In Karachi, Pakistan, two actresses meticulously rehearse their scenes on a plush sofa, under the keen eyes of a director. Off-camera, waiting his turn, is the male lead with his suave looks, resembling a “Bachelor” star. The filming location is not just any set; it’s the living room of a residence in Islamabad, complete with the homeowner’s personal furniture and decorations. Ironically, these domestic elements will feature on screens far beyond Pakistan’s borders, including in the country’s longtime rival, India.
The Pakistani drama in production is “Adhi Bewafai,” or “Half Infidelity,” a term some might equate to “soap operas” in other countries. However, these dramas have transcended local viewership, attracting audiences globally, with a notable fan base in neighboring India, a country with which Pakistan has shared a complex relationship since their separation in 1947.
While political tensions often stand in the way of diplomacy, television bridges gaps where statesmen cannot. Thousands are employed in Pakistan’s drama industry, which annually produces around 80 to 120 shows, providing a mix of escapism and insight. These dramas give Indian viewers a unique perspective on lives across the border, thereby challenging long-standing governmental conflicts.
Maheen Shafeeq, a research associate from the Institute of Strategic Studies in Islamabad, notes the lackluster relationship between both governments who are entrenched in persistent issues: terrorism for India and the Kashmir dispute for Pakistan. Despite this, a shared appreciation for culture thrives. Even as visits between the two countries remain scarce, Indian audiences avidly follow these Pakistani stories through digital platforms.
For Indian writer Kaveri Sharma, these dramas provided a bridge into an unfamiliar world, once only attainable through precarious TV signals during the 1980s and ’90s. Her experience underscores the dramatic prowess of Pakistani TV, which transcends borders and time by resonating with shared human experiences.
Now settled in diverse Indian cities like Patna, Hyderabad, and Raipur, fans like Sharma, Bibi Hafeez, and Punita Kumar immensely enjoy these dramas for their relatability and emotional depth. This cross-border appeal has added layers to perceptions on both sides, demonstrating relatability in people, places, and narratives.
Pakistan’s dramas captivate audiences with nuanced characters revealing a spectrum of human emotions, as opposed to stark ‘heroes’ or ‘villains.’ Punita Kumar recounts her serendipitous encounter with Pakistani dramas via an old videocassette, resulting in a lifelong fascination that digital advancements like YouTube only expanded.
Veteran Pakistani actor Khaled Anam appreciates how the dramas soften boundaries between the two nations. Digitally accessible, these shows cultivate cultural understanding beyond political divides. Anam likens the importance of Pakistani dramas at home to that of Bollywood films in India.
Although India commands the South Asian film industry with extravagant productions, Pakistani dramas offer an alternative with their focus on simplicity, intelligent writing, and succinct storytelling. Anam contrasts the flashy, extended narratives of Indian serials against the grounded, emotion-driven plots of Pakistani shows.
On the Islamabad set, the actors’ conversation about marriage prospects echoes familiar themes across South Asian households. According to director Saife Hassan, Pakistani dramas channel the nation’s overall emotional nature, relying more on personal interactions rather than dramatic events.
Despite the exceptions of cultural exports like some Indian shows on platforms like Netflix, Hassan questions these dramas’ universal appeal, suggesting their strength lies in emotion-driven narratives indigenous to their cultural context. The family-friendly orientation of Pakistani dramas, eschewing overtly graphic content, makes them especially appealing to Indian audiences.
“They are our people,” Hassan says, affirming cultural and societal affinities that persist despite political tensions. His admiration for India and its people stems from a desire to move beyond animosity, drawing a parallel between shared customs and storytelling.
