Streaming talks renew hopes, but industry veterans warn international audiences demand much more than familiar family
News DeskJuly 17, 20264 min read
Pakistan’s ambitions to secure a stronger place on global streaming platforms have reignited debate over the future of the country’s entertainment industry, with government officials, filmmakers and directors broadly welcoming the prospect of international exposure while sharply disagreeing on what has kept Pakistani productions from breaking through as original global offerings.
As Islamabad pursues talks with Netflix and plans a homegrown streaming platform, the conversation has expanded beyond politics to include storytelling, technical standards and the industry’s long-term competitiveness.
The federal government recently confirmed it is holding preliminary discussions with Netflix and other international streaming companies to increase the global visibility of Pakistani films, television dramas and original productions.
Although no agreement has yet been signed, officials describe the initiative as part of a broader effort to strengthen the country’s creative economy by opening new opportunities for local writers, producers, directors and artists.
Planning Minister Ahsan Iqbal has linked the initiative to the government’s ‘Uraan Pakistan’ economic strategy, arguing that creative and cultural industries should become an important export sector alongside more traditional industries.
He says Pakistani dramas and films already enjoy a devoted following among audiences in South Asia, the Gulf region and the overseas Pakistani diaspora, providing a strong foundation for broader international expansion.
The minister has also accused regional politics of limiting Pakistani content’s access to major streaming services, saying platforms such as Netflix and Amazon Prime have not provided Pakistani productions the space they deserve.
According to him, the government hopes to reshape the regional framework governing content distribution while simultaneously working towards establishing Pakistan’s own over-the-top, or OTT, streaming platform capable of showcasing local productions to viewers worldwide.
While the government’s optimism has been welcomed by many within the entertainment sector, industry veterans caution that international success depends on much more than diplomatic engagement or commercial agreements. They argue that entering the world’s most competitive streaming marketplace requires Pakistan’s television and film industry to undergo significant creative and technical transformation.
Among the most vocal is filmmaker Shamoon Abbasi, who believes Pakistan has yet to meet the production benchmarks expected by global streaming platforms. Although he described the government’s talks with Netflix as encouraging, he stressed that the industry must first address shortcomings in production technology, post-production expertise and storytelling before expecting major international commissions.
Abbasi argues that Pakistani productions often lack familiarity with advanced technical processes such as HDR workflows, colour science and high-end sound mixing, all of which have become standard requirements for global streaming platforms.
According to him, technical quality is no longer an optional enhancement but an essential prerequisite for productions competing on an international stage. He also believes the industry’s storytelling has become overly dependent on family-centred dramas that resonate strongly with domestic audiences but may struggle to attract viewers elsewhere.
While acknowledging the popularity of Pakistani serials at home and among diaspora communities, Abbasi says international audiences increasingly seek political thrillers, crime dramas, historical epics and stories with broader global relevance.
In his view, the shortage of widely recognised literary works and ambitious screenplays has limited the industry’s ability to produce internationally competitive narratives. He argues that streaming services ultimately invest in compelling stories rather than star power, warning that an excessive emphasis on celebrity casting has often come at the expense of stronger scripts.
Abbasi also questioned public claims that Pakistani broadcasters had voluntarily rejected opportunities to work with Netflix, suggesting collaboration with international platforms would have helped local crews improve their skills and production capabilities. Instead of celebrating the refusal of global partnerships, he believes the industry should view them as opportunities for growth and learning.
Director Mehreen Jabbar offers a different perspective, arguing that politics, rather than quality, has been the primary obstacle preventing Pakistani productions from securing a larger presence on global streaming services. She believes commercial priorities and regional market dynamics have significantly influenced commissioning decisions by major international platforms.
According to Jabbar, neighbouring countries represent much larger subscription markets for streaming companies, making them commercially more attractive. She nevertheless remains optimistic that Pakistan’s first original Netflix production could arrive in the near future, opening doors for more local creators and encouraging greater international interest in Pakistani storytelling.
The discussion has unfolded against a changing regional backdrop. Pakistani productions have previously appeared on Netflix through licensing arrangements, allowing completed television serials such as ‘Humsafar’, ‘Zindagi Gulzar Hai’ and ‘Sadqay Tumhare’ to reach international audiences. However, Pakistan has secured relatively few original commissions compared with neighbouring entertainment industries.
Industry observers note that Pakistan’s comparatively small paid streaming market presents another challenge. Much of the country’s television business remains centred on advertising-supported broadcasters and free digital platforms such as YouTube, reducing incentives for subscription-based streaming investments while limiting financial re
Even so, supporters of the government’s initiative believe international partnerships could stimulate investment across the entertainment sector. Greater global exposure would not only expand export opportunities but also encourage improvements in writing, production values, post-production facilities and professional training, strengthening the industry’s competitiveness over time.
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