Pakistani Films Roundup 2025

Another year has passed, taking with it the hopes of a revival that seemed on the cards twelve months earlier. Although some films did well at the box office and a few well-made non-Urdu films were released in cinemas, 2025 cannot be termed a memorable year for the film industry. In fact, it might go down as yet another forgettable year, like most of the post-COVID period, where more bad films graced the screen than good ones, more avoidable films were screened than must-watch offerings, and filmmakers continued to take audiences for granted, further hurting an already struggling industry.

The 13 films released during 2025 can be easily divided into three categories: the Good, the Bad, and the Ugly. Let’s explore what earned these films their respective places and what led to their selection.

The Good

Let’s begin with the films that instantly come to mind when one thinks of Pakistani cinema in 2025. The first was Love Guru, and the second was Deemak. Both were released on Eid al-Adha and performed well at the box office—better than any other films released before or after them. In fact, they were the only true “hit” films of the year. Love Guru benefited from the magical pairing of Humayun Saeed and Mahira Khan, while Deemak drew strength from a star-studded cast led by Faysal Qureshi.

Love Guru revolved around Adil (Humayun Saeed), a man who helps people find love and get married, only to face complications when he falls in love with his client, Sophia (Mahira Khan), during a mission. Picturesque locations complemented the well-choreographed songs, while the costume department ensured the film appealed to viewers of all ages. Penned by Vasay Chaudhry and directed by Nadeem Baig, the romcom earned more than Rs55 crore at the box office.

The second most successful film, Deemak, marked director Rafay Rashdi’s return to mainstream cinema. He collaborated with TV’s dynamic duo, Syed Nabeel and Shahid Nizami, on the story and brought on board bestselling author Ayesha Muzaffar to script this supernatural flick, which revolved around a middle-class family. Not only did Deemak mark Faysal Qureshi’s return to films, but it also ended Samina Peerzada’s self-imposed exile from acting. Together, they delivered powerful performances as a son and mother whose lives are disturbed by jinns.

Actress Sonya Hussyn’s brilliance cannot be overlooked. Not only did she take on the role of a mother—something mainstream heroines often avoid—but she also delivered an award-worthy performance that contributed significantly to the film’s success. Rafay Rashdi’s direction, Rana Kamran’s cinematography, and high-quality VFX sourced from abroad helped push Pakistani cinema forward.

Two non-Urdu films were also released this year—the Sindhi film Indus Echoes and the Burushaski-language film Hundan. While neither performed well at the box office, they did allow audiences to explore other cultures and languages through cinema. Unfortunately, this is where the positives ended, as the remaining films failed to respect both the audience’s intelligence and the high-ticket prices charged by cinemas nationwide.

The Bad

Qulfee was marketed as a feature film aimed at young audiences, but was released at the wrong time—not month-wise, but year-wise. Had it been released in the mid-1990s, it might have fared better at the box office. However, for a 2025 audience accustomed to OTT platforms, it came across as half-baked, illogical, and unimpressive.

Veteran director Shehzad Rafique’s Welcome to Punjab landed on the critics’ hit list, as well as that of former actors who took issue with its title. According to the Maula Jatt fame Mustafa Qureshi, there is no need to welcome anyone to Punjab, as it is our own province. Like Qulfee, the film seemed tailored for a 1990s audience but was released in 2025. The cast was so unfamiliar that few bothered to visit cinemas, and within a week, the film faded into obscurity.

Fawad Khan and Mahira Khan’s much-anticipated Neelofar also proved to be a disappointment. Not only was it no better than the other films in this category, it also failed to rank among the best work of its celebrated leads. While both actors looked stunning on screen, visual appeal alone is not enough. A hit film requires a strong story, effective direction, a memorable soundtrack, and solid performances—and Neelofar lacked all of these elements.

Actor-turned-director Shaz Khan’s directorial debut, The Martial Artist, was also released during the year. However, instead of premiering the original English version, distributors opted to release a dubbed Urdu version in cinemas, severely impacting its box-office prospects. By the time the version intended for theatrical release—the language in which it was conceived and made—finally arrived, audiences had already moved on. Despite featuring Shaz Khan alongside Faran Tahir and Sanam Saeed, the film failed to make an impact.

The Ugly

If the “bad” films weren’t disappointing enough, 2025 also saw far worse releases. Kabeer was one such example—forgettable in every sense, including its cast. Although its makers are reportedly planning a re-release in 2026, the outcome is unlikely to change, simply because the film is that bad.

Lambi Judai and Hum Sab also should never have made it to the cinemas. They felt more like television dramas hastily packaged for the big screen, seemingly to satisfy producers’ egos. In doing so, they caused more damage to Pakistani cinema and the industry at large than to their own credibility.

Then there was Item, director Huma Shaikh’s self-proclaimed “bold” film, which turned out to be neither bold nor cinematic. Instead, it became a half-baked attempt that stands as a black mark on the career of veteran filmmaker Iqbal Rizvi, who was credited with the film’s dialogues. Boring and painfully cringeworthy, it would have been far better had it never been released.

Lastly, the English-language feature The Window also hit cinemas this year, though its release was so secretive that not even the actors managed to see the final cut on the big screen. Despite tackling a subject relevant to Pakistan and featuring actors such as Faran Tahir, Sami Khan, Hameed Sheikh, Faysal Qureshi, and Sohaee Abro, the film failed to generate any buzz at the box office—disappointing both audiences and its cast alike.