These take the form of dead-eyed demons, inspired by the spirits, or jinn, of Sufi Islam. But following a traumatic event, she becomes consumed by nightmares, with visions of the dead returning to life. “And few women go to court because of the social stigma, that just being a woman in court means something shameful.”įrustrated with her mother’s reluctance to fight for her rights, Mariam initially finds solace in a secret romance with Asad (Omar Javaid), a fellow student. “It’s the reality, families apply social pressure on women to get them to give up their property,” notes Kahn. The death of Mariam’s grandfather, the family patriarch, triggers a power struggle as Mariam’s uncle tries to manipulate her mother into signing over their apartment to him, a common occurrence in Pakistan, where women’s property rights are rarely respected or enforced. Mariam and her oblivious, video game-obsessed teenage brother - “that’s me at 13,” notes Kahn - live with their widowed mother in a small Karachi apartment. Taking inspiration from “those amazing French female directors of Titane and Atlantique, who are using genre in new and exciting ways,” Kahn transforms Pakistan’s patriarchal reality into an ominous demonic threat to the film’s central characters: Mariam (Ramesha Nawal), a young medical student, and Fariha, her mother (Bakhtawar Mazhar). 'Elemental' Review: Pixar's Timely High-Concept Bonanza Underwhelmsįor In Flames, his debut feature, which will premiere in Cannes’ Directors’ Fortnight sidebar and is being sold worldwide by XYZ Films, Kahn translates that sinister sense of being watched into the language of supernatural horror.
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