In Pakistan, and, in fact, much of South Asia, Eid is not only a time of celebration, but also a golden window for the film industry. For years now, Eid has marked the release of some of the biggest local productions, turning cinema-going into an Eid obligation. And, look, I’m not complaining as long as the films are great.
However, with families heading to theatres in large numbers, there is an unspoken pressure on the ones making these movies. Filmmakers, producers, and distributors see this time as a crucial moment to capture audiences and box office gold, and sometimes ethical marketing go out the window.
Naturally, with high stakes come high expectations. Marketing teams choose aggressive film promotions that often blur the line between what is true and what isn’t. Every new release wants to be the “Eid hit” of the season. This year’s line-up was no different.
As Eid al-Adha specials Love Guru and Deemak rolled out, crowds poured in, and bold claims of success quickly followed, each louder than the last.
But amid the excitement and competition, one can’t help but wonder: how much of what we see is marketing, and how much is measurable truth? In an era where reality can easily be overshadowed, navigating the space between promotion and authenticity becomes all the more important.
When Success Speaks for Itself: The Legend of Maula Jatt
Remember The Legend of Maula Jatt? The film that forced even the Pakistani cinema haters to praise it? It was easily one of the most defining moments in recent Pakistani cinema history.
Released in 2022, The Legend of Maula Jatt wasn’t just a film, it became a phenomenon, hailed not only for its cinematics and how utterly hot Fawad Khan looked, but also for how it reshaped expectations around local box office performance.
People who had lost faith in commercial Pakistani cinema became fans again; this was a revolution.
With a powerhouse cast, the film brought together remarkable chemistry between all the characters. But it wasn’t just the casting that captured attention; it was the film’s ability to deliver on both critical and commercial fronts.
In its opening weekend alone, Maula Jatt earned Rs 11.30 crore, an achievement that placed it firmly in the record books. (Data breakdown has been shared by distributors and verified by our team, but due to confidentially and privacy concerns it cannot be publicly shared).
Over the following weeks, its momentum only grew, ultimately making it the highest-grossing Pakistani film to date, with audiences turning up in impressive numbers both at home and overseas.
So… Did Love Guru Really Beat Maula Jatt?
This Eid al-Adha, one film that caught everyone’s attention was Love Guru, of course, because it featured Pakistan’s sweetheart couple, Mahira Khan and Humayun Saeed, but also for its quirky, light-hearted take that gave us major rom-com feels.
It set out to be a crowd-pleaser, and for some, it was. Audiences turned up, theatres saw a decent turnouts, and for a festive release, the mood was certainly upbeat. It had its laughs, some charm, a little bit of cringe (hints at Ramsha Khan’s Bado Badi scene), but overall a handful of moments that worked well with the holiday crowd.
But then a bold claim began circulating on social media: Love Guru had outperformed The Legend of Maula Jatt at the box office.
Now that’s quite the headline, isn’t it?
To its credit, Love Guru did draw in crowds. Eid releases usually do, and this one certainly had its share of chuckles and feel-good moments, but beating The Legends of Maula Jatt, even in its first week, was a bold claim. One that needed backing.
Unfortunately, no detailed breakdown of the box office numbers was provided by the distributors to verify the claims of the film earning 12.8 CR in its first weekend. Without official data, the full picture remains a little fuzzy.
Of course, that doesn’t take away from the excitement or the experience of the movie, but it raises questions. How responsible is media journalism? Are we believing everything shown to us?
Beyond the Hype: Journalism’s Job isn’t Over
Today, before you know it, a tweet can become a headline, and a poster can pass for proof. Amid all this, the job of a journalist is trickier than ever, especially when it comes to box office numbers, where every film wants to wear the crown.
But here’s the thing: just because it’s trending doesn’t mean it’s true.
As journalists, we owe it to our readers (and even to the films) to report what’s real, not just what’s loud. That means waiting for verified numbers from distributors, relying only on official sources, and resisting the urge to turn every rumour into a headline. I know the last one can be the hardest.
Promotions will always add a little glitter—and that’s part of the fun. But when it comes to reporting success, we need to analyse what the truth is. Because once you throw unverified numbers into the mix, you’re not just covering cinema, you’re creating it.
And at the end of the day, cinema deserves celebration. But journalism? Well lets just say, it deserves truth to say the least.
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