream fences with a setting - - - a mental ward - - - that sounds more suited to its first film, but is actually an earnest coming - of - age story toeing the saucy - sweet juno line, including animated sequences, an indie rock score, cable - minted stars and a dance number .
it begins on a literal precipice, as craig (keir gilchrist from the united states of tara) stands on a bridge, ready to jump. he relents and instead checks himself into the hospital. he relents on that decision too, but it' s too late - - - there' s a mandatory five - day stay. the teen ward is under construction so he' s up with the real crazies on the adult floor. his roommate hasn' t left his bed in months. the cute girl his age (emma roberts) is a self - mutilating mess. the de facto leader is zach galifinakis .
based on the novel by ned vizzini, it' s kind of a funny story has an upper - middle - class hurdle to overcome: craig' s suicidal feelings come from academic pressure - - - his workaholic dad (jim gaffigan) wants him to get into a prestigious summer school program. bfd. but it digs deeper, into teen depression, a problem
solved
by overmedication (craig has already stopped taking his zoloft). his dad isn' t around to see the problem, and his mom (lauren graham, sigh) doesn' t know what to do about it. so here we are .
the film allows galifinakis to grow as an actor, as opposed to sticking him in his underwear and punching him in the face. his bobby only has a few days left in the ward, and he' s trying to get into a group home so he can be a better father. the movie builds a real character for him, and most of the patients, while sidestepping the usual mental - ward cliches of evil nurses and overdoses .
gilchrist has done very fine work through both seasons of tara as the elegant, quietly gay son of a very ill woman, and it' s easy to draw parallels to his role here, though not as a detriment to either performance - - - he is similarly understated and gentle, except when leading the cast in a rendition of
under pressure ,
the film' s riskiest set - piece, a joyous fantasy sequence that inspired applause at its toronto film festival screening. it' s a brilliant scene and a fitting thesis statement for it' s kind of a funny story, as craig gets to move on while some never will: it' s the terror of knowing what this world is about, watching some good friends screaming
let me out .
it' s kind of a funny story is not showing in any theaters in the area .
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), an idealistic inner - city junior high school teacher, inspires his 13 and 14 - year - olds to examine everything from civil rights to civil war with a new enthusiasm. rejecting the standard civil rights curriculum in favor of an edgier approach, dan teaches his students how change works - - on both a historical and personal scale .
though dan can get it together in the classroom, he spends his time outside school on the edge of consciousness. dealing with a serious drug habit, dan is a strung - out role model. he juggles his hangovers and his homework, keeping his lives precariously separated, until one of his troubled students, drey (
from this awkward beginning, dan and drey stumble into an unexpected friendship. despite the differences in their ages and situations, they are both at an important intersection. depending on which way they turn - - and which choices they make - - their lives will change .
forget the classics: ryan gosling' s dunne is a different kind of history teacher .
interest in the gun violence prevention group moms demand action has exploded since the massacre at marjorie stoneman douglas high in florida. leaders here say they' re in the battle for' gun sense' until the job is done .
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gosling is great, but the movie runs out of steam by the end .
ryan gosling plays dan dunne, a youthful inner - city junior school teacher who finds his idealistic nature challenged as he faces each day in his dank brooklyn classroom. yet, somehow, he is able to challenge and inspire 13 - and 14 - year - old kids as he teaches them about such historically vital events as the civil war and the civil rights movement. he tosses aside the dull, expected curriculum and gives his students an opportunity to relate past events to their own lives in such a way that they are thinking and analyzing for themselves. dan is an inspirational instructor, but his dynamic personality hides the fact that after school hours he has a serious drug habit .
see the latest developments for this project on the half nelson movie news page .
anthony mackie, karen chilton, monique cumen, tina holmes, collins pennie, deborah rush, jay o. sanders, sebastian sozzi, nicole vicius, tristan wilds
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syed noor’s latest film, sharee­ka, revolv­es around the issues faced by people living in extend­ed famili­es .
noor looks at each film with the hope of reviving the industry. “i can’t say whether a revival will occur or not but i want to ensure films are being made not only for the audiences but also for those who rely on them for their livelihood, ” says the director .
the star - studded cast of the film includes shaan, saima, irfan khoosat, mustafa qureshi, afzal ahmed and others. noor reveals that the film revolves around a big family, their two sons and then grandsons, all living together. both qureshi and ahmed will be seen playing crucial parts. ahmed, who is finally back after suffering from a stroke which left him wheelchair bound and unable to speak, has a role that’s designed to accommodate his condition. shaan and saima will feature as the children of the lead characters .
“in these times, to have a film like this being made is a positive thing, ” states qureshi. “we are, in a way, trying to discuss those issues which matter to the people of the country. i really believe that relationships thrive on understanding and likewise a nation also thrives on understanding amongst citizens. ”
like qureshi, producer safdar malik also believes that the best thing about the film is that most people in pakistan can relate to it. recently, questions have arisen over whether a family film can generate enough revenue for the film - maker as well as cinema owners. malik states, “people are tired of the vulgar and cheap films that are commonplace these days. that’s the reason families don’t even bother going to the cinemas. this will be a comeback of a genre of films that has been long neglected. ”
while talking about the onslaught of foreign movies and how they affect the business of local ones, malik says, “currently, the industry is not producing enough films so foreign and indian films are necessary for the survival of cinemas and theatres. however, on our part, we have made sure that at least some work is going on and that new faces are getting a chance to show their mettle. ”
written by saleem zuberi, pervaiz kaleem, film centres around sufism and difference between temporal and eternal love .
with lollywood film acha gujjar under her belt, the stage and film actor plans to make waves in the industry .
we must revive the pakistani film industry and become a society with a pulse again .
censor board chairman says the step was taken only to revive cinema culture in pakistan .
agree with above comments. . bollywood has failed to make the marks that was expected. biggest grossers are films like khuda ke liye and bol. if media give more projection, greater number of people will show interest thus improving the condition of film industry .
another reason this “shahreeka” is doomed for the flop bin is that people are exhausted to keeping seeing saima - shan the tired two some that continue the failing formula lollywood history. shan continues to promote material that defuses lollywood instead of reviving it. many adore shan but he done little to introduce new subjects or new talent. shans refusal to think outside the box he continues to play it safe causing lollywood to fall behind in creativity .
these pictures show that the film will be full of stereotypes…. cast looks the same, we have been watching these actors in similar roles for the past 10 - 15 years. pakistani directors and producers (barring one or two) are full of flop ideas
i hope someday lollywood and syed noor will make venture into action and science fiction films and believe me shaan and shafqat cheema are ideal characters for the action films like these. we could have our own resident evil, terminator jatt and star wars .
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shareeka is a pakistani film , in punjabi , which was written and directed by syed noor . the film was released on eid-ul-fitr 2012 . 
shareeka is a pakistani film, in punjabi, which was written and directed by syed noor. the film was released on eid-ul-fitr 2012.
shareeka is a pakistani film, in punjabi, which was written and directed by syed noor. the film was released on eid-ul-fitr 2012.