You started your career as a pharmacist. What inspired the leap from pharmacy to filmmaking, and how did that transition unfold?
When I became a pharmacist, it felt like I had “made it” at least on paper. By the age of 24, I had my degree, my professional title, and a stable job. My life felt mapped out. But underneath all of that, there was this quiet feeling that something was missing.
I’d always loved storytelling – the way films could make you laugh, cry, or see the world differently, and I wanted to create that for others. The problem was, I’d built my life around the idea of security and stability, so making a change felt reckless… until it started to feel necessary.
One day, I realised: life wasn’t supposed to be “complete” by 24. I didn’t want to look back decades from now and wonder what could have been if I’d told my own stories. That’s when filmmaking stopped being a daydream and became something I had to try, even if it terrified me.
“The moment I stepped on set, I was hooked.”
You’ve mentioned that the only way you could get on-set experience was to make your own film. Can you tell us a little bit more about your experiences that led to this decision?
At the time, I had zero on-set experience, not a single day. I wrote a script inspired by my own life and, on a whim, sent it off to a Hollywood screenwriting competition. I wasn’t expecting anything, but they loved it.
Through that, I was introduced to an American filmmaker, Mike Cassidy, who was working on a short in the US. Out of nowhere, he invited me to join him on set. I flew out there having no idea what to expect, and the moment I stepped on set, I was hooked. I remember watching the cast and crew move in perfect sync, seeing scenes I’d only read in scripts come alive. It was magic.
When I came back to the UK, I couldn’t shake the experience. That’s when I decided to make my own film. I didn’t have all the answers, and it was unbelievably nerve-wracking, but that first step is what set everything else in motion.
“Trusting myself was the hardest part.”
What was the biggest challenge in making your first film, especially coming from a non-traditional film background?
Trusting myself. That was the hardest part. I walked onto my own set without really knowing what anyone’s job was. I didn’t research crew roles in detail; I just knew the story I wanted to tell and trusted that instinct to guide me.
It’s strange, you can feel completely out of your depth and totally at home at the same time. I made mistakes, but I also learned that storytelling is bigger than technical knowledge. If you can connect with people, make them believe in the world you’re creating, you can build everything else around that.
Looking back, how did your experience in healthcare shape your perspective as a storyteller and creative?
Healthcare teaches you to listen, really listen. You meet people at some of the most vulnerable points in their lives, and you have to be present not just for their words, but for their silences, their expressions, their fears.
And then there’s communication. As a pharmacist, you need to be clear, calm, and empathetic, especially when the person in front of you is overwhelmed or anxious. Directing is no different. You’re guiding actors, crew, and sometimes complete strangers through a shared vision. The best days on set are the ones where everyone feels heard and understood. That’s something healthcare ingrained in me.
What inspired you to start Dynamiq Films, and what kind of stories do you hope to champion through the company?
Dynamiq Films was born out of a desire to tell stories that matter, ones that feel authentic, human, and socially relevant. I’ve always been drawn to the social side of filmmaking: how a story can spark a conversation, make you see yourself in someone else’s shoes, or reveal a truth you hadn’t considered before.
With Dynamiq, I want to create films that bridge gaps between cultures, between communities, between perspectives. Stories that stay with you long after the credits roll.
“We’re filmmakers — full stop. Our stories deserve to be seen as universal, not niche.”
As a British Muslim filmmaker, have you felt any pressure – internal or external – to represent your community a certain way?
Yes, without a doubt. There’s an unspoken pressure that every project I make is somehow representing my entire community. I feel it with my current films, and I know I’ll feel it with future ones.
But here’s the thing: while our heritage and faith are part of who we are, we shouldn’t be boxed in by them. One thing we need to move away from is being known purely as “Muslim filmmakers.” We’re filmmakers, full stop. Our stories deserve to be seen as universal, not niche.
Do you think the UK film and TV industry is becoming more open to Muslim stories and storytellers, or is there still a long way to go?
There’s still a long way to go. Yes, there’s progress; we’re seeing more Muslim characters and stories than before, but we need more variety and authenticity. Too often, our stories are filtered through someone else’s lens. We need to tell them ourselves, with our voices, our perspectives, and our complexity intact.
How would you describe your journey in the film industry so far?
It’s been fantastic, challenging, unpredictable, but deeply rewarding. I’ve gone from not even knowing what a clapperboard was to leading projects I’m proud of. I’ve been rejected, I’ve doubted myself, but I’ve also had moments on set where I’ve looked around and thought, “This is exactly where I’m supposed to be.”
Every project, every mistake, every small win, it’s all been part of building something real. And the best part? I feel like I’m just getting started.
“Don’t wait for someone to give you permission”
What advice would you give to others from underrepresented backgrounds who want to move into the creative industries but don’t know where to start?
Just go for it. Don’t wait for someone to give you permission. You don’t need the perfect camera, the perfect budget, or the perfect contacts. Start with what you have, even if it’s just your phone and a simple idea.
Once you’ve made something, you’re not just someone who wants to be a filmmaker – you are a filmmaker. And every step you take after that builds on the first.
What’s next for you and Dynamiq Films – are there any new projects on the horizon that you’re excited about?
Yes, I’m working on a short film called My Little Blue Heart, a story about a modern-day genocide, which is with the Sean Connery Talent Lab in Scotland, The NFTS and BBC Films. We’re currently in post-production and aiming to release the film at a festival in 2026. It’s a story that’s incredibly close to my heart, inspired by my trip to Bosnia in 2024.
I’m also developing my first feature film, which feels like the next big leap in my journey. It’s exciting, a little daunting, but exactly where I want to be heading.
