Sheikh and Saeed are both excellent, and their relationship, by turns fractious, antagonistic, tender and loving, is truly the beating heart of the film. But Cake is striking – and joyful to watch – because of how fully inked its female protagonists are.
Viewers of Pakistani television shows will know that this in itself this is not an anomaly. Much has been made of the strong female characters in Cake. The eccentric parents (played by Mohammed Ahmed and a crackling Beo Raana Zafar), an elder brother (Faris Khalid) who also lives abroad and has to balance his duties as a prodigal son with the demands of his wife, and the Christian nurse Romeo (a wonderfully understated Adnan Malik) add to the complex dynamics the film explores. The relationship between Zareen and Zara is the centerpiece, but a stellar ensemble cast rounds up the film. What makes Cake work are the carefully sketched characters. The film is available in India on Netflix. A medical emergency is the catalyst for a reunion, bringing up long-held resentments and unveiling carefully hidden secrets. Zareen (played by Aamina Sheikh, who will be familiar as Aiman to viewers of the show Maat) supports her eccentric parents in Pakistan while her sibling Zara (played by Sanam Saeed, who was Kashaf in Zindagi Gulzar Hai) pursues her life with a busy career and troubled marriage abroad. In Cake, the core of the story revolves around two sisters. The directorial debut by Asim Abbasi (who also wrote the screenplay) is unconventional in that it doesn’t follow the tried and tested formula familiar to film viewers in the subcontinent.Īt the heart of the story is a family drama, akin to the dynamics explored in the recent past by films such as Piku and Kapoor and Sons. When it was released last month, Cake became the first Pakistani film to be premiered at Leicester Square in London. So when it comes to films, it unsurprising that it is Bollywood that the dreamy television stars from Pakistan Fawad Khan and Mahira Khan have turned to in the past.Ĭould things be changing? Perhaps, if one was to go by the example of the recently released film Cake. Ironically, it is the lack of any real film infrastructure that has made Pakistan’s television industry its primary playground for dramatic entertainment. No one can seriously claim that Indian soap operas are any match for the more interesting (not to mention taut) plotlines of Pakistani television, but equally no one would claim that Pakistan’s film industry is capable of competing with the scale and diversity of Indian cinema. The broadcast of Pakistani television shows in India over the last few years and their broad popularity has meant that Indian audiences are well acquainted with the country’s superiority over India in the genre.
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