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By Muneeb Maqsood

The Balochi film Karesth, directed by Homer Kiya, is one of the finest films the Balochi film industry has ever produced. The central character is played by Hafeez Lal, who portrays Ustad Meero, a drug addict. The film was released in 2018 and soon gained widespread popularity throughout Balochistan.
The film brings the issue of drug addiction in Baloch society into the mainstream, highlighting how severely it has affected the everyday lives of ordinary people. As depicted in the film, Ustad Meero was a talented electrician and mechanic, but drugs had greatly damaged his career and personal life. He earned money, but spent it all on his addiction, leaving his children with nothing. His wife eventually left him because of his dependency on drugs.
The film reflects a reality that closely mirrors Baloch society. Drugs have robbed families of their loved ones and destroyed countless lives. The movie also draws attention to the constant rise of drug addiction within the community and suggests that society itself bears some responsibility for this crisis. People sell dangerous drugs openly in the streets of their own neighbourhoods simply to make quick money. In doing so, they harm their own brothers and sisters for the sake of personal gain. The film lays bare this betrayal of the Baloch community’s dignity and honour.
Beyond its social consequences, drug addiction also carries serious health implications. Prolonged drug use causes severe mental and physical deterioration. It is estimated that four to five thousand people die from drug- causes every year across Pakistan, with Balochistan accounting for five percent of that toll.
Another important issue highlighted in the film is child labour. The reality of child labour in Balochistan cannot be ignored, as it forces children to abandon their education at an early age. Although it is illegal to employ children below the age of fourteen, a large number of children in Balochistan are found working in shops, garages, mines and other hazardous environments.
The root cause of child labour is often parental irresponsibility, particularly that of fathers who are either drug addicts or unemployed. In the film, Ustad Meero’s son is forced to work as a child labourer because his father’s addiction has left the family without support. The boy works at a young age to provide for his family and to pay for his grandfather’s medical treatment. Had his father fulfilled his responsibilities, the boy would have been sitting in a classroom rather than working in a hotel to survive.
In reality, seventy one percent of children in Balochistan are out of school and can be found working in various occupations. It is not that they have no desire to study, but poverty and compulsion leave them with little choice. Despite being extraordinarily rich in natural resources, Balochistan has consistently been neglected when it comes to receiving its fair share of development, employment opportunities and educational investment.
In conclusion, Karesth presents an honest and unflinching portrayal of life in Balochistan, reflecting its social realities as they truly are. Director Homer Kiya and his team have done a commendable job of raising awareness about the challenges dragging Balochistan towards a difficult future. It is hoped that the Balochi film industry will continue producing work that sheds light on the current situation in the province and contributes meaningfully to building a more prosperous Balochistan.

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