Latest news with #TheGlassworker
The Hindu
4 days ago
- Entertainment
- The Hindu
‘Mahavatar Narsimha' interview: Director Ashwin Kumar on building India's first animated cinematic universe
Ashwin Kumar knows exactly what he's up against. The director behind Mahavatar Narsimha, the upcoming animated epic that kickstarts India's most ambitious mythological film franchise to date, is steering into uncharted territory on technical, commercial, and cultural fronts. 'By no means is this the best animation in the world,' he says. 'But it's a step towards that for India and we have to make it better.' Ashwin and his team of animators at Kleem Productions are laying the groundwork for the Mahavatar Cinematic Universe, a seven-film saga chronicling the ten avatars of Lord Vishnu. With Mahavatar Narsimha releasing theatrically on July 25 — in 3D and across five Indian languages — it's a statement of intent and a litmus test for what India's dormant animation industry might grow into if it learns to back its own stories. 'There's so much anxiety, depression, and conflict,' Ashwin says. 'We need a spiritual anchor. And the perfect deity for that is Lord Narasimha.' Initially a fledgling conversation among friends in 2008, his vision has since grown into a sprawling cinematic mission. But it wasn't until years later, armed with conviction and collaboration, that Ashwin began building a team and a pipeline from scratch. Instead of a standalone project, he chose the format of a cinematic universe to reflect the larger arcs across the ten avatars of Vishnu, spanning over a decade's worth segments — Mahavatar Narsimha (2025), Mahavatar Parshuram (2027), Mahavatar Raghunandan (2029), Mahavatar Dwarkadhish (2031), Mahavatar Gokulananda (2033), Mahavatar Kalki Part 1 (2035), and Mahavatar Kalki Part 2 (2037). While Mahavatar Narsimha will inevitably be compared with Western animation powerhouses, Ashwin is focused on carving out a distinctly Indian idiom. One that, like China's Ne Zha 2 or Pakistan's The Glassworker, can eschew mimicry and find its roots in indigenous storytelling. 'We must stick to our story, stick to our roots,' he says. 'All the archetypes are already present here, and they've been drawn from us by the world out there.' Films like Jiaozi's Ne Zha 2 have already proven that culturally anchored narratives told through local aesthetics can not only move audiences but also make a killing at the global box office. Meanwhile, Usman Riaz's The Glassworker has demonstrated how intimate hand-drawn animation can become a cultural milestone. And so, the goal for Ashwin isn't technical parity with the West, rather a sense of spiritual clarity. 'We should inherit the West's standards of quality, and maybe even go beyond,' he adds. The core of his vision is the persistent belief that India deserves world-class animation and is entirely capable of creating it on its own terms. 'We do have a lot of talent here,' he says. 'But we do not quite have a doctrined animation industry like Japan, the United States, Korea or China. And it's about time we step up.' But he's also cognisant about the limitations Indian animators face. 'They're serving the outsourced way too much, and not believing in their own indigenous stories' he says. 'Taking the plough in their own hands is what Indian animation really needs to do.' His own attempted spiritual retelling told through the wrappings of a blockbuster is a countercultural moment and a commercial gamble. One of Ashwin's bolder decisions was opting for a realistic 3D style for the franchise that could cut across age groups and geographies, over a niche 2D visuals. 'To revitalise Indian animation requires for it to be accepted and embraced en masse. And to do something en masse, it needs love and validation on a country level,' he explains. 'We had to break that stereotype because this industry and this land really needs it now.' The realism, he believes, anchors the emotional and spiritual stakes of the narrative. Technically, the film is stitched together through a combination of industry standards and open-source ingenuity. Ashwin initially experimented with Blender — the free-to-use software that was made to produce last year's Oscar-winning Latvian indie, Flow — but struggled to find artists trained in it. Eventually, the animation was executed in Maya, effects in Houdini, and everything rendered back into Blender and composited in Nuke. 'We had to tailor-make the pipeline,' he says. 'And by the next film, we'll have more open-source software to bring the costs down. Maybe even integrate AI tools for faster production.' This piecemeal, problem-solving approach has become a defining trait of Mahavatar Narsimha's production. Ashwin names a few early collaborators — his producer Shilpaa Dhawan, and the studio behind K.G.F., Salaar and Kantara, Hombale Films — who helped keep the project afloat during two COVID waves and beyond. 'They believed it could happen. That really means a lot to me.' As someone who came into animation through theatre, choreography, music, and storytelling, Ashwin credits his spiritual journey as the thread that ties it all together. 'I've been into art all my life,' he says. 'But I think it all came down to one epiphany — my spiritual awakenings. That manifested into what we are seeing today.' So what does success look like? Ashwin seems more interested in how the film may resonate culturally over how it performs at the box office. 'I want people to see the astute faith of Prahlada,' he says. 'To carry an iota of that with them into their lives.' His tastes are telling. His favourite Indian animation? The iconic 1993 Indo-Japanese Ramayana. 'That's an epic in my mind.' From the West, it's the original 1994 Lion King that left its mark. And from beyond that, he singles out Kentaro Miura's cult-classic Berserk. 'One of my all-time favourites,' he says. Despite the challenges of building a team, a pipeline, and a belief, Ashwin seems pleasantly undeterred. If anything, the ambition behind the Mahavatar universe feels almost provocative. Can Indian animation finally tell its own stories, on its own scale, with its own sense of mythic grandeur? 'It's never been done before,' he says. 'But Bharat is the place that does it.' Mahavatar Narsimha hits theatres on July 25
Express Tribune
24-05-2025
- Entertainment
- Express Tribune
Usman Riaz nabs Best Debut Director award
Almost a year after its release, The Glassworker keeps exceeding the mark. Usman Riaz, the creator of the Pakistani animated feature, took to social media on Friday to announce yet another win for the film. "I'm honoured to receive the Tongues on Fire, Flame Award for Best Debut Director at the UK Asian Film Festival 2025 for The Glassworker," wrote Riaz. "Bringing The Glassworker to life has been the greatest creative journey of my life, and I'm deeply grateful to the festival and jury for this recognition." While the animator himself was not present to receive the award in person, he expressed gratitude towards the fellow creative who did. "A heartfelt thank you to our brilliant screenwriter, Moya O'Shea, for attending the festival and accepting this award on my behalf." Last month, Deadline reported that the London premiere of The Glassworker was set to close the UK Asian Film Festival, which covered venues across London, Leicester, and Coventry. The Glassworker follows Vincent, a glassblower apprentice who works under his father and develops an attachment to Alliz, a violinist and the daughter of an army colonel. As the threat of war forces them to confront difficult truths, the two must find a way to face their fears and cling onto hope in times of despair. Following The Glassworker's release in 2024, Mano Animation Studios achieved a record-setting milestone by launching Pakistan's first 2D hand-drawn animated feature. The film was shortlisted as the country's official submission for the Oscars of 2025 in the category of International Feature Film. It debuted on a global scale at Annecy International Animation Film Festival and has since received both national and international acclaim. In September, Riaz took to Instagram to announce the achievement to his followers, "We are proud to announce that The Glassworker has been selected as Pakistan's submission for the International Feature Film category at the 2025 Oscars. This marks the first time a 2D hand-drawn animated film from Pakistan has been chosen for this prestigious honour." He added, "The Pakistani Academy Selection Committee stated: 'Usman and Mano's work has demonstrated exceptional storytelling and artistry while breaking new ground for animation in Pakistan. This achievement will be remembered in our cinematic history.'" He then included his own words in the caption, "The Glassworker represents a decade of passion and perseverance. I am deeply humbled by the selection and hope this story resonates with audiences everywhere, showcasing the talent and creativity Pakistan has to offer."
Arab News
17-05-2025
- Entertainment
- Arab News
Pakistani animated film ‘The Glassworker' heads to US theaters with Watermelon Pictures
ISLAMABAD: Pakistan's first hand-drawn animated film 'The Glassworker' is set to screen in the United States (US) after Watermelon Pictures acquired its distribution rights, the US-based film production and distribution company said this week. The Glassworker, released in Pakistan in July last year, was storyboarded by young Pakistani animator, Usman Riaz, who also directed the movie that comprised 1,477 cuts and 2,500 individual drawings, bringing to life the coming-of-age tale of two people from disparate backgrounds: young Vincent who is an apprentice at his father's glass workshop, and the talented violinist Alliz, the daughter of a military colonel. Around them, a war threatens to upend their lives and the relationships between the children and parents are tested. A total of 250 people worked on the film including national and international cast and crew. In a post on Instagram, Watermelon Pictures said they were proud to announce that their very first animated feature, The Glassworker, would soon be coming to US theaters. 'After being selected as Pakistan's submission to the 2025 Academy Awards, #TheGlassworker took the animation world by storm as Pakistan's first ever hand-drawn animated feature,' the distribution company said. 'An ode to Hayo Miyazaki's dedication to telling beautiful stories frame by frame, The Glassworker is truly a work of art.' The deal was closed during Cannes and negotiated by Hamza Ali for Watermelon Pictures and Hélène Espeisse on behalf of Charades, which is representing the film at this year's Marché Du Film, US entertainment website DEADLINE reported. 'The Glassworker is a breathtaking, emotional story that will resonate deeply with audiences of all ages. We are honored to bring this cinematic gem to US theaters,' Watermelon Pictures co-founder Hamza Ali was quoted as saying. Ali launched the film production and distribution company in April, 2024 along with his brother, Badie Ali, with Alana Hadid as creative director. The firm aims to amplify the voices of underrepresented filmmakers across the globe. 'We are thrilled that The Glassworker will be released theatrically in the United States by Watermelon Pictures. Their rapid growth and recent string of successful, meaningful films make them the perfect partner to bring our work to American audiences,' Khizer Riaz, the film's producer, was quoted as saying. 'We couldn't be more excited.'
SBS Australia
29-04-2025
- Entertainment
- SBS Australia
This beautiful Pakistani film is finally streaming in Australia
Vincent and Alliz go for a walk in 'The Glassworker'. Credit: Glassworker LLC What makes a Miyazaki film? The obvious answer might be iconic filmmaker 's distinctive hand-drawn animation style, but at the heart of his stories is his appreciation for the small, seemingly mundane moments of beauty and tranquility that, at the end of the day, are what make our lives meaningful. And, of course, how war rips these precious moments away from us. In an homage to Miyazaki, groundbreaking Pakistani animated film The Glassworker channels his style, grace and politics into a visually stunning romance film that also seeks to highlight the destructive nature of war. Ten years in the making, The Glassworker' s release was a momentous occasion in Pakistani cinema. The country's first ever independent, hand-drawn animated feature film was the result of a decade of persistence and grit. It was debuted proudly in 2024 by the artists of Mano Animation Studios, and was Pakistan's submission for the Best International Feature Film category at the 2025 Oscars. Co-founder Usman Riaz is the director, animator and co-composer behind this much-anticipated film, which pays homage to Hayao Miyazaki by channeling his beloved, comforting visual style and anti-war politics. And now, for the first time in Australia, The Glassworker is available to stream free, only . The titular glassworker is Vincent Oliver, the young son of a pacifist glassworker who is homeschooled and raised to become an artisan like his father. The story follows his meeting and budding romance with Alliz Amano, a talented violinist who also happens to be the pro-military daughter of the colonel who turned Vincent's city into a warzone. Told mostly in flashbacks as Vincent looks at a letter Alliz sent him long ago, the film traces the challenges their connection faced due to their contrasted upbringings, incompatible politics and opposing social classes. While Vincent's father abhors the military and any notion of war, Alliz's father's life revolves around it. He is a well-respected colonel who leads his own battalion, and his authority and power stem from his grip on the brutal violence that is warfare. However, in a surprisingly tender scene, Amano is shown haggard and exhausted, seated in a chair under a portrait of his own father in military gear, seated in the same chair. The violence that dictates his life is inherited and keeps him from his loved ones – there are truly no winners in war. The setting of The Glassworker is ambiguous. While the characters are often seen in Pakistani clothes or eating gulab jamuns, their province is fictional – though the mountainous background, pashmina-style shawls and military occupation suggest contested land like Kashmir. The hand-drawn frames are wonderfully faithful to Miyazaki's style, constructed with loving hands as meticulous as Vincent's own as we watch him delicately craft tiny glass structures in a process that is surprisingly accurate to glass making in real life. In other scenes, the 'camera' lingers on sparkling sculptures, glittering bazaars and golden sunlight lazily shining against ocean waves or through open windows. It chooses to focus on the ring of a bell as a heavy wooden door is pushed open by a visitor, or the wrinkles in the hand of a loved one reaching out to be held – moments in life that are easy to forget, and yet sometimes the most significant. It's in these fleeting moments of beauty and sentimentality, where detail is at the forefront and dialogue exists in the background, that the film is at its best. While the story is not quite as nuanced as what you would expect from a Studio Ghibli film, the vibrant, rich animation, the magical realism and its emphasis on the beauty of human creation (and our equal propensity for destruction) is a poignant example of the iconic studio's legacy. Though, the irony of the film's titular character suggesting real art must create rather than imitate (a nod to AI, perhaps?) might raise some eyebrows given the film itself imitates the art style of another. In a world where trends and movies feel more temporary than ever, in which quantity is favoured over quality and art is churned out with speed and carelessness, The Glassworker is a slow-burn labour of love which will inspire a new generation to take their time with their art and work on their craft earnestly, passionately and intentionally. The Glassworker is available to stream on SBS On Demand. Discover more animated movies, from cartoons to thoughtful explorations of issues and challenges, in the ANIMATED MOVIES COLLECTION at SBS On Demand. Share this with family and friends SBS's award winning companion podcast. Join host Yumi Stynes for Seen, a new SBS podcast about cultural creatives who have risen to excellence despite a role-model vacuum.
The Guardian
15-04-2025
- Entertainment
- The Guardian
The Glassworker: Studio Ghibli's legacy lives in Pakistan's first hand-drawn feature
The Glassworker began as an 'impossible dream' and, like every impossible dream, its existence is a testament to the grit and grind of those who willed it to life. They are the artists at Mano Animation Studios, whose co-founder Usman Riaz is the director, animator and co-composer behind Pakistan's first hand-drawn animated feature. The titular glassworker is Vincent Oliver, voiced by Teresa Gallagher as a child and Sacha Dhawan as an adult. With his father, Tomas (Art Malik), he works at the finest glass workshop in Waterfront town. But as war breaks out over the sovereignty of the Great Ravine, their treasured storefront comes under threat. Amid it all a budding romance sparks between Vincent and Alliz Amano (Anjli Mohindra), a talented violinist who turns out to be the daughter of the colonel who has turned their quaint town into a warfront. Most of the story unfolds in the form of childhood memories, as Vincent and Alliz grow up under the looming threat of war and try to hold on to their friendship, art and innocence, all of which are impacted by their fathers' beliefs. Every hand-drawn frame is handled with the utmost care, much like Vincent and Tomas handling the molten glass. In an early sequence, we see the glass-making process in detail as young Vincent empties his lungs into the blowpipe to form a sculpture's final shape; breathing life into it, in a sense. This metaphor is the core of The Glassworker: just like the glass sculpture, beautiful things take a lot of effort to form – but can shatter at just a slight touch. Later in the film, the glass sculpture breaks, foreshadowing the corruption that befalls the glassworks as Alliz's father, Colonel Amano (Tony Jayawardena), coerces Tomas into helping build the army's warships. Much like Tomas, Amano is a disciplinarian. His battle planes cast ghastly shadows over the lush green fields where Vincent and Alliz play, souring their blossoming companionship. As the story progresses, quiet and subtle moments reveal Amano's tragedy. Like Vincent and Tomas, he, too, has an appreciation for the arts. He loves Alliz's music and, more importantly, he loves her. But war drives him away from his daughter and his sensibilities. We see him at home in a red armchair, broken and tired, underneath a family portrait in which his father, a decorated general, is sitting in the same chair. Father and son are, in their own ways, also victims of the ruthless cycle of war. The Glassworker's anti-war sentiment and its hand-drawn animation call to mind the works of Studio Ghibli's Hayao Miyazaki. The film's aesthetics possess the same emotional resonance and attention to detail that are part of Miyazaki's distinctive style. Even the romantic score is reminiscent of Joe Hisaishi's iconic compositions for Ghibli films. But while The Glassworker's exploration of the hereditary nature of ideals is compelling the film's anti-war philosophy and presentation lack the nuance that is a staple of Miyazaki's works. Still, Riaz's debut feature is not without glimmers of brilliance. Aside from being a landmark in the history of Pakistani cinema, what sets The Glassworker apart from its inspirations is the rich and vibrant world of Waterfront, partly influenced by Riaz's hometown of Karachi. Although it is difficult to tell if the moral values The Glassworker tries to impart will be remembered, few will forget the bustling market Tomas and Vincent walk through, where the little glassworker is treated to one of the mouth-watering gulab jamuns that sparkle in a pot. The Glassworker is available to stream on SBS On Demand in Australia, with UK and US streamers yet to be announced. For more recommendations of what to stream in Australia, click here
