I dropped Ibrahim Baloch a text after I saw Habib Metro Bank’s ‘Pardes Katenda’ TVC and loved it. He happily responded and spoke excitedly about how it had been done and how much the film meant to him.

Fast forward a year later, and we were in a boardroom selecting the team for our first project together. He was wearing a shirt with his signature top buttons open and a gold chain around his neck… he took a smoke break and carried on discussing the kind of films he wanted to make. A week later he called me to say our working relationship was too brief, and he would love to work with me again. I had replied: “Allah ne zindigi di tou zuroor karein gey.”

Allah ne zindigi nahin di.

Ibrahim Baloch’s life was abruptly cut short. Yet, his showreel in the very limited time he had was not short of the brilliance one expected from an individual like him. When I was approached by Aurora to write a tribute to Ibrahim, I confessed that I did not know him well enough personally to do justice to a tribute and there are people closer to him who could do a better job. What I could do is pick the best of his work and look at it from a filmmaker’s point of view.

Here I am, with the best of Ibrahim Baloch.

Habib Metro Remittance: Pardes Katenda

The best of them all.

Anyone who has lived abroad, away from family, can feel the pain this film exudes. Sarmad’s blank eyes and Rabia’s expressions of longing vividly communicate the pain of ‘tanhai’ – backed by Adnan Dhool’s vocals. The narrative revolves around the emotional journey of someone sending money back home, highlighting the themes of family, sacrifice and love. The storytelling is clear and relatable, especially for audiences familiar with the challenges faced by expatriates. The visuals convey the duality of a life lived abroad and at home. The music complements the emotional tone, especially the soulful melody that ties into the themes of nostalgia and connection. Details such as family photos and homely décor in the ‘home’ setting add authenticity. The standout moment for me was the first time Sarmad enters the cramped living quarters with many beds in it and realises that it will be his home away from home for years to come. It’s heart-breaking, poignant and hard-hitting. Fine, fine, fine filmmaking.

Sooper Thematic 2025

Peak Freans’ Sooper TVCs are iconic in Pakistani brand marketing, showcasing consistent brand building and impactful communication. Much like Shan’s annual campaigns, Sooper’s TVCs are eagerly awaited by both the industry and consumers. Although most have been directed by foreign directors, a select few Pakistani directors have also contributed to their legacy. It is fitting that Ibrahim’s last TVC is a Sooper thematic that places him among elite directors like Ahsan Rahim and Asad ul Haq, who previously helmed Sooper campaigns. The typical graded red grain and beautiful music set the film apart. Shot at several locations with an ensemble cast, it’s a proper big Sooper TVC. Every day when you drive on the streets of Karachi, you see a billboard of a smiling Hamza Sohail (a screenshot taken from the TVC) and you are reminded of Ibrahim Baloch and the memories he has left behind.

Habib Metro – 75 years of Pakistan

I have always been a fan of period films, be it Jubilee by Vikram Motwane or Peaky Blinders. Period films are difficult to create as they require a lot of research and precision on art direction and costume design, with little margin for error. Habib Metro’s ‘75 Years of Pakistan’ is not only a period film; it also shows generational progression, which makes it even more difficult. This two-and-a-half-minute TVC needs to be watched as a short film rather than a TVC. A strong feature of Ibrahim’s work is the casting, and here he brings back Tauqeer Nasir after a long absence from TV and puts him at the centre of the visuals and the audio. Even more impressive is the casting of young Tauqeer Nasir from both the perspective of his looks and performance. The film progresses smoothly and leaves its mark as it ends. Well done, Ibrahim Baloch… once again.

Al Karam Studio Spring 2024 Collection

Ibrahim knew his music. I remember a discussion with him when we worked on our project, and he asked for a specific music director. As a producer, I was wary of the cost and timeline implications and suggested alternatives. He was adamant and promised he would manage the cost on other areas but would not compromise on the music. When you see the Al Karam TVC, you will understand what music meant to him and his films. Another interesting aspect of his work was experimenting with different teams. While his assistant directors remained the same in most of his work, he worked with most of the directors of photography, music producers and art directors, at times the unusual ones as well, yet maintained a consistent quality. A vibrant, outdoorsy and aesthetically pleasing music video with outstanding music, this TVC is very different from his other emotional narrative work and shows his range as a director.

Fast Cables – Siblings

Picking the last one was difficult because Tallo and Kaante Na Lagao were begging to be picked. However, my choice is this one; it is right in the zone – where he extricates performances from the characters without going over the top. Emotional films can be challenging and most directors fall into the trap of making the characters cry rather than the audience. Ibrahim did not fall into this trap. He kept the nuances simple and the emotions at just the right scale for the audience to feel the authenticity. Once again, excellent casting.

Ibrahim never shied away from longer-duration films, and kept all his best shots in them, and this is precisely why we don’t like the abrupt edit and ending of his life story. This was one film that needed to keep going for years and years. Not fair, Ibrahim Baloch.

Keep smiling, wherever you are.

Sami Qahar is CEO, Stimulus Productions. sami.qahar@gmail.com