‘My work has always highlighted the struggles of women’

At its heart, ‘Saving Face’ is a celebration of all the good in a cesspool of ugly. Resilient acid attack survivors, strong-willed parliamentarians passing the Acid Crime Prevention bill, perseverant organisations rebuilding victims’ lives and a noble doctor pulling off an inspiring Swades act; the 40-minute documentary short fetes the heroes as much as it chastises the villains of the Pakistani society.
This perhaps explains why Pakistani-Canadian Sharmeen Obaid-Chinoy, who recently won an Oscar for co-directing the film with American documentarian Daniel Junge, finds this anecdote as her most special memory while making the film.
“While she is undergoing treatment from Pakistani-British surgeon Dr Muhammad Jawad, Rukhsana, one of the two protagonists, learns that she is pregnant. Just before her son’s birth, she says she would like to name him after Dr Jawad, instead of the child’s father, who is also her attacker. She stresses that she would like her son to grow up to be like her doctor, who is looking out for her well-being and is securing their future,” says the multi-award winner.
Although Sharmeen has made 15 acclaimed films addressing issues ranging from young Taliban-trained suicide bombers to the emerging women’s movement in Saudi Arabia, it was destiny that Sharmeen was to stumble upon this horrifying practice of acid attacks as her latest film subject.
Two years ago, Daniel telephoned Sharmeen to tell her of the compelling story that was waiting to be told. “He had heard Jawad on the radio, talk about the surgery he performed on Katie Piper, a British model who was an acid attack victim. Daniel called Jawad and asked him whether he was aware how common acid attacks were in his home country. When Jawad told him that he regularly travelled to Pakistan to work with and perform reconstructive surgeries on acid violence survivors, Daniel immediately flew to Pakistan to explore the subject. Soon after he began the initial filming, he approached me to become the co-director.”
As Sharmeen was based in either Toronto or Karachi, she was an alien to the far-off agrarian Saraiki region in the Punjab province – Pakistan’s hotbed of acid violence. Devoid of sufficient employment opportunities and replete with illiteracy, these rural areas have been breeding grounds for barbarian jilted lovers and husbands from hell. Sharmeen says, “When our team went to the Saraiki region, the Acid Survivors Foundation, which was treating and rehabilitating acid attack victims, helped us meet survivors and their families. Acid violence is at its worst here because acid is widely available due to its use as a cleaning agent in cotton production. After spending much time on the ground with survivors and local communities, we were able to find two brave women – Zakia and Rukhsana – who were eager to tell their story to the world.”
While Zakia’s husband, a raging alcoholic, drug-addicted gambler, hurled acid on her face in public, Rukhsana’s husband and mother-in-law doused her with petrol and acid before setting her on fire. Sharmeen says, “It was very challenging for me, emotionally, to see my own countrywomen suffer such torment and continue to endure such devastating conditions. I was in the frontlines when the Pakistani parliament criminalised acid violence. That’s when Zakia got justice as her husband became the first man to receive life imprisonment under the law. Witnessing all of that and being able to convey Zakia’s struggle and triumph to the world brought me immense satisfaction.”
Despite more than 150 cases of acid violence getting reported annually in Pakistan, it is a systemically underreported crime, Sharmeen says. “I felt strongly about this issue and I’m drawn to narratives that showcase women’s determination and highlight structural and cultural injustices that impact marginalised segments of society. I believe that bringing such conditions to the world’s attention facilitates critical discourse and is the first step in prompting social change.”
All this positivity, Sharmeen, has been honing from her childhood. Born and raised in Karachi as the eldest of six siblings, she coaxed her parents to allow her to pursue her Bachelors at Smith College in the US. She then acquired two Master’s degrees from Stanford University before marrying her high school sweetheart Fahd Chinoy, who is now an investment banker.
A year and a half ago, the couple had their baby Amelia. Once she is done running the grand Oscar victory lap, there’s lots left to be done, she feels. “Now that effective legislation has been passed, people need to be educated about these laws. Its implementation is crucial. To combat acid violence, we need to educate the people in the areas where it is most common, making them aware of the severe and prolonged consequences. We hope to initiate this process through the campaign, and stimulate critical discourse through the film,” she says.
Among other things, winning an Oscar has assured her of a much broader audience. “It has reinforced my belief that where you come from is irrelevant; if you work hard and strive for excellence, your work will be appreciated.”
Unfortunately for agents of change in Pakistan such as Sharmeen, there are always loud outcries of dissent, like those who have termed her ‘traitor’ and a ‘liberal fascist’ who has ‘defamed’ and ‘belittled’ her country. However, Sharmeen prefers to ignore those living in denial, as she asserts, “I am a journalist. My job is to convey the truth. My work has always highlighted the struggles of women and children, and told the stories of marginalised communities. It is unfortunate that people are commenting on the message of the film even before watching it. I am sure once they do, they will see how this is also a story of hope that celebrates the work of ordinary Pakistanis who fought for justice and achieved extraordinary results. I hope it will inspire them to join the force towards social change.” Her sentiment is best echoed by compatriot and renowned writer Mohsin Hamid, who said it all in his Tweet, “Upset Pakistan has won its first Oscar for a film ‘critical’ of the country? Your attitude might explain why it’s taken so long.”