Toronto’s vibrant King Street unfurls a red carpet this September, drawing cinema lovers and international film icons to the 50th Toronto International Film Festival (TIFF). Amidst the buzz of sold-out screenings and a constellation of stars including Keanu Reeves, Angelina Jolie, and Riz Ahmed, two powerful stories from Pakistan, led by female directors, have stepped into the global spotlight: Seemab Gul’s feature film *Ghost School* and Sana Jafri’s short film *Permanent Guest*.
Their inclusion at TIFF 2025 continues a resonant trend for Pakistani cinema, building on the success of Saim Sadiq’s *Joyland* (2022), Zarrar Kahn’s *In Flames*, and Fawzia Mirza’s *Queen of My Dreams* (both 2023). Gul and Jafri’s selections proudly represent Pakistan on this prestigious stage, with two women-led films standing shoulder-to-shoulder with the world’s best.
Seemab Gul, arriving in Toronto in a red poppy-print tunic, a symbol of resilience, brings her debut feature *Ghost School*. Gul, who grew up in Pakistan and earned her MA in filmmaking from the London Film School, previously directed award-winning narrative shorts like *Sandstorm*, executive produced by Jemima Khan, which premiered at Venice in 2021 and screened at Sundance in 2022. Her documentary background is evident in *Ghost School*’s intimate, observational style, a cinéma verité approach framed by her Director of Photography, Zamarin Wahdat.
The Urdu-language film follows 10-year-old Rabia, brought to life by child actor Nazualiya Arsalan, as she tries to understand why her public school suddenly closed. “This school too has become a ghost school,” she overhears, setting her on a journey through her fishing village. Conversations with her mother, teacher, and various community members reveal not supernatural entities, but the insidious “ghosts” of systemic neglect, corruption, and the human failures that engineer them. One particularly evocative sequence, a single, unbroken take reminiscent of Iranian director Abbas Kiarostami, sees Rabia walking with her former security guard, their paths diverging silently, a profound metaphor for fleeting hope and vast, unarticulated truths.
*Ghost School*’s premiere and public screening were both sold out at Toronto’s Scotiabank Theatre. The hushed anticipation gave way to sustained applause, critics’ notes, and an ecstatic team. Gul recalled an audience member being moved by the haunting use of Allama Iqbal’s beloved poetry, “Lab pe aati hai dua,” in her film, underscoring its cultural resonance. The cast, including seasoned performers Samina Seher and Adnan Shah Tipu, also benefited from the National Academy of Performing Arts in Karachi, which actor Tariq Rajaa credited for bringing authenticity to the performances.
At the industry press lounge, Sana Jafri presented her directorial debut short film, *Permanent Guest*, one of only three Pakistani films ever to play in TIFF’s ‘Short Cuts’ section in the festival’s 50-year history. Jafri, an experienced producer on acclaimed films like *Joyland*, wore a Palestinian keffiyeh draped over her shoulders.
The 14-minute short, penned by Jafri with Usama Lali, is a story of unspoken secrets and trauma, told with precise vision. Director of Photography Jaffar Raza’s flawless artistry translates the script’s immense restraint into compelling frames. The film deliberately introduces emotional consequences before their cause, unsettling the viewer as they witness the protagonist, portrayed with simmering rage by *Joyland*’s Rasti Farooq, unravel in silence. The title, *Permanent Guest*, cleverly highlights the paradox of trauma – an unwanted presence that stays, much like the antagonist, played with eerie ease by veteran Salman Shahid, who represents an inescapable burden. Seasoned actors Nadia Afgan and Ali Tahir add further textured nuance.
These two films collectively highlight a growing presence of Pakistani women behind the camera, from assistant directors to line producers, carving out vital space in the industry. Both directors faced unique production challenges: *Ghost School* was fiercely independent and self-financed after another project was delayed, allowing Gul rare creative freedom. It later received grants from the Hamburg Film Fund and Red Sea Film Fund for post-production, with sales secured by French company MPM Premium. *Permanent Guest*, by contrast, was entirely crowdfunded via a Kickstarter campaign, a testament to a shifting landscape where Pakistani audiences are willing to support ambitious stories in the absence of a formal grant system.
“Festivals like TIFF allow us to tell stories that would not fit the mould of television dramas or commercial cinema back home,” Jafri reflected. For filmmakers like Gul and Jafri, relying on community support, international funds, and sheer determination, platforms like TIFF are crucial for global visibility and future opportunities. While international recognition doesn’t always guarantee local work, actress Rasti Farooq noted it provides “access, a validation that allows these creators to keep pushing boundaries.” Nadia Afgan, with a chuckle, added, “Now that I’ve made it to TIFF, I have brands calling me up for endorsements!”
*Ghost School*’s aesthetic, with its meditative pacing, long takes, and allegorical undertones, draws influence from auteur-driven cinema like Iran’s Abbas Kiarostami and Hungary’s Béla Tarr, while forging a distinct South Asian voice. The editing, co-handled by Oscar-nominated Alexander Straus, further sharpens this vision. For *Permanent Guest*, Jafri’s theatre roots are evident in her meticulous writing and rehearsal process, culminating in a single-take kitchen scene charged with emotional tension. Visually, Jaffar Raza’s camerawork deepens the story’s emotional core, with close, handheld shots for intimacy and wide, static frames for tension, mirroring the characters’ fractured world.
Both directors acknowledged the “Western lens” on their work. Gul, part of a new generation of internationally trained filmmakers, believes in employing a cinematic language that resonates globally without diluting local truths. Jafri noted that the relationship with “gora [Western] film festivals is often a fraught one,” yet these accolades are essential for showcasing the stories they want to tell.
Among over 200 titles from 75 countries at TIFF this year, *Ghost School* and *Permanent Guest* represent a significant moment of celebration. They declare that deeply personal and intelligently crafted cinema from Pakistan can indeed reach the heart of the world’s most prestigious festivals. Seemab Gul and Sana Jafri are worthy additions to a growing list of Pakistani filmmakers, including Saim Sadiq and Zarrar Kahn, who are daringly and humanely placing Pakistan firmly on the global cinematic map.
