Aakhri Station ~ Episode 1 Review

By | March 3, 2018


Aakhri Station is an issue based arrangement, I realized that. It is hard-hitting, I realized that. It manages ladies’ issues, I realized that. This task has some extremely dedicated and truly gifted individuals connected to it, I realized that. I adore Sarmad, we as a whole realize that. All these containers were at that point confirmed before I sat down to watch.

On the other hand, likewise verified were those containers that helped me to remember other issue-based serials which however similarly well meaning had missed the mark on a few checks. Too long and wordy, ladies enduring all through and getting reclamation just in the last couple of scenes, excessively numerous diverts, options of sentiment and fabulousness – all of which indicated detract from the reality and import of the message being passed on. Consequently my fear.

I needn’t have stressed.

Dazed, disheartened, gutted… I don’t have a beautiful word to depict my exceptionally crude feelings in the wake of viewing the main scene of Aakhri Station. Dislike I have not perused about such happenings, or don’t have a clue about that genuine is path more regrettable than what we see onscreen, however the way everything played out and the extremely matter-of-truth Manto-esque way in which pressure was step by step developed, the minuscule inferred subtleties, the old Lahore setting, the unpleasant doodh wala, the neighborhood karkhanas, the bazaars and galis, genuineness of insides, camera work, hues, that glimmering red light – all met up splendidly. Well done all!

In any case, let me start from the begining.

Together co-created by Kashf Foundation and Khoosat Films, Aakhri Station is a seven scene smaller than expected arrangement, where every individual’s story frames a connection in a bigger account chain. Composed by Amna Mufti the general surrounding looks back to that of Anita Nair’s Ladies Coupe, where a women’s just compartment fills in as an ideal setting for ladies of different foundations to meet up and swap their biographies. In any case, that is the place the similitudes end. The stories here are altogether different and if Yasmin’s story is any sign then we are in for a remarkable [train] ride.

Tehmina begins off the story when she gets on the prepare from Lahore Station. When she discovers her held seat in the women’s compartment she acquaints herself with her humsafars. The estimation of setting the story in a prepare compartment is that it cuts crosswise over social, Aakhri station monetary and social hindrances to a substantial degree and Tehmina’s kindred voyagers’ garments, accents and states of mind all mirror that decent variety; bringing a transgender individual into this exceptionally contained setting includes yet another fascinating dynamic. Tehmina’s resolved agreeableness and Gul Mina’s beautiful grin make for a fascinating appear differently in relation to the aloof hesitance of the other two travelers.

And afterward enters Yasmin with her little girl Mano.

We’ve all observed 10001 stories of mazloom biwis with wastrel spouses and in-laws who in spite of knowing their child is to blame will even now protect him till the day they bite the dust, and Yasmin’s life isn’t altogether different. She starts her story at the point where she can’t get drain for her girl and her better half for every one of his guarantees bets away her last memory from her mom. What occurs next is the thing that makes this one exceptional. In a striking move group Aakhri Station sets out to stretch the limits and dives further into the darker side of the human mind and shows us in stark terms what happens when the limit amongst good and bad is obscured, when humankind is supplanted by inhumanity.

It is evident from her short tone Yasmin has experienced a great deal and would have most likely proceeded had it not wind up about her girl. What’s more, it is this sickening idea – her little girl driving an existence like hers – that gives her the quality to leave. Where she is going we don’t know and I question if she’s believed that far either. For the present only the opportunity to expel that repulsive blue nail clean is purge enough.

Eman Suleman has a bit of my heart after this scene. Her straight forward, simple depiction of Yasmin touched me in a way I can’t clarify. Her contemplative touching of the bangles in plain view said to such an extent as did her checking out the “following morning.” She wasn’t liable yet she felt filthy, a sharp differentiation to her significant other who gladly shared news of his new pursuit. A fantastic knowledge into how distinctively men and ladies’ brains are wired in our desi man centric society.


Adnan Sarwar was marvelous as Waqar. Credit to him for assuming such a dim personality. Zoay is super adorable! Sanam Saeed is the star fascination here and after the present scene I am anxiously reckoning the unfurling of her story.

In a period where recounting an entire story in 39 minutes is right around an underappreciated skill, Amna Mufti’s screenplay is tight and her content extremely elegantly composed. Such a significant number of lines are composed just yet are unquestionably not oversimplified and make their point extremely well. What’s more, with respect to Sarmad Khoosat this is him doing what he excels at. Each casing bears his mark. The back streets of old Lahore looked like works of art become animated and the lighting was beautiful.

We have all perused of Red Light Areas, yet to really observe one wake up so truly was just staggering. The insides of the old haveli, the old in-laws, whose faces we never entirely observed, were relatively dramatic in the way they moved over the screen. A series of adulation for the youthful generation group. Shockingly ARY cuts off recordings previously credits move so can’t name names. Be that as it may, well done all!

My one major bother must be the constant foundation score, and that too so boisterous. Why? Would someone be able to settle it, please?

All things considered this was an extremely compelling begining. Hard hitting, tense and unafraid to make a point. Well done Kashf Foundation, Khoosat Films, Amna Mufti, and Sarmad Khoosat – Aakhri Station is a champ!

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