In an era where historical dramatizations often rely on CGI shortcuts and stylized nostalgia, Fatima Jinnah, the upcoming period series helmed by writer-director Danyal K. Afzal, is taking a bold, purist approach: 92 real locations, zero CGI, and an uncompromising commitment to authenticity. The result is shaping up to be more than just a biopic — it’s a cinematic reclamation of overlooked chapters in Pakistan’s history.
Afzal, a young filmmaker with boundless passion, has nurtured this project for years. His fascination with Fatima Jinnah began during his academic days, and the deeper he delved into her legacy — her sacrifices, convictions, and quiet resistance — the more compelled he felt to tell her story. According to Afzal, this is a version of Fatima Jinnah rarely seen — fierce, complex, and deeply human.
Spanning six volumes over three seasons, the series begins in Bombay — a fitting homage to the city that shaped much of Fatima Jinnah’s early life. The show’s scope is massive: more than 58 central characters, multiple timelines, and a historical narrative that interweaves the lives of iconic but often forgotten figures, such as Ruttie Petit, the revolutionary and Jinnah’s wife.
The show’s development hasn’t been without challenges. Casting saw a notable shift when Sajal Aly exited the lead role in 2023. Stepping into her place is the lesser-known Sundas Shaheen-Farhan, a deliberate choice by Afzal who prefers the audience to meet her as Fatima Jinnah rather than through a social media lens. “I love the mystery,” he says — and if his instincts are right, Sundas is poised to make a defining debut.
Visually, Fatima Jinnah promises a meticulous period atmosphere. Raza Shah, Head of Production Design, and cinematographer Salman Aslam have led the effort to create immersive, historically accurate visuals. They eschewed CGI for physical sets, poring over art, textiles, and architecture to recreate early 20th-century South Asia in all its complexity. Shah likened the task to “finding the Emerald City without a golden path,” but the vision — and resolve — of the team kept them going.
Afzal and his team, many of whom had no traditional TV background, have poured heart and soul into the series. It’s a production built by underdogs for a narrative long overshadowed. That emotional investment is evident not only in the scale and effort but in the purpose behind the project. “This is for our people, our history, and every dreamer who’s been told they can’t,” says Afzal.
Ultimately, Fatima Jinnah is shaping up to be more than just a series. It’s a visual reckoning — one that aims to reintroduce a national icon not just as a supporting character in the founding of Pakistan, but as a formidable force in her own right. If it lives up to its promise, this series may well become a landmark in Pakistani storytelling.
