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

Zainab Azizi is the producer of ‘Send Help.’ (Getty Images)
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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.”


Book Review: Things We Do Not Tell the People We Love

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Book Review: Things We Do Not Tell the People We Love

It is always a pleasure to encounter a short story collection that delivers on every page, and British Muslim writer Huma Qureshi’s “Things We Do Not Tell the People We Love,” does exactly that.

Deliciously complex and devastating, the stories in this collection, published in paperback in 2022, are told mostly from the female perspective, capturing the intimate textures of everyday life, from love, loss and loneliness to the endlessly fraught relationships between mothers and daughters, friends and lovers.

Qureshi’s prose is understated yet razor-sharp, approaching her characters from close quarters with poignant precision. 

I found it particularly impressive that none of the stories in the collection fall short or leave you confused or underwhelmed, and they work together to deliver the title’s promise.

Even the stories that leave you with burning, unanswered questions feel entirely satisfying in their ambiguity.

Several pieces stand out. “Firecracker” is a melancholy study of how some friendships simply age out of existence; “Too Much” lays bare the failures of communication that so often run between mothers and daughters; “Foreign Parts,” told from a British man’s perspective as he accompanies his fiancee to Lahore, handles questions of class and hidden identity with admirable delicacy; and “The Jam Maker,” an award-winning story, builds to a genuinely thrilling twist.

Throughout, Qureshi’s characters carry South Asian and Muslim identities worn naturally, as one thread among many in the fabric of who they are. They are never reduced to stereotypes or a single defining characteristic. 

Reading this collection, I found myself thinking of early Jhumpa Lahiri, of “Interpreter of Maladies,” and that feeling of discovering a writer who seems destined to endure. 

Huma Qureshi tells the stories of our times— mundane and extraordinary in equal measure— and she tells them beautifully.