When a film draws global praise and still can't be shown where its story is set, the dissonance says more than any censor board ruling ever could.
Ghost School, the 2025 Pakistani drama written, directed, and produced by Seemab Gul in her feature debut, stems from her documentary background and personal encounters with abandoned schools in rural Pakistan. The Sindh Board of Film Censors has refused to grant the film a public exhibition certificate, calling it unsuitable for viewing. No specific reasons were cited. That silence is, in its own way, louder than a formal objection.
The film had its world premiere at the 2025 Toronto International Film Festival on 8 September. Its European premiere followed at the 76th Berlin International Film Festival on February 16, 2026, in the Generation Kplus section. It also screened at the Red Sea International Film Festival in December 2025. International audiences have seen it. Sindh, where the story originates, cannot.
Set in a rural Pakistani village, the story follows ten-year-old Rabia, who discovers that the only school in her community has suddenly been shut down. Rumors spread that the building is haunted and that a jinn has possessed the teacher, but Rabia begins questioning those explanations as the adults around her offer evasive answers. The supernatural framing is deliberate. What Rabia actually uncovers is something far more banal and far more damaging.
"Ghost schools" are educational institutions that exist only in name, their buildings standing empty while corrupt officials pocket government funding and teaching salaries. An estimated 30,000 such schools are spread across Pakistan, with around 7,000 in Sindh alone. According to UNICEF, 25.1 million children in the country aged five to 16 do not attend school. The film turns those statistics into something visceral and personal through a child's eyes.
Gul conceived the project while traveling through Pakistan in late 2022, making short films for Greenpeace International about devastating floods that killed more than 1,700 people across Sindh and Balochistan. She has recalled encountering resistance from the start: "I came across many brick walls, with people either denying the existence of these schools, or telling me not to expose something that may shame Pakistan."
Gul is a British-Pakistani filmmaker who grew up in Karachi and moved to the UK for her late-teen education. She holds a BA in Fine Art and an MA in Filmmaking from the London Film School. An alumna of Locarno Open Doors, Berlinale Talents, and the Venice Biennale College, she is known for the short film Sandstorm, which won 20 festival awards. She is currently developing an English-language feature with Film4.
Ghost School was largely self-funded and supported by grants, including a €25,000 completion grant from the MOIN Film Fund and additional post-production backing from the Red Sea Fund. French-based MPM Premium acquired its international sales rights before the Toronto premiere. For a modest debut, the trajectory has been remarkable.
Pakistan's censorship landscape makes this kind of ban structurally possible. Since the Eighteenth Amendment to the constitution, the federal Central Board of Film Censors has limited jurisdiction, with separate provincial boards in Punjab and Sindh handling their own territories. This fragmented system has resulted in unequal standards and variations of jurisdiction, with films sometimes passed in one province and disapproved in another. The Sindh board's decision on Ghost School does not automatically prevent screenings elsewhere in the country. But the province where the crisis is most acute is now the one place where the film cannot be seen.
The ban has drawn public outcry over artistic freedom and perceived suppression of a documented social issue. Sindh itself recently moved to dismiss over 10,000 ghost employees from its School Education Department after they failed to justify prolonged absence. A film confronting the same dysfunction, it seems, is less welcome than the bureaucratic cleanup.
Gul has not yet publicly responded to the ruling. Given her track record, though, quiet is unlikely to be permanent.
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![Square Enix has officially denied using generative AI for the controversial box art of the upcoming Kingdom Hearts Collection [I~III]. In a statement shared with GameSpot, a company spokesperson categorically blamed "human error" for the visual flaws and confirmed that updated, cleaned-up assets have already been distributed to retailers.Despite the corporate statement, many fans remain deeply skeptical due to the singleSquare Enix has officially denied using generative artificial intelligence for the upcoming Kingdom Hearts Collection [I–III] cover art, attributing the visual glitches strictly to "human error".Following the bundle's reveal during a Nintendo Direct presentation, the community quickly flagged several bizarre anomalies in the promotional imagery. Despite the official clarification, the controversy highlights an intensifying player skepticism toward major publishers and digital asset quality control.The Core DetailsThe Accusations: Fans noticed telltale signs commonly linked to AI-generated images on the original box art. These included Donald Duck having an incorrect number of fingers, distortions on Sora's shoes, and nonsensical background geometry like a warped clock tower.The Official Response: In an exclusive statement shared with GameSpot, a Square Enix PR representative clarified, "These assets were created by our development team without the use of generative AI, and the issues resulted from human error."The Ongoing Doubts: While updated cover art was swiftly sent to retailers to fix glaring mistakes like Donald's hand, fans on platforms like Reddit point out that other oddities remain. Many suspect the image may have undergone an automated or poorly supervised AI upscaling process, rather than being built by AI from scratch. An official promotional banner for the Kingdom Hearts Collection [I~III] video game compilation features a dynamic, multi-panel comic-book style collage celebrating the sprawling Disney and Square Enix crossover franchise.The image is segmented into several distinct, stylized panels against a dark background, anchored by a prominent, stylized golden title text at the top center reading "KINGDOM HEARTS Collection [I~III]". In the center panel, the main protagonist, Sora, leaps forward with an energetic expression, thrusting a clenched fist toward the viewer while his signature weapon, the Keyblade, rests behind him. He sports his classic outfit with red shorts, a black and white hooded jacket, and oversized yellow and black shoes. Flanking him in the central action are his loyal companions: Donald Duck, dressed in blue wizard attire and brandishing his magical staff, and Goofy, wearing his green turtleneck and orange vest, smiling wide with an open hand extended. Above them, silhouetted against a massive, bright full moon, is the iconic shape of King Mickey.The surrounding panels showcase various iterations of Sora alongside beautiful, scenic backdrops from the series. To the left, a panel shows a slightly older Sora standing on a wooden pier overlooking a vast, vibrant blue ocean beneath a sunlit sky with fluffy clouds. To the right, another panel depicts Roxas (or Sora in his Twilight Town attire) leaping playfully through the air against a warm, golden-hour sky, with the intricate, clock-tower architecture of Twilight Town visible in the lower right corner. The top-left corner panel contrasts these bright scenes with a dark, moody depiction of a towering, neon-lit skyscraper under a deep purple and red twilight sky, while the top-right panel shows a silhouetted castle perched on a distant cliff against a dramatic orange sunset. The entire composition balances high-energy character art with nostalgic landscapes, capturing the magical and adventurous essence of the series.](https://pakistaniart.pk/media/square-enix-has-officially-denied-using--1785783523740.webp)