Usman Riaz’s animated film **The Glassworker** has been chosen as Pakistan’s official entry for the 2025 Oscars. This significant development represents the country’s maiden submission in the highly competitive animation category. The film, styled akin to the revered Japanese hand-drawn animes, narrates a touching story of unanticipated friendship set against the volatility of war.
The tale is set in a fantastical realm and revolves around the lives of Vincent, a young and talented glassblower, and Alliz, a gifted violinist. Their worlds couldn’t be more different, and yet their paths cross, heralding a friendship that is as fragile and beautiful as the glass sculptures crafted by Vincent. This bond is severely tested as their backgrounds, shaped by the influences of a war-torn society, begin to clash.
**The Glassworker** is particularly noteworthy as it marks Usman Riaz’s debut feature film. After years of dedication and meticulous effort, the film had its grand premiere at the illustrious Annecy International Animation Film Festival earlier this year. The film’s journey continued with a theatrical release in Pakistan this past July, captivating audiences and critics alike with its heartwarming narrative and stunning visual artistry. It has earned the distinct honor of being Pakistan’s first hand-drawn animated feature.
In a candid discussion with The Hindu, Riaz shared his creative inspirations and the names that have influenced his work deeply. “I love Studio Ghibli, Hayao Miyazaki, Mamoru Hosoda, Satoshi Kon, and Makoto Shinkai,” he revealed, paying homage to the luminaries of Japanese animation whose works have crossed borders and generations, igniting imaginations worldwide.
As Pakistan celebrates this groundbreaking achievement in the realm of animated filmmaking, neighboring India also prepares for the prestigious Academy Awards. India has put forward **Laapataa Ladies**, a satirical feminist comedy directed by Kiran Rao, to vie for the title of Best International Feature. The selection of a comedic, feminist narrative highlights the changing priorities and diversified storytelling in South Asian cinema, exposing global audiences to a myriad of perspectives and voices.
While both films navigate different genres and themes, they resonate with a shared spirit of creativity and cultural exploration. The final shortlist of the Oscar nominees will be unveiled by the Academy voters in December, building anticipation and excitement as films from around the globe await their fate.
Expanding on Usman Riaz’s journey, his venture into animation represents a broader evolution within the Pakistani film industry.
. Traditionally dominated by live-action productions, Pakistan’s foray into animated features is both ambitious and inspiring. Riaz, with his background in music and visual storytelling, has effectively bridged various art forms to create a film that is as much a visual symphony as it is a narrative one.
The meticulous hand-drawn animation technique employed in **The Glassworker** stands as a testament to Riaz’s dedication to craftsmanship. Every frame of the film is etched with care, echoing the process of glassblowing itself—delicate, precise, unfathomably beautiful. The painstaking detail and artistic integrity have not only showcased Riaz’s talent but also placed Pakistan on the global animation map.
The intrinsic story of Vincent and Alliz, set against the backdrop of conflict, reflects broader global issues while maintaining an intimate human connection. The juxtaposition of their worlds—a craftsman’s workshop brimming with the timeless, serene process of glassmaking and the chaotic, discordant echoes of war—creates a poignant narrative landscape. This contrast is more than just a storytelling device; it mirrors the contradictions and complexities of real-world experiences, offering viewers a reflective, emotional journey.
**The Glassworker** also aligns with the global movement toward celebrating cultural specificity in storytelling. By rooting its narrative in a uniquely crafted world while addressing universally relatable themes, it achieves a balance that resonates with both local and international audiences. This cultural hybridity in the film’s aesthetic and thematic elements might be a significant factor in captivating the Oscar voters.
As the film inches closer to potential Oscar glory, the spotlight on Usman Riaz will likely illuminate the burgeoning talent within Pakistan’s artistic community. **The Glassworker** is not just a film; it’s a statement of creative possibilities, underscoring the power of art to transcend boundaries and bring diverse stories to the forefront.
Both **The Glassworker** and **Laapataa Ladies** reflect a refreshed narrative vision from South Asia, where filmmakers are increasingly exploring innovative storytelling methods and tackling diverse subjects. The international recognition garnered through such platforms as the Oscars will undoubtedly encourage more creative expressions and collaborations in the region.
With the Academy Awards season approaching, all eyes will be on these distinctive films as they compete on the world stage. The final announcement in December will be awaited with bated breath, marking a potentially historic moment for Pakistani cinema if **The Glassworker** secures a nomination or even a win.
For now, Usman Riaz’s remarkable journey with **The Glassworker** continues to inspire, heralding a new dawn for hand-drawn animation in Pakistan.
