Rafay Rashdi is recognised for his innovative work in film and television, where he seamlessly weaves diverse narratives while keeping audiences engaged. His ability to combine substance with style has helped him carve out a distinctive space in Pakistan’s expansive media landscape.
He holds an undergraduate degree in Commerce and Information Technology from Ryerson University in Canada. A postgraduate degree in Business Systems Analysis and Design from City, University of London has further shaped his cinematic perspective. His journey in media has seen both notable successes and inevitable challenges.
In his latest directorial effort, Deemak, Rafay explores themes of trauma, mental health, and family—all under the broader umbrella of horror. Although he initially announced a project titled Yakin, production delays led him to fully commit to the genre he’s most passionate about.
A proud inductee of the International Alliance of Theatrical Stage Employees (IATSE) Local 411 of Motion Pictures and
Television in Toronto, Rafay has also contributed significantly to Canadian media—particularly through his advocacy for the Princess Margaret Cancer Research fundraising programme.
He served as producer and hospitality manager for the inaugural Pakistan International Film Festival, which featured over 50 films and attracted filmmakers from the USA, Southeast Asia, and India. He also played a key role on the managing committee for the festival’s Women’s Edition 2021. His podcast Behind The Curtain with Rafay Rashdi holds the distinction of being the first Pakistani podcast to appear on Amazon Prime Video.
Rafay’s past works include Jamun Ka Darakht (Java the Plum Tree)—an exceptional film that won 15 international festival awards and was screened at the Oscar-qualifying South Asian Tasveer Film Festival. While some projects found greater success than others, his work consistently engages with pressing social themes. Collaboration has played a central role in Rafay’s growth as a filmmaker—especially his two-year partnership with author Ayesha Muzaffar to adapt her book Jinnistan into a psychological thriller.
The resulting script probes
familial bonds—mother/son, husband/wife, and daughter-in-law/mother-in-law—while exploring societal issues like domestic abuse.
In an exclusive conversation with Instep, just before travelling to China for Deemak’s screening at the Shanghai Cooperation Organisation (SCO) Film Festival from July 3 to 7—Rafay opened up about the film’s concept and production journey.
With Deemak, he is pushing creative boundaries and achieving remarkable box office success.
Instep: What is the core concept behind Deemak, and what motivated you to set the film during the COVID-19 pandemic?
Rafay Rashdi (RR): Deemak draws inspiration from the displacement of jinn following the earthquake in Harnai, Balochistan. The idea of jinn seeking refuge in a human household fascinated me—it allowed for an exploration of possession while remaining grounded in cultural lore. To ensure relevance, I placed the narrative during the COVID-19 pandemic, which brought global mental health struggles to the forefront. It was important to depict how these invisible challenges ripple through families.
Instep: How did your collaboration with writer Ayesha Muzaffar come about?
RR: Working with Ayesha felt incredibly intuitive. I connected deeply with her book Jinnistan, and our collaboration transformed it into a story that blends intimate relationships with bro-ader societal critique.
Instep: Can you tell us about the themes explored?
RR: Certainly. The film addresses family relationships while highlighting sensitive issues like domestic abuse. We aimed to handle these subjects with authenticity and care, ensuring that the supernatural components complemented rather than overshadowed the emotional core.
Director Rafay Rashdi Takes Pakistani Horror to New Heights with Deemak
Filmmakers have a duty to respect both their message and their audience. Cinema-going can be expensive, so we must ensure that films are thought-provoking yet engaging. While festival films can embrace gravity, mainstream releases benefit from accessible storytelling.
Instep: How has the audience responded to diverse content in Pakistani cinema?
RR: Audiences in Pakistan are becoming more open to genre diversity, especially with the rise of digital platforms. They value good storytelling, but the execution must resonate with their lived realities and cultural context.
Instep: Your film has been selected for competition at the SCO Film Festival. What are your thoughts on this opportunity?