I learned recently that Latvia’s Oscar-winning movie Flow wasn’t the only animated movie sent to the Oscars last year. Pakistan also put forward an animated feature, marking the first from their country, as their official entry for the international feature film category. Interestingly, just like Flow, The Glassworker is also a debut feature, directed by Usman Riaz and produced by his Karachi-based Mano Animation Studios.

The Glassworker is a gorgeous, imaginative animated film that has raised the bar in the Pakistani animation scene. The first thing that strikes me is the stunning and colorful visuals, featuring anime-style elements that remind me of Studio Ghibli. Riaz definitely takes inspiration from Hayao Miyazaki, especially with its hand-drawn animation style, meticulous detail, and anti-war messages. Even the score by Carmine Di Florio is reminiscent of Joe Hisaishi’s masterful music. I heard that Riaz went to Studio Ghibli for guidance and creative inspiration. Now, though Ghibli’s influence is clear, Riaz seeks to craft his own unique vision and a story that reflects Pakistani culture.

Set in a world loosely inspired by Pakistan, it tells the story of young Vincent (Sacha Dhawan) and his father Tomas (Art Malik), who operate the best glass workshop in the nation. Tomas is a master in turning the local beach sand into graceful glass objects, and he teaches his son everything there is to know about his profession; thus, he doesn’t allow Vincent to go to school like the other kids.

Their tranquil lives get disrupted when army colonel Amano (Tony Jayawardena) and his gifted violinist daughter, Alliz (Anjli Mohindra), show up, just as the threat of war looms over them. Tomas, being a staunch pacifist, naturally clashes with Amano’s patriotic views. Meanwhile, as Vincent and Alliz fall for each other, their romance encounters hurdles due to their fathers’ opposing beliefs. Vincent’s childhood rival, who’s now a soldier, competes for Alliz’s affection.

I must admit, I was initially confused to see a Pakistani story that feels quite European (in terms of setting, architecture, clothing, etc.), with some South Asian touches, given that a few characters have distinct Pakistani accents. However, I later learned that this was intentional, as Riaz opted for a European-inspired look for the fictional town of “Waterfront” to make the story relatable to global audiences. This was part of a plan to showcase Pakistani traditions, language, and values to an international crowd, rather than just mimicking a real-life location. I get where he’s coming from, but this one-size-fits-all method and the lack of thematic specificity also lead to some confusion, even more so with the time-hopping narrative style.

Some of my favorite scenes are the glassblowing process, which highlights Tomas’s amazing craftsmanship and passion. As for the romance, the initial meet-cute is charming, but the relationship seems a little underdeveloped. Alliz’s violin performance towards the end has a certain grace and a hint of melancholy, even if the conclusion feels a bit hasty. Then there’s the introduction of Djinns (or jinn, also known as genies), these mystical beings made from ‘smokeless fire’ in both pre-Islamic Arabian and Islamic lore, which is intriguing but doesn’t really add much to the story. Overall, the film falls short of achieving the emotional impact the creators intended. While there are some beautiful moments, the storyline is unfortunately filled with clichés.

Though the movie isn’t perfect, I really admire Riaz for his drive to boost his country’s animation industry. I’m looking forward to his next feature being more unique and distinctly Pakistani, or at the very least, South Asian.

Have you seen The Glassworker? Let me know your thoughts.