Aleem Bukhari Puts Hyderabad on the Map at Cannes

Filmmaker Aleem Bukhari opens his Cannes-selected short film Karmash with the rhythmic echo of Japanese Taiko drums, building tension like a prelude to war. As the montage unfolds in classic Kurosawa fashion—damaged walls, empty alleyways, and a lone homeless figure rising from the ruins—Bukhari sets the tone for a haunting cinematic experience.

Premiering at the Director’s Fortnight at the Cannes Film Festival on May 22, Karmash marks a historic milestone as the first Pakistani short film to be selected for the category.

A self-taught filmmaker and visual artist, Bukhari made Karmash with five close collaborators on a shoestring budget in Hyderabad, Pakistan. He wrote, directed, and shot the film himself, with minimal resources, borrowed equipment, and guerrilla-style production. “We didn’t even have cars, just bikes and passion,” Bukhari shared. “Most of the budget went into food and fuel. The submission fee for Cannes cost more than the entire shoot.”

Karmash, Bukhari’s third short film, follows the last member of a fictional Karmash tribe as he reconstructs fragmented memories of his ancestors. Told in black-and-white and styled more like an essay than a conventional narrative, the film touches on themes of legacy, erasure, and cultural oppression. Its experimental structure, devoid of exposition, is deliberately crafted to evoke emotional resonance rather than deliver a clear plot.

Bukhari says the name “Karmash” means “one who follows his duty and legacy,” a nod to the film’s core theme. Despite its fictional setup, the film reflects real-world issues of displacement and the loss of cultural identity, mirroring conflicts across the globe and within Pakistan.

Drawing inspiration from cinematic greats like Satyajit Ray, Bela Tarr, Edward Yang, and Apichatpong Weerasethakul, Bukhari’s approach to filmmaking prioritizes mood and atmosphere over conventional storytelling. He wants audiences to “feel the film, even if they don’t fully understand it.”

The 29-year-old hopes to continue creating emotionally resonant, deeply personal stories rooted in his home city. “Hyderabad is a character in itself,” he said. “The people, the isolation, the life here—it all finds its way into my films.”

With Karmash, Bukhari hasn’t just made a film—he’s crafted an experience, earning Pakistan a historic moment on cinema’s biggest stage.

Also Read: Sonya Hussayn’s Film Selected for Cannes