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.


Riyadh exhibition to trace the origins of Saudi modern art

Updated 07 January 2026
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Riyadh exhibition to trace the origins of Saudi modern art

  • Features painting, sculpture and archival documents
  • Open from Jan. 27-April 11 at Saudi national museum

DUBAI: A new exhibition in Riyadh is focusing on the origins of Saudi Arabia’s modern art scene, examining how a generation of artists helped shape the Kingdom’s visual culture during a period of rapid change.

The “Bedayat: Beginnings of Saudi Art Movement” show reportedly traces the emergence of creative practices in Saudi Arabia from the 1960s to the 1980s, an era that laid the groundwork for today’s art ecosystem.

On view from Jan. 27 until April 11 at the National Museum of Saudi Arabia, it includes works and archival material that document the early years of modern and abstract art in the Kingdom, according to the organizers.

It will examine how artists responded to shifting social, cultural and economic realities, often working with limited infrastructure but a strong sense of purpose and experimentation.

The exhibition is the result of extensive research led by the Visual Arts Commission, which included dozens of site visits and interviews with artists and figures active during the period.

These firsthand accounts have helped to reconstruct a time when formal exhibition spaces were scarce, art education was still developing, and artists relied heavily on personal initiative to build communities and platforms for their work.

Curated by Qaswra Hafez, “Bedayat” will feature painting, sculpture, works on paper and archival documents, many of which will be shown publicly for the first time.

The works will reveal how Saudi artists engaged with international modernist movements while grounding their practice in local heritage, developing visual languages that spoke to both global influences and lived experience.

The exhibition will have three sections, beginning with the foundations of the modern art movement, and followed by a broader look at the artistic concerns of the time.

It will conclude with a focus on four key figures: Mohammed Al-Saleem, Safeya Binzagr, Mounirah Mosly and Abdulhalim Radwi.

A publication, documentary film and public program of talks and workshops will accompany the exhibition, offering further insight into a pivotal chapter of Saudi art history and the artists who helped define it.