How a sketch blossomed into Pakistan's first Ghibli-style animation

In Pakistan, a musician named Usman Riaz embarked on a remarkable journey that began with a simple pencil and paper. Ten years ago, he sketched a drawing that would eventually evolve into The Glassworker, the first hand-drawn animated feature film in the country. This film tells the story of a young boy named Vincent and his father, Tomas, who run a glass workshop. Their lives are disrupted by a war that threatens their existence. As Vincent develops a relationship with Alliz, the daughter of a military colonel, the bond between father and son is put to the test. Usman shares that the characters in The Glassworker learn that 'life is beautiful but fragile, like glass. ' He describes the film as an 'anti-war film' set in a fantastical world that draws inspiration from his homeland. Usman wanted to address themes that might be challenging to explore if the story were set in Pakistan. The film industry in Pakistan is not as developed as in neighboring India, and there is little support for emerging artists like Usman. Therefore, The Glassworker became a passion project for him. He states, 'These 10 years for me have just been purely driven with passion and obsession. ' Since childhood, Usman has had a deep love for hand-drawn animation, finding it enchanting. He believes that the beauty of lines created by human hands is something truly magical. To pursue his dream, Usman traveled the world in search of mentors, eventually finding himself at the renowned Japanese animation studio, Studio Ghibli. The influence of the Oscar-winning artists behind beloved films like Spirited Away and Princess Mononoke is evident in The Glassworker's artistic style. The experienced professionals at Ghibli encouraged Usman to take the leap and start his own production. In 2016, he successfully raised $116,000 through a crowdfunding campaign, which allowed him to establish his own studio, Mano Animations. The process of creating The Glassworker has been painstaking, especially since full production began in 2019. Usman explains, 'What you are watching is essentially a moving painting. ' Every frame, whether it is a background or a character in motion, is meticulously drawn by hand. Despite the challenges, Usman has not yet made any profit from the project and has struggled to pay his wife Maryam and cousin Khizer, who have been instrumental in helping him. Nevertheless, he remains optimistic that this labor of love could lead to something greater. Usman has always been passionate about animation, and he sought guidance from Sharmeen Obaid Chinoy, a prominent figure in the industry. Sharmeen directed 3 Bahadur, which was Pakistan's first animated feature film and broke box office records upon its release in 2015. She understands the hurdles faced by filmmakers in Pakistan, stating, 'Everything in Pakistan is driven by passion. ' She had to navigate numerous obstacles to get her film made, including limited access to electricity and high taxes on the film industry. Sharmeen believes that The Glassworker could be a 'monumental step' for animation in Pakistan. If it achieves commercial success, she envisions it igniting a spark in the country, although there are still barriers to overcome. Arafat Mazhar, an animator based in Lahore, agrees that while the technical skills exist in Pakistan, there is a lack of formal training and schools. He raises a crucial question: 'How do you not censor yourself? ' This is a significant concern for any Pakistani filmmaker, as strict censorship rules often hinder creative expression. Arafat believes that the government must provide more support to the domestic film industry to foster growth. Sharmeen echoes this sentiment, stating that the government should create opportunities for filmmakers to compete on a global scale. She believes there is immense potential for animation in Pakistan, but the lack of opportunities has held back progress. Sharmeen is eager to see how audiences around the world will respond to The Glassworker, as she believes it contains elements that will resonate with viewers. Usman is excited to finally see how audiences react to the film he has dedicated a decade of his life to. He hopes that The Glassworker will help put Pakistan on the animation map and demonstrate that it can stand alongside the giants of the industry in Bollywood. However, he acknowledges that the journey has been arduous. 'It is extremely difficult, but we've done something nobody has ever done in the country before,' he states. 'I think we've created something special that can stand toe-to-toe with the rest of the animation produced in the world.