Private Project

Maya

After a childhood incident leaves her without any memories, Maya is adopted by an elderly couple, along with another orphan, Kalika, who she forms a sisterly bond with. Through feverish nightmares and unsettling events, Maya travels to Karachi and rediscovers her traumatic childhood through the grips of jinn (demonic) possession.

‘Maya’ focuses on themes including cultural and social issues, religion, mental health, and the supernatural. It also focuses on the representation of women in Pakistan.

EPK: https://www.dropbox.com/s/wvevm63gs5w1o37/Maya%20EPK%20Jan%2022.pdf?dl=0

  • K Pervaiz
    Director
    Black Lake
  • K Pervaiz
    Writer
    Black Lake
  • K Pervaiz
    Producer
    Black Lake
  • Madiha Hidayat
    Key Cast
    "Maya"
  • Ramsha Shaikh
    Key Cast
    "Kailka"
  • K Pervaiz
    Key Cast
    "Muskaan"
    Black Lake
  • Laura Pavone
    Colourist
    Spectre, Skyfall, Zoolander 2, Locke, The Double,
  • Tatsujiro Oto
    Sound Design
    Hitman 2, London Spy, Rohmer in Paris
  • Project Type:
    Feature
  • Genres:
    Horror, Supernatural, Drama
  • Runtime:
    1 hour 32 minutes 14 seconds
  • Completion Date:
    January 31, 2022
  • Production Budget:
    50,000 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    Pakistan
  • Language:
    Urdu
  • Shooting Format:
    HDV
  • Aspect Ratio:
    2.35 : 1
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
  • Renegade Film Festival
    Georgia, Atlanta
    United States
    March 5, 2022
    World Premiere
    Best Feature Film
Director Biography - K Pervaiz

K was born in London in the 80's and comes from a Pakistani background. She grew up watching horror movies and reading gothic, horror, and classic literature, with a particular interest in death rituals, since learning about the Ancient Egyptians and Norse Gods. She took a keen interest in Jungian Dream Psychology at the age of 12.

Over in Pakistan, K’s uncle owned a video store; she spent most summers in Pakistan watching as much as she could. She loved hearing stories and Pakistan was filled with tales of jinn and churail. Ancient mythology and world creation stories allowed K to look beyond what was familiar to her. K took to telling her own stories to friends and family from a young age, most often highlighting the more frightening elements of narrative whilst enjoying the oral storytelling tradition. She then later went on to writing short stories for her high school magazine.

Leaving home at the age of 17, she went to university with little money, to study literature, wanting to write fiction. K took an optional module for Film Studies which was a major turning point. Literature and film merged together in a university class about text to film adaptations, where she directed her first short film Man of the Crowd, based on the story by Edgar Allan Poe. The film was presented at a conference at the university in 2007. Although there was no practical filmmaking course available to at the time, K pursued filmmaking by following up with Obsidian, which she wrote, produced and directed for her third year dissertation, being the first undergraduate student at the time to make a film. This marked the birth of Bad Wolf Films. K has since written, directed, and produced, over 10 short films. Her short film 'Inside Out' is featured in the World of Death Anthology (2016) and Love Drug for a Death Waltz was screened at the 2017 Twin Peaks UK Festival.

K's work started to take on a meditative quality when she expanded to feature length films. Her art became a medium for her to tell socially relevant stories, collaborate with global artists, and offer healing and transformation to herself and audiences. K's feature film Black Lake, had its world premiere at the Women in Horror Film Festival in February 2020, and was nominated for 5 awards; 'Best Director', 'Best Film', 'Best Score' and the 'Indie Spirit Award'. Black Lake won 'Best Cinematography'. She completed the first cut of her debut feature film, Maya, in 2015, which after more financing and a re-edit, won 'Best Film' at Renegade Film Festival (formerly Women in Horror) in 2022, and K was awarded the George A Romero Fellowship for Maya at Salem Horror Fest in 2023. K returned to Black Lake in 2022 to work on a Director's Cut before moving on to her third feature (filming in November 2023), which she screened in March 2023 an extension of the Renegade Film Festival (out of competition) at the Atlanta Plaza Theatre, as a private hire.

As well as movies and cinema, K enjoys coffee, candy, and conversing with the dead. K is a self professed Jungian and alchemist.

Add Director Biography
Director Statement

When I decided to make the shift from short films to feature-length, I wanted to make sure my debut feature was personal and was also a unique cinematic offering, after all, the films I grew up enjoying the most were one of a kind.

As a British-Pakistani, young woman, who was infamous for scaring family members with horror stories, I knew my first feature film had to be about jinn. Not only had I never seen a film about jinn at the time, I also was fed up of seeing modern demonic possession films that I felt were over the top. Knowing that jinn possession was still very much alive in Pakistan today, I wanted to show some level of truth, grounded in at times, a documentary style of filmmaking to show audiences what life in Pakistan was like.

I flew out to Pakistan in 2013 and filmed a concept trailer based on some initial ideas and the most common jinn story I was told as a child. I had also starting a PhD around this time, and decided I’d use all my money to make the film instead because I believed so strongly in the story, and that it needed to happen as soon as possible.

I was really excited by my initial trailer and later in the year I raised some money through crowdfunding, only making enough money to cover a plane ticket to Pakistan, where I went to find cast, crew and get filming early 2014, self-financing the entire rest of the film. Despite the conservative nature of the country and the dangers of being a female filmmaker, I ran around markets, climbed up rooftops, and pulled other crazy stunts to get ‘Maya’ made, without a crew for most of the time. Any crew I did have were young women in the community who wanted to help with lighting on set, or help assist with equipment. I was lucky to find a cast who had not previously acted before, but were truly exceptional in portraying the emotions of the story, after all, for me the core story of ’Maya’ was about love despite the horror.