Naveed Ahmad Khan
The Russian Embassy in Islamabad recently hosted a free screening of Baby (Малыш) at Centaurus Cineplex, Islamabad, with English subtitles. The screening provided Pakistani audiences with an opportunity to experience a Russian war drama and gain a different perspective on the conflict involving Ukraine. The film was warmly received by the audience, particularly for its emotional storytelling and intimate portrayal of its central character.
Directed by Andrei Simonov and released in February 2026, Baby tells the story of Pavel Chertok, a young commander from Donetsk who became involved in the conflict at a remarkably young age. Rather than relying entirely on large-scale battle sequences or conventional war-film spectacle, the movie focuses on the human consequences of conflict and the psychological burden placed on a young person confronted with extraordinary circumstances.
One of the film’s notable strengths is its character-driven approach. Chertok is presented not simply as a military figure or political symbol, but as a young individual dealing with fear, responsibility, loss and difficult choices. The restrained performance and quiet moments allow the emotional dimension of the story to emerge naturally.
The cinematography further strengthens this atmosphere. Muted colours, wintry landscapes and naturalistic lighting give the film a sombre, almost documentary-like quality. Scenes set in Donetsk and Makeyevka feel grounded rather than excessively stylised. The sound design is equally effective, particularly in its subtle use of distant explosions and battlefield sounds to create tension without overwhelming the narrative.
For Pakistani viewers, the screening was also an opportunity to engage with a perspective on the Russia-Ukraine conflict that is less commonly encountered in mainstream Pakistani cinema. At the same time, viewers may benefit from remembering that the film presents a particular Russian perspective on a highly contested conflict rather than serving as a neutral historical account.
Ultimately, Baby works best as a human drama. Its strongest moments are not necessarily those involving warfare, but those that explore the emotional cost of conflict and the pressures placed on young people by circumstances beyond their control. The Islamabad screening demonstrated the value of cultural exchanges such as cinema in encouraging audiences to explore different perspectives on complex international events.
As a war drama, Baby leaves its strongest impression through emotion, atmosphere and character rather than spectacle, making it a thought-provoking film for audiences interested in both cinema and contemporary history.
