Em Chamas

Now let me first say that I'm from Europe and it's not a whole lot of Middle Eastern entertainment media that make it to our screens over here, so I'm not sure how biased this movie actually is, but from what (I believe) I know, it is a brilliant, yet horrific, take on traditional Middle Eastern culture and its problematic gender inequality - at least from a Western POV.

After the death of the family patriarch, the women of the family are left to fend for themselves in a culture that holds them to very traditional values, where men basically own the world and women just live in it (as long as they are claimed and accompanied by men).

Nawal does a terrific job at portraying the bleak existence of a young Pakistani woman, who were raised on traditional values yet struggling to accept and submit to them. I thought the reminders every time she did something, she knew to be "wrong", was a remarkable way of depicting the voice of "reason" in the back of her head. Very well done!

In a nutshell; In Flames is a horror DRAMA about female oppression and empowerment. It is thought-provoking, inspired and very necessary in this day and age.

I highly recommend watching it - although if you are looking for jumpscares or boogiemen, you'll find none here. It is not that type of horror.

Greetings again from the darkness. One of the unheralded roles movies can play is to help us better understand various cultures around the world. It's important to grasp the challenges others face based on where they live. The first feature film from writer-director Zarrar Kahn takes us to Pakistan and elegantly lays out cultural traditions that may have even outlasted laws that have passed.

Mariam (Ramesha Nawal) spends much of her waking hours studying for the upcoming medical exams. However, the recent death of her beloved grandfather has the film opening with preparations for the funeral service. His passing has left Mariam, her younger brother Bilal (Jibran Khan), and their mother Fariah (Bakhtawar Mazhar) in a precarious situation. The law allows for Fariah to inherit the apartment, car, and belongings; however, family traditions aren't quite in sync. Sleazy Uncle Nasir (Adnan Shah) offers to take care of everything for the grieving family. Mariam is wise not to trust him to act in their best interests, but the passive-aggressive discussions between mother and daughter make it clear that Fariah trusts the Uncle.

A brick through the car window reminds us of other differences between Pakistani law and traditions. Mariam is simply driving herself during daylight hours - an activity that traditionalists refuse to accept. Not long after, Mariam meets Asad (Omar Javaid), and a budding romance blossoms as they enjoy a lovely day at the beach. A tragic accident adds even more stress to Mariam's life, yet the beauty of her character stems from her quiet strength in handling anxiety, grief, and a culture built to hold her back.

The first half of the film employs a relatively slow pace so that we might better understand these people and their situation. Death and visions of departed loved ones play a prominent role, as does the inner-strength of women in a world structured to abuse and take advantage of them. The cinematography of Aigul Nurbulatova deserves special notice here, not just for how the visions and apparitions are handled, but also the interactions which often take place in confined spaces. It all feels as if it could be happening. Ms. Nawal also earns kudos for her performance as Mariam. She allows us to feel the emotions without ever once over-emoting. Kahn's film was Pakistan's submission of Oscar consideration last year and it's easy to see why.

In theaters beginning April 12, 2024.

A primitive film in all respects. There is no good acting, no directing, and not even a story that is supposed to be classified as (horror), but I do not see anything terrifying. Everything is strange and the events are fast. I cannot understand what is happening! The child, Bilal, his sister and his mother were expelled from the house, and he does not care. He just looks at his phone like an unconscious person. We understand that there is an addiction to someone. The situation around him does not allow this indifference. Even during the funeral, he was watching TV. What nonsense. Weak plot and stupid events.

Let me preface this review by stating I have 4 daughters, all under the age of the primary character, so as the narrative plays out my thoughts simmer in what I can only imagine a young woman's experience is like in any country in the 21st century.

Mothers and daughters the world over I presume can indentify to oh so many elements here. Creepy uncles, disjointed dialogues, when twenty somethings have to parent the parent, then there's academic expectations and the topper of them all the uncertainties of life unions and or otherwise potential romances. It's almost too relatable.

In short? Men. Who needs us?

In Flames, the debut film by Canadian-Pakistani director Zarrar Khan, is a compelling exploration of life in a patriarchal society. Set in Karachi, it highlights the oppressive, violent world that women navigate, with men who are predatory and manipulative. The film begins grounded in this harsh reality before slowly transitioning into supernatural elements, blending social realism with horror.

At its core, the movie becomes a powerful story about a mother and daughter fighting back against the societal forces working to suppress them. The bond between them is central, and the film captures their resilience in the face of oppression. While the plot may not be filled with unexpected twists, the visuals are striking, and the film uses horror to address serious social issues. In Flames is a haunting tale of empowerment and survival, offering more than just thrills-it's a thought-provoking commentary on societal struggles.