Usman Riaz didn’t set out to make history—he simply wanted to sketch. What began as a personal project a decade ago has evolved into a milestone for Pakistan: the country’s first hand-drawn animated feature film, The Glassworker. This groundbreaking film has drawn comparisons to Studio Ghibli’s finest works and recently premiered at the prestigious Annecy International Animation Film Festival before its theatrical release in Pakistan this July.
Set in a magical yet grounded world, The Glassworker follows the story of Vincent, a young glassblower, and Alliz, a violinist, whose bond is tested by the differences in their backgrounds. The film explores themes of nationalism, class struggles, and the pursuit of art, reflecting the challenges Usman himself faced growing up in post-9/11 Pakistan.
Drawing heavy inspiration from legendary Japanese animation studios and directors like Studio Ghibli, Hayao Miyazaki, Makoto Shinkai, and Satoshi Kon, Usman’s work is both an homage to the masters of hand-drawn animation and a deeply personal expression of his own experiences. He has often referred to the film as a “moving painting,” highlighting the intricate hand-drawn process that sets it apart from modern, computer-generated animation.
Founding Mano Animation Studios, Pakistan’s first hand-drawn animation studio, Usman Riaz took on the monumental task of bringing this film to life in a country with little infrastructure for the animation industry. Without government support, the journey has been a true labor of love, with Usman pouring a decade of meticulous work into the project.
Despite the challenges, The Glassworker has achieved something extraordinary. It represents not only a triumph for Usman personally but also a significant moment for the animation industry in Pakistan, signaling a bright future for hand-drawn animation in the region.
