The Invisible Hand: Umair Bilal’s Surrender to Sehwan

Pakistani filmmaker Umair Bilal’s experience in Sehwan, a Sufi shrine town, changed him – and his film, “As Light as Air,” forever. Unlike many documentaries, which impose a narrative on their subject, Bilal’s film eschews traditional structures for an immersive experience.

The Sensory Fragmentation

Bilal’s journey began with sensory impressions: people praying in deep absorption, the smell of burning incense, and devotional music. These fragments stayed with him long after he left Sehwan, and it was only later that they took on significance. “As Light as Air” is not about documenting events but capturing the emotional and visual world of Sehwan.

Becoming Part of the Rhythm

Bilal’s method evolved through an improvised approach with co-cinematographer Konstantin Stell, who stood at intersections to ask which street was calling them. This intuitive approach carried over into editing, where Bilal worked with Siddhant Sarin to reinterpret footage for immersion.

The shift from filmmaker to participant happened gradually, but the result is a film that blurs observer and observed. “I was no longer standing outside Sehwan trying to explain it,” Bilal says of the moment he stopped feeling like a director making a film. “I had become part of its rhythm.”

A Film without Boundaries

Bilal’s approach respects the spiritual nature of Sehwan, where weeks were spent establishing human connections before shooting began. This attention to detail is evident in the deliberate omission – the 2017 ISIS suicide bombing at the Lal Shahbaz Qalandar shrine.

Instead of dwelling on tragedy, Bilal explores the resilience that lies beneath Sehwan’s surface. “The film wasn’t simply the product of my own intentions,” Bilal says, recalling a Malang who suggested it was Qalandar, not Bilal, who had called him to Sehwan.

A Pakistani Perspective

Bilal draws on his Pakistani heritage and lineage in his work, citing Dziga Vertov, Mani Kaul, and Gianfranco Rosi as influences. “If ‘As Light as Air’ adds even a small voice to that ongoing conversation, I would feel incredibly fortunate,” he says.

Implications for Documentarians

Bilal’s approach challenges traditional notions of narrative and structure in documentary filmmaking. His film invites viewers to participate rather than simply observe, immersing them in the world of Sehwan. “The film asks audiences to inhabit a place instead of constantly asking, ‘What happens next?’” Bilal says.

In an era where spectacle often eclipses substance, “As Light as Air” offers a refreshing alternative – one that encourages viewers to engage with the process rather than merely observe it.