Pakistani animated film ‘The Glassworker’ heads to US theaters with Watermelon Pictures

This photo shared by Pakistani animator Usman Riaz on December 2, 2024, shows a poster of his animated film The Glassworker featured in the December 2024 edition of Variety magazine. (Photo courtesy: Instagram/@usmanoriaz)
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Updated 17 May 2025
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Pakistani animated film ‘The Glassworker’ heads to US theaters with Watermelon Pictures

  • The Pakistani animated film revolves around two people from disparate backgrounds, a glassblower and a violinist
  • The movie, selected as Pakistan’s submission to the 2025 Academy Awards, took the animation world by storm in 2024

ISLAMABAD: Pakistan’s first hand-drawn animated film “The Glassworker” is set to screen in the United States (US) after Watermelon Pictures acquired its distribution rights, the US-based film production and distribution company said this week.

The Glassworker, released in Pakistan in July last year, was storyboarded by young Pakistani animator, Usman Riaz, who also directed the movie that comprised 1,477 cuts and 2,500 individual drawings, bringing to life the coming-of-age tale of two people from disparate backgrounds: young Vincent who is an apprentice at his father’s glass workshop, and the talented violinist Alliz, the daughter of a military colonel.

Around them, a war threatens to upend their lives and the relationships between the children and parents are tested. A total of 250 people worked on the film including national and international cast and crew.

In a post on Instagram, Watermelon Pictures said they were proud to announce that their very first animated feature, The Glassworker, would soon be coming to US theaters.

“After being selected as Pakistan’s submission to the 2025 Academy Awards, #TheGlassworker took the animation world by storm as Pakistan’s first ever hand-drawn animated feature,” the distribution company said.

“An ode to Hayo Miyazaki’s dedication to telling beautiful stories frame by frame, The Glassworker is truly a work of art.”

The deal was closed during Cannes and negotiated by Hamza Ali for Watermelon Pictures and Hélène Espeisse on behalf of Charades, which is representing the film at this year’s Marché Du Film, US entertainment website DEADLINE reported.

“The Glassworker is a breathtaking, emotional story that will resonate deeply with audiences of all ages. We are honored to bring this cinematic gem to US theaters,” Watermelon Pictures co-founder Hamza Ali was quoted as saying.

Ali launched the film production and distribution company in April, 2024 along with his brother, Badie Ali, with Alana Hadid as creative director. The firm aims to amplify the voices of underrepresented filmmakers across the globe.

“We are thrilled that The Glassworker will be released theatrically in the United States by Watermelon Pictures. Their rapid growth and recent string of successful, meaningful films make them the perfect partner to bring our work to American audiences,” Khizer Riaz, the film’s producer, was quoted as saying.

“We couldn’t be more excited.”


Review: ‘Relay’

Updated 21 December 2025
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Review: ‘Relay’

RIYADH: “Relay” is a thriller that knows what its role is in an era of overly explained plots and predictable pacing, making it feel at once refreshing and strangely nostalgic. 

I went into the 2025 film with genuine curiosity after listening to Academy Award-winning British actor Riz Ahmed talk about it on Podcrushed, a podcast by “You” star Penn Badgley. Within the first half hour I was already texting my friends to add it to their watchlists.

There is something confident and restrained about “Relay” that pulls you in, and much of that assurance comes from the film’s lead actors. Ahmed gives a measured, deeply controlled performance as Ash, a man who operates in the shadows with precision and discipline. He excels at disappearing, slipping between identities, and staying one step ahead, yet the story is careful not to mythologize him as untouchable. 

Every pause, glance, and decision carries weight, making Ash feel intelligent and capable. It is one of those roles where presence does most of the work.

Lily James brings a vital counterbalance as Sarah, a woman caught at a moral and emotional crossroads, who is both vulnerable and resilient. The slow-burn connection between her and Ash is shaped by shared isolation and his growing desire to protect her.

The premise is deceptively simple. Ash acts as a middleman for people entangled in corporate crimes, using a relay system to communicate and extract them safely. 

The film’s most inventive choice is its use of the Telecommunications Relay Service — used by people who are deaf and hard of hearing to communicate over the phone — as a central plot device, thoughtfully integrating a vital accessibility tool into the heart of the story. 

As conversations between Ash and Sarah unfold through the relay system, the film builds a unique sense of intimacy and suspense, using its structure to shape tension in a way that feels cleverly crafted.

“Relay” plays like a retro crime thriller, echoing classic spy films in its mood and pacing while grounding itself in contemporary anxieties. 

Beneath the mechanics and thrills of the plot, it is about loneliness, the longing to be seen, and the murky ethics of survival in systems designed to crush individuals. 

If you are a life-long fan of thrillers, “Relay” might still manage to surprise you.