CCR Q2: FILM FESTIVAL Q&A

CCR Q2

How does your product engage with audiences and how would it be distributed as a real media text? 

Method Used:

For this question, I used a film festival Q&A format, where I answered questions from an ‘interviewer’ in a staged panel discussion setting. (for which I used an AI generated voice to ask the questions as the interviewer) The video was styled to simulate a live audience experience, with a background, spotlight effect, and applause sound effects.

Script:

Film Festival Panel | Discussing Shaam

 [Opening Scene]
(Background, spotlight on me)
INTERVIEWER: Tonight, we’re talking with the creative mind behind Shaam, a psychological drama that delves into morality, guilt, and societal hypocrisy. Please welcome Hiba Rashid! Before we get into the film’s themes, let’s talk about audience engagement. What was your goal in connecting with viewers?

ME:
Audiences don’t just watch films they experience them. And with Shaam, I wanted to create an experience that feels deeply personal yet socially relevant. This film is designed to make the audience feel Ali’s isolation, his paranoia, and his moral dilemma, rather than just observe it.

But beyond the emotional aspect, Shaam also challenges viewers intellectually and socially. It doesn’t provide easy answers. Instead, it asks difficult questions about morality, honor culture, and the weight of guilt. And I think that’s what makes it engaging it forces the audience to reflect on their own perspectives.

INTERVIEWER: Shaam feels incredibly personal but also widely relevant. Who do you see as its primary audience?

ME:
The audience for Shaam isn’t defined by demographics alone, it’s defined by emotion. It’s for people who have ever felt like outsiders, who have struggled between doing what’s right and what’s expected of them.

Primarily, it targets young adults between 16-30, because they’re the most likely to engage with films that explore psychological depth and social critique. But more specifically, it resonates with South Asian audiences especially in regions where tradition often clashes with personal morality.

At the same time, Shaam also appeals to a global audience who appreciate psychological dramas people who love films like Taxi Driver, Nightcrawler. They’re drawn to complex protagonists, morally ambiguous themes, and introspective storytelling, which is exactly what Shaam delivers.

INTERVIEWER: Your film is filled with these really immersive techniques—symbolism, cinematography, sound design. How do these elements help engage the audience emotionally?

ME:
What makes Shaam engaging isn’t just its story, but how it makes the audience feel Ali’s emotions. Every cinematic choice was made to pull the viewer deeper into his mindset.

For example, in the cracked mirror scene, we’re not just showing Ali we’re showing his fractured psyche. It’s a visual way of expressing something words can’t fully capture.

Then there’s the shadowy figure at the end. It’s not just a suspense element it’s designed to make the audience question whether the threat is real or a projection of Ali’s guilt. That uncertainty forces the audience to engage with the story on a psychological level.

And of course, sound design plays a huge role. The faint whispers, the rhythmic heartbeat, these aren’t just background noise. They create an underlying unease that makes the audience feel Ali’s paranoia, rather than just watch it happen.

INTERVIEWER: Shaam also engages audiences intellectually, it doesn’t handhold or explain everything. Why did you take this approach?

ME:
I think the best films don’t just tell a story, they start a conversation. Shaam isn’t about giving the audience answers.. it’s about making them think.

For example, the film raises questions like: What does it mean to do the right thing in a world that punishes morality? Is Ali actually in danger, or is he consumed by guilt? The ambiguity forces the audience to actively engage with the film, rather than passively watch.

And socially, Shaam engages audiences by critiquing honor culture something rarely explored in mainstream media. It brings attention to the way morality is sometimes weaponized, and how individuals can be cast out for doing what’s right. The fact that these themes are left open-ended means different viewers will interpret them based on their own experiences, which creates an even deeper engagement.

INTERVIEWER: Let’s talk about distribution. If Shaam were a real media text, how would it reach audiences?

ME:
A film like Shaam doesn’t fit into the commercial blockbuster space, but that doesn’t mean it wouldn’t have an audience. Its distribution would focus on alternative platforms that cater to independent and socially conscious films.

The first step would be film festivals places like  the Lahore International Film Festival, or even global platforms like Sundance or TIFF’s South Asian segment. These festivals expose films like Shaam to audiences who appreciate unconventional storytelling.

After that, streaming platforms would be the next step. Netflix, Mubi, Criterion Channel these are platforms that curate thought-provoking, artistic films. Even YouTube or Vimeo could be strong alternatives, especially if released as part of a campaign with director’s notes and audience interaction.

But beyond that, Shaam would thrive in community-based screenings universities, film societies, NGOs. These spaces allow for discussions and debates around the film’s themes, making it more than just a piece of entertainment.

INTERVIEWER: Social media is a huge part of modern film distribution. Would that play a role in Shaam’s reach?

ME:
Absolutely. Films don’t just exist in theaters or on streaming platforms anymore they live online.

For Shaam, social mrdia would be key to engaging audiences. Instagram reels, TikTok breakdowns, Twitter discussions these create conversations around the film.

And it’s not just about promotion. Engaging with film critique pages, cultural discussion forums, and activist groups advocating against honor-based violence could help Shaam reach the right audience. By framing it as both a psychological drama and a social statement, it builds deeper connections beyond just viewership.

INTERVIEWER: Shaam isn’t just a film it’s an experience. What do you hope audiences take away from it?

ME:
I want Shaam to leave people unsettled not just because of its eerie atmosphere, but because it forces them to reflect on morality and justice.

Ali’s struggle isn’t just his own. It represents a larger, societal issue the fear of standing against tradition, the cost of doing what’s right. If audiences walk away questioning their own perceptions of guilt and honor, then the film has done its job.

And ultimately, by distributing it strategically through festivals, streaming, and social media Shaam has the potential to not just entertain, but to challenge perspectives and start conversations.

 (Closing shot: Me smiling as the audience applauds.)

Credits:

Produced by: Hiba Rashid
Directed by: Hiba Rashid