Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain

People gather outside cinema hall at the Cinepax, Jinnah Park in Rawalpindi, Pakistan on June 10, 2024, during Eid Al-Adha celebrations in Pakistan. (Photo courtesy: Azadar Kazmi)
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Updated 13 June 2025
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Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain

  • Pakistani films ‘Love Guru’ and ‘Deemak’ led box office collections surge this Eid Al-Adha, says Cinepax Cinemas sales head
  • Love Guru’s team says flick generated $676,500 during first five days, Deemak distributor says movie collected $142,000

KARACHI: Pakistani films that released on the Eid Al-Adha last week attracted the highest Eid box office collections in five years, the sales and marketing head of the country’s largest cinema chain said on Friday.

Pakistani romantic comedy ‘Love Guru,’ starring acting powerhouses Humayun Saeed and Mahira Khan released in cinemas worldwide on Eid-ul-Adha. The other prominent Pakistani movie that released in theaters across the world was “Deemak,” a horror movie with A-list actors Faysal Qureshi, Sonya Hussyn and Samina Peerzada starring in lead roles.

As per official figures released by Love Guru, the Pakistani film collected Rs 12.8 crores [$457,143] in Pakistan during the first three days of Eid Al-Adha, making it the biggest ever Eid weekend opener in the country.

“If we look at Eid [film] business since Covid, we did the biggest business this year [on Eid],” Adnan Ali Khan, the sales and marketing head of Cinepax Cinemas, told Arab News. “Meaning highest in five years.”

He said this does not include The Legend of Maula Jatt film, which enjoyed record-breaking box office business but was not released on Eid.




People gather outside cinema hall at the Cinepax, Jinnah Park in Rawalpindi, Pakistan on June 10, 2024, during Eid Al-Adha celebrations in Pakistan. (Photo courtesy: Azadar Kazmi)

“Love Guru got 50 percent of the shows and that is why it generated huge numbers,” Khan explained, adding that Deemak was the second-best performing film on Eid while Hollywood flick “From the World of John Wick: Ballerina” secured the third-highest collections.

The film’s official team announced that its international box office collections for the opening weekend surged to Rs15.4 crores [$546,000]. This means the film raked in a total of Rs28.2 crores [$999,186] in the first three days of the release.

After the first five days of their release, Love Guru’s team said it collected Rs19.10 crores [$676,500] locally while Deemak distributor Nadeem Mandviwalla said the horror flick generated around Rs4 crores [$142,000] at the box office.

Mandviwalla said the film is expected to secure over Rs7 crores [$248,000] in box office collections by the end of this week.

“It is a very encouraging figure for Deemak,” Mandviwalla said.

However, there have been speculations around the authenticity of these figures, particularly at the local box office. There hasn’t been an official detailed division of box office collections in cinemas across Pakistan.

Pakistani film critic Kamran Jawaid, however, brushed aside claims that Love Guru’s box office collections were fabricated.

‘ONLY FOR THE DELUDED’

“When the audience comes out of cinemas in droves at seven in the morning— and that too from multiple shows— then countering claims about fabricated figures is only for the deluded,” Jawaid told Arab News.

He said the high footfall in cinemas across the country puts to rest the opinion that attendances at cinemas are too low due to expensive ticket prices or that audiences no longer harbor interest in Pakistani movie.

“One just has to make movies that people are willing to shell money out on, whether it is Mission: Impossible: The Final Reckoning, which also ran shows till morning two weeks before Eid, or Love Guru,” Jawaid said.

The Pakistani film critic broke down the numbers based on the number of screens and seating capacity of Pakistani cinemas.




People gather outside cinema hall at the Cinepax, Jinnah Park in Rawalpindi, Pakistan on June 10, 2024, during Eid Al-Adha celebrations in Pakistan. (Photo courtesy: Azadar Kazmi)

“Although not big, counting all 91 screens, Pakistan’s total seating capacity is a little above 21,000, which equates to 21 million in ticket sales per show/slot, with an average ticket price of a thousand,” he said.

“An average of four shows per day leads to 84 million in gross income. Depending on the number of screens a film like Love Guru gets — which is roughly between 30-40 percent of the country — per-day estimates range between 25 to 33 million in gross receipts,” Jawaid explained.

“Given that the tickets are selling hot, one cannot refute the legitimacy of the quoted figures.”

Khan said the movies garnered the highest numbers at its cinemas in Packages Mall in Lahore, followed by Jinnah Park in Rawalpindi.

“We are running late night shows every day,” Khan said, adding that the coming weekend was also expected to feature “packed” theaters as the cinemas have bookings in advance.

“We need four Pakistani movies like Love Guru every year,” he said. “However, Deemak has started gaining momentum now alongside Love Guru.”

Jawaid, however, looked toward the future of Pakistani cinema.

“Pakistan’s cinema needs one Love Guru a month to revive audience’s interest,” he said.


Saudi filmmaker Khaled Nadershah explores escapism in ‘ESC’ at Red Sea International Film Festival

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Saudi filmmaker Khaled Nadershah explores escapism in ‘ESC’ at Red Sea International Film Festival

DUBAI: Saudi director Khaled Nadershah’s short film “ESC” has been selected for the Red Sea International Film Festival, which takes place in Jeddah from Dec. 4-13. 

The film is screening in the “New Saudi Cinema Shorts” category, a section dedicated to emerging voices in the Kingdom’s film industry.

“It means a lot to have a project with this type of unique, experimental style make it in a category like that,” the director of the 25-minute film told Arab News.

“ESC” follows Hulum, a young woman burdened by grief and the responsibility of caring for her family. (Supplied)

“ESC,” named after the escape key on a keyboard, follows Hulum, a young woman burdened by grief and the responsibility of caring for her family. Her only refuge lies in a virtual reality game where she transforms into Esc, a fearless and empowered version of herself. 

“The movie tackles more the philosophy of escapism itself,” Nadershah, a graduate of London’s MetFilm School, explained. “We often believe that if we move somewhere new, reach a certain destination, or accomplish something specific, everything will be fine. But even then, some struggles stay with us. The only real way to overcome them is to face them.”

The film’s central theme of escapism reflects a consistent thread in Nadershah’s work. “The concept has been roaming my mind for a while now; even my first feature film, ‘Exit 5,’ speaks on the desire to escape in one way or another,” he said.

A lifelong anime fan, Nadershah found in the art form a perfect medium for “ESC.”

 

 

He said: “I’ve always been a huge fan of anime. However, I never thought I would be creating it myself. The first type of animation introduced to us in Saudi Arabia was through Spacetoon, which presented Japanese-style anime.

“Anime has so many subgenres, so you need to find one that pays true homage to your culture,” he said. “A big motif in the film (are) pink Taif roses. I chose them because they resemble cherry blossoms in Japan, so it was a nice way to link and merge the two worlds together.”

The film is not entirely animated or set in a virtual world, however.

“It’s not through virtual reality per se,” he said. “The character uses the VR device to transfer from one world to the other, so it was the perfect tool to transition from the vivid and colorful world inside her head to the dull and gray reality she faces in her daily life.”

Nadershah’s work as innovation and data intelligence manager at the Saudi Film Commission also shaped his creative process. “Being exposed to how filmmakers around the world are telling their stories in immersive and experimental ways really inspired me,” he said. 

Reflecting on both the film and the broader industry, he added: “The film sector is going through a transitional period. What used to sell before doesn’t anymore; audiences have become more refined, and technology is changing everything. But I believe we’re figuring out the next step, and it’s an exciting time to be part of that evolution.”