Major Pakistani cinemas refuse to screen ‘Legend of Maula Jatt’ amid dispute with distributor

The owner of Pakistan's film distribution company Mandviwalla Entertainment and the official distributor of ‘The Legend of Maula Jatt’, Nadeem Mandviwalla (right), addresses a press conference in Karachi on October 20, 2022. (Photo courtesy: Starlinks)
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Updated 21 October 2022
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Major Pakistani cinemas refuse to screen ‘Legend of Maula Jatt’ amid dispute with distributor

  • ‘Legend of Maula Jatt’ yet to be screened by major Pakistani cinemas including Nueplex, Cinepax
  • Cinema representative tells Arab News negotiations are underway, agreement seems likely

KARACHI: Despite raking in impressive numbers overseas and attracting critical acclaim, the highly anticipated Pakistani film ‘The Legend of Maula Jatt’ is not being screened by major Pakistani cinemas owing to a dispute between the distributor of the movie and cinema representatives. 

The movie has, however, released in limited theaters across the country. The film’s distributor, Nadeem Mandviwalla, had pleaded with cinema representatives for “better terms and support” prior to the movie’s release, citing that it was the most expensive film made in Pakistan to date. 

He asked cinema representatives to raise the prices of tickets for the first 11 days of the film’s release, with the additional amount going to the producers. 

Cinema owners and representatives, on the other hand, had reservations, citing rising operation costs. They objected to the increased cost of tickets, saying that higher-priced tickets would mean a decrease in footfall in cinemas which would ultimately impact revenue. 

At the time of the film’s release, 34 out of 38 cinemas agreed to the terms and released ‘The Legend of Maula Jatt’ on their screens. The remaining four that did not agree to the terms are Nueplex, Cinepax, Cinestar and Arena cinemas. 

Released on October 13, 2022, ‘The Legend of Maula Jatt’ features an ensemble cast that includes some of the biggest names in Pakistan’s showbiz industry, such as Fawad Khan, Hamza Ali Abbasi, Mahira Khan and Humaima Malick. 

The film has been released in major cinemas across the world. However, prominent Pakistani cinema chains such as Nueplex Cinema, Cinepax and Cinestar are not screening the movie amid the stalemate between the producer and cinema representatives. 

On Thursday, Mandviwalla, the owner of the film distribution company Mandviwalla Entertainment and official distributor of ‘The Legend of Maula Jatt’, addressed the controversy at a press conference. 

“We asked for an extra 10 percent share [of ticket prices] in the first week [of the film’s release],” he told reporters. 




The cast members of the newly released Pakistani movie, The Legend Of Maula Jatt, pose for a group picture at the world premiere in Doha, Qatar on October 16, 2022. (Instagram/fawadkhan81)

Mandviwalla heaped praise on ‘The Legend of Maula Jatt’, saying never before in the history of Pakistani cinema had a movie like this been helmed. He said that as a result, he had decided to come up with the strategy to maximize revenue from such a flick. 

In its opening weekend, the film raked in an impressive $2.3 million worldwide, according to the official figures. The movie performed the best in the UAE, where it made a whopping $289,739 on the opening weekend, followed by Canada and Australia. 

The combined box office collection from the Gulf countries stood at $515,000 by the end of the first weekend. 

“Universally, whenever mega productions are released, cinema owners or groups support such films by giving more screens so that maximum box office collections are done in the initial fortnight,” added Mandviwalla. 

Mandviwalla said that when the opposite happens and there aren’t many screens available, admission rates are increased and a higher percentage of the box office is shared with film distributors. 

“The objective is to assist the film’s box office collection in the initial period and support distributors and producers without sacrificing the revenue of the exhibitor,” he explained. 

“A win-win for all.” 

Mandviwalla said the film is expected to surpass the Rs 20 crore ($902,708) mark in Pakistan, adding it would be a historic feat and that too when almost 50 percent of the cinemas are not screening the movie. 

“The highest [opening] week in Pakistan till today [has been claimed by] Sanju (Bollywood film), that is, Rs 18 crore ($812,437),” he said. “Both are non-holiday figures,” he told Arab News on the sidelines of the press conference. 

The official box office numbers for the film’s first week in Pakistan have not been announced yet. 

“We designed the strategy targeting the Rs 100 crore ($4,513,543) figure and for that, we needed to make Rs 40-50 crores ($1,805,417-$2,256,771) in the first eight days,” Mandviwalla added. 

Mandviwalla said the film’s producers were on board with the strategy to increase the film’s revenue. 

“The plan we came up with was based on the calculations made accordingly, with agreement from the film’s producers,” he reiterated. 

He said it was not possible for him to “go back” on the terms agreed upon as 34 out of 38 cinemas had agreed to them, which Mandviwalla said were the same for everyone. 

Adnan Ali Khan, general manager of marketing and sales of Cinepax Cinemas, told Arab News that the distributor initially said the movie is “a one-of-a-kind film and asked to raise the ticket price and [demanded] more share than the usual agreement.” 

“Given the operation cost for the cinema, we wanted to stick to the old formula and terms set for previous films. Negotiations are still going on,” Khan said, hinting that both sides were expected to come to an agreement. 

 


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.