In a first, Pakistani TV, film and digital directors form guild to ‘protect’ industry’s interests

Pakistani filmmakers gesture for a group photo during an oath-taking ceremony of the country's first and only official trade body of film, TV and digital directors,The Directors Guild Pakistan (DGP), in Karachi on June 18, 2023. (Photo courtesy: MindMap Communication)
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Updated 19 June 2023
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In a first, Pakistani TV, film and digital directors form guild to ‘protect’ industry’s interests

  • The Directors Guild Pakistan was announced Sunday at an oath-taking ceremony in Karachi
  • Members say the body will offer mentorship and various opportunities to young directors

KARACHI: Pakistani television, film and digital directors on Sunday formed a guild for the first time in the country’s entertainment history, with a governing body member saying the body would “protect” interests of the showbiz people.

The Directors Guild Pakistan (DGP), the first and only official trade body of film, TV and digital directors, was officially announced at an oath-taking ceremony in Karachi on Sunday, though the association had been in the works since 2016.

The idea behind it was to bring together Pakistani directors on one platform to raise their voice about issues concerning them and the industry. The DGP governing body includes Shahzad Nawaz, Rafay Rashidi, Saife Hasan, Mehreen Jabbar and Wajahat Rauf, while Misbah Khalid was picked up as its founding president.

“The entertainment industry can only be taken seriously when there are bodies to protect the interest of all those working in it,” Jabbar, a Pakistani film and television director and producer, told Arab News.

“So, this is a much-needed step.”

Pakistan currently has registered trade bodies for producers and actors, respectively called the United Producers Association (UPA) and the Actors Collective Trust (ACT). A representative body of screenwriters in the country, the Screenwriters Association of Pakistan (SWAP), has yet to be registered. 

Rauf said raising a collective voice on an issue had better chances of yielding a “positive” result, saying it was not too late for them to have a directors’ guild in Pakistan.

“If we have to negotiate with someone or there is a conflict resolution, we do it as an association not privately. The outcome is more positive in that case. There is representation of actors, writers and directors worldwide, so it is never too late to have one in Pakistan,” he told Arab News on the sidelines of the oath-taking ceremony.

“We face a lot of problems in terms of timelines and compensation. We will address these through the association. Rights [of directors] will be protected. This is the only way to go.”

The idea behind the association was to provide training and mentorship to young directors, pave way for international collaborations, and generate sponsors and funds, according to Khalid.

It will be catered through the DGP’s initiatives, such as the Director Development Program, which would promote rights and interests of directors, including remuneration and creative liberty, while showcasing the Pakistani content globally and offering scholarships and research opportunities.

“The association will benefit new directors more who have to face the problems that we have already faced in our initial years,” Hasan told Arab News.

“For instance, pressure of producers, lack of creative liberty, payment issues and copyright issues. This platform, if we come together, will have a strong stance and impact on stakeholders.”

The DGP members said the body was “selective” at this point, but it would announce elections by the end of this year and open itself to all Pakistani directors to join hands for the cause.


Producer Zainab Azizi hopes ‘Send Help’ will be a conversation starter

Updated 31 January 2026
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Producer Zainab Azizi hopes ‘Send Help’ will be a conversation starter

DUBAI: Afghan American film producer Zainab Azizi cannot wait for audiences to experience Sam Raimi’s new horror comedy “Send Help.”

In an interview with Arab News, the president at Raimi Productions kept returning throughout her interview to one central theme: the communal thrill of horror.

“I started watching horror from the age of six years old. So, it’s kind of ingrained in my brain to love it so much,” she said, before describing the formative ritual that still shapes her work: “What I loved about that was the experience of it, us cousins watching it with the lights off, holding hands, and just having a great time. And you know, as an adult, we experience that in the theater as well.”

Asked why she loves producing, Azizi was candid about the mix of creativity and competition that drives her. “I’m very competitive. So, my favorite part is getting the film sold,” she said. “I love developing stories and characters, and script, and my creative side gets really excited about that part, but what I get most excited about is when I bring it out to the marketplace, and then it becomes a bidding war, and that, to me, is when I know I’ve hit a home run.”

Azizi traced the origins of “Send Help” to a 2019 meeting with its writers. “In 2019 I met with the writers, Mark and Damien. I was a fan of their works. I’ve read many of their scripts and watched their films, and we hit it off, and we knew we wanted to make a movie together,” she said.

From their collaboration emerged a pitch built around “the story of Linda Little,” which they developed into “a full feature length pitch,” and then brought to Raimi. “We brought it to Sam Raimi to produce, and he loved it so much that he attached to direct it.”

On working with Raimi, Azizi praised his influence and the dynamic they share. “He is such a creative genius. So, it’s been an incredible mentorship. I learned so much from him,” she said, adding that their collaboration felt balanced: “We balance each other really well, because I have a lot of experience in packaging films and finding filmmakers, so I have a lot of freedom in the types of projects that I get to make.”

When asked what she hopes audiences will take from “Send Help,” Azizi returned to the communal aftermath that first drew her to horror: “I love the experience, the theatrical experience. I think when people watch the film, they take away so many different things. ... what I love from my experience on this film is, especially during test screenings, is after the film ... people are still thinking about it. Everybody has different opinions and outlooks on it. And I love that conversation piece of the film.”