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afay Rashdi is recognised for his innovative work in film and television, where he seamlessly weaves diverse narratives while keeping audiences engaged. His ability to combine substance with style has helped him carve out a distinctive space in Pakistan’s expansive media landscape.
He holds an undergraduate degree in Commerce and Information Technology from Ryerson University in Canada. A postgraduate degree in Business Systems Analysis and Design from City, University of London has further shaped his cinematic perspective. His journey in media has seen both notable successes and inevitable challenges.
In his latest directorial effort, Deemak, Rafay explores themes of trauma, mental health, and family—all under the broader umbrella of horror. Although he initially announced a project titled Yakin, production delays led him to fully commit to the genre he’s most passionate about.
A proud inductee of the International Alliance of Theatrical Stage Employees (IATSE) Local 411 of Motion Pictures and
Television in Toronto, Rafay has also contributed significantly to Canadian media—particularly through his advocacy for the Princess Margaret Cancer Research fundraising programme.
He served as producer and hospitality manager for the inaugural Pakistan International Film Festival, which featured over 50 films and attracted filmmakers from the USA, Southeast Asia, and India. He also played a key role on the managing committee for the festival’s Women’s Edition 2021. His podcast Behind The Curtain with Rafay Rashdi holds the distinction of being the first Pakistani podcast to appear on Amazon Prime Video.
Rafay’s past works include Jamun Ka Darakht (Java the Plum Tree)—an exceptional film that won 15 international festival awards and was screened at the Oscar-qualifying South Asian Tasveer Film Festival. While some projects found greater success than others, his work consistently engages with pressing social themes. Collaboration has played a central role in Rafay’s growth as a filmmaker—especially his two-year partnership with author Ayesha Muzaffar to adapt her book Jinnistan into a psychological thriller.
The resulting script probes
familial bonds—mother/son, husband/wife, and daughter-in-law/mother-in-law—while exploring societal issues like domestic abuse.
In an exclusive conversation with Instep, just before travelling to China for Deemak’s screening at the Shanghai Cooperation Organisation (SCO) Film Festival from July 3 to 7—Rafay opened up about the film’s concept and production journey.
With Deemak, he is pushing creative boundaries and achieving remarkable box office success.
Instep: What is the core concept behind Deemak, and what motivated you to set the film during the COVID-19 pandemic?
Rafay Rashdi (RR): Deemak draws inspiration from the displacement of jinn following the earthquake in Harnai, Balochistan. The idea of jinn seeking refuge in a human household fascinated me—it allowed for an exploration of possession while remaining grounded in cultural lore. To ensure relevance, I placed the narrative during the COVID-19 pandemic, which brought global mental health struggles to the forefront. It was important to depict how these invisible challenges ripple through families.
Instep: How did your collaboration with writer Ayesha Muzaffar come about?
RR: Working with Ayesha felt incredibly intuitive. I connected deeply with her book Jinnistan, and our collaboration transformed it into a story that blends intimate relationships with bro-ader societal critique.
Instep: Can you tell us about the themes explored?
RR: Certainly. The film addresses family relationships while highlighting sensitive issues like domestic abuse. We aimed to handle these subjects with authenticity and care, ensuring that the supernatural components complemented rather than overshadowed the emotional core.
Filmmakers have a duty to respect both their message and their audience. Cinema-going can be expensive, so we must ensure that films are thought-provoking yet engaging. While festival films can embrace gravity, mainstream releases benefit from accessible storytelling.
Instep: How has the audience responded to diverse content in Pakistani cinema?
RR: Audiences in Pakistan are becoming more open to genre diversity, especially with the rise of digital platforms. They value good storytelling, but the execution must resonate with their lived realities and cultural context.
Instep: Your film has been selected for competition at the SCO Film Festival. What are your thoughts on this opportunity?
RR: It’s a tremendous honour. The screening from July 3 to 7 will allow us to reach an international audience. Competing for the title of “strongest film with the best message” adds a layer of excitement and responsibility.
Instep: What can you tell us about your casting choices for the film?
RR: Working with Samina Peerzada and Faisal Qureshi was a privilege. Samina brings immense gravitas to any role. Sonya Hussyn, too, is a standout talent. Collaborating with Faisal fulfilled a long-time aspiration of mine.
Instep: How did you feel about the casting process overall?
RR: It was smooth and collaborative. The cast responded to the script with enthusiasm, and their commitment pushed me to elevate the project even further.
Instep: Were there any challenges convincing them to join the project?
RR: None at all. From the outset, we shared a unified vision. Their faith in the script and in me as a director made the process seamless.
Instep: How did a veteran like Samina Peerzada get involved?
RR: My executive producer, Murad, suggested her for the role. She read the script thoroughly, asked insightful questions, and accepted the physical demands of the role—including prosthetics and rig work—without hesitation. Her professionalism was truly inspiring.
Instep: It sounds like an amazing collaboration.
RR: It truly was. Working with such seasoned actors gave me the confidence and creative latitude I needed to realise my vision. Their talent and support has been invaluable.
Instep: What do you hope audiences take away from your films?
RR: I hope my films encourage reflection—on trauma, relationships, and the human con- dition. More than anything, I want to spark conversations that last well beyond the cinema experience.
Instep: Can you talk about your experience using CGI (Computer-Generated Imagery) in Deemak, particularly in the fan-blade scene?
RR: We worked with Imagine Magic Effects for that sequence. A performer in a green suit with tracking markers was later replaced with 3D modelling during post-production. It was educational, though I personally lean towards prosthetics for their tactile realism.
Instep: Sound design and background score are vital in horror. Can you share your approach in this area?
RR: My brother, Suhaib Rashdi, composed the score, who brings 10-15 years of experience. We referenced iconic horror soundtracks like The Conjuring and Evil Dead to create an atmosphere of sustained tension. Purple Dog Post Productions then fine-tuned the 5.1 surround mix to enhance the auditory experience.
Instep: How do you balance serious themes with the commercial aspect of cinema?
RR: Filmmakers have a duty to respect both their message and their audience. Cinema-going can be expensive, so we must ensure that films are thought-provoking yet engaging. While festival films can embrace gravity, mainstream releases benefit from accessible storytelling.
Instep: The ending seems to convey an important message. Can you elaborate?
RR: The ending is about belief—in oneself and in others—and the necessity of letting go of past trauma. Clinging to guilt can be deeply corrosive. The film advocates for emotional release and moving forward.
Instep: Looking ahead, which other genres are you keen to explore?
RR: I’m excited to move beyond horror and take on narratives that challenge traditional formats. I’m particularly interested in experimental genres that offer new ways of seeing familiar themes.