The exhibition of Paatay Khan is ongoing in cinemas around the world. Due to growing public interest, clips of this international film are also being shown from time to time on screens in every home. Paatay Khan is the most powerful man of the present era, and he wants to reshape the world according to his own will. After centuries of experience and observation, humans formulated the United Nations Charter regarding relations between nations and the rights of every individual. Its purpose was to protect weak sheep from lions and to safeguard chickens from the authoritarian bears of every country by setting principles. Paatay Khan does not accept these principles. He does not value morality but power; he wants to create a new world through the force of strength and the sword.

The side hero of the film, Yahoo Khwah Makhwah, is unnecessarily present. You may consider Khwah Makhwah as Kaido from Heer Waris Shah. He is an enemy of peace and believes in bloodshed. His thirst for revenge does not cool down. He himself is nothing, but he struts arrogantly on the strength of Paatay Khan. In the film, the fire behind every scene has been ignited by Khwah Makhwah.

In the film, Paatay Khan is opposed by Allama Baghi. Paatay Khan is a character intoxicated with power, while Allama Baghi is a victim of stubbornness and ego. In their conflict, innocent people are killed. The global supply of oil is disrupted. The economy slows down. Stock markets fall. In other words, the film does not merely focus on the conflict between Paatay Khan and Allama Baghi; rather, it shows how the fire spreading from this conflict reaches every home and every individual.

The film depicts what happens when principles, morality, law, and respect for humanity disappear from the world. Then lies, deceit, breaking of promises, and attempts to humiliate opponents continue. The central idea of the film is the hollowness of this conflict, in which emotions are inflamed, yet viewers can analyze that if reason were used, such a conflict would not have occurred at all.

The most interesting and distinctive aspect of the film is that neither Paatay Khan nor Allama Baghi fits the traditional definition of a hero. Both are portrayed as irrational and somewhat ridiculous. Their style is authoritarian; in the clash of the cruel and the stubborn, the innocent and beloved are the ones who die.

The scene that fascinates audiences worldwide the most is the turmoil caused globally by this war. The United Nations, which has the legal authority to stop the war between Paatay Khan and Allama Baghi, appears helpless and desolate. It is shown that cobwebs have gathered on the chairs of the Security Council. The tongue of the UN Secretary-General has been silenced, and dust has been thrown in the eyes of UN observers around the world.

Immediately after this scene, images of bombing and cries of anguish in Gaza, Lebanon, Syria, Libya, and Iran bring tears of blood to the heart. After this tragic sequence, Paatay Khan’s amusing statements suddenly provide comic relief in the film. Paatay Khan appears as a prototype of Punjabi film villains like Mazhar Shah and Ilyas Kashmiri—at one moment he talks about wiping out generations and civilizations, and the next moment he emphasizes lighting the lamp of peace.

He belongs to the most modern region of the world, and it is the people of that region who have made him a leader and hero. The film raises the question: why do nations and regions create such heroes? Do they do so out of revenge, or do material needs push people away from high moral principles toward inferior economic choices?

The romantic scenes of the film present a new dimension. The friendship between Jeffrey Epstein and Paatay Khan, with scenes of dance, music, beauty, and indulgence, narrates the story of Paatay Khan’s youth. Yahoo Khwah Makhwah is portrayed as a corrupt, indulgent, and trembling character who, like Kaido, carries complaints and rumors—true or false—to Heer’s father about Paatay Khan.

The followers of Allama Baghi are shown dressed in abayas and veils. When a woman suddenly removes her abaya, the film depicts how her beauty dazzles the eyes of onlookers. It is also shown that Paatay Khan’s deputy visits Asia and falls in love with this woman from afar, creating a new climax in the situation.

After this, instead of scenes of fighting with bombs, weapons, aircraft, rockets, and drones, suddenly entertaining and captivating visuals appear. A figure, angel-like, wearing green and white, descends upon the earth. Both Paatay Khan and Allama Baghi gather around this figure.

Meanwhile, Yahoo Khwah Makhwah repeatedly tries to approach Paatay Khan to stir trouble, but he is driven away. At the same time, a crowd is seen approaching from afar. As it comes closer, women, innocent children, and elderly people are visible. Suddenly, the crowd begins chanting “peace, peace.” At that moment, Yahoo Khwah Makhwah is shown passing in front of the crowd. When the crowd notices him, stones suddenly begin to rain down upon him. Like Kaido, he is seen fleeing the scene while being pelted with stones. Seeing him run, the crowd applauds and resumes chanting “peace, peace.”

In the crowd, Muslims, Christians, Jews, and Buddhists are all present. Everyone is watching this film—some are clapping, some are raising slogans, some are praying, and others are clenching their fists in anger. Whether someone is part of the film or not, they are certainly part of this conflict.

Beyond the film, the scenes of real life have gripped everyone as well. For Pakistanis, it is a pleasing development that Pakistan has emerged as a successful mediator in the conflict between Iran and the United States. Whether Paatay Khan or Allama Baghi—both find this mediator acceptable.

Be it film or reality, honor, value, and status are important, but the real issue is resources and money. Pakistan’s prestige has increased significantly, but at present, the biggest problem is the lack of money. It should not happen that opponents say tomorrow: “You don’t have a penny, yet you’re hosting grand fairs.”

Therefore, policymakers must devise a strategy that not only preserves dignity but also resolves Pakistan’s economic problems. Temporary assistance from Saudi Arabia may provide short-term relief, but for the long term, far-reaching policies are needed.

For now, we are a character in the film. Films feel sweet, while reality is bitter—and we must adopt a real role; only then can the economic problem be solved in a lasting way.