Popular drama Dar e Nijaat faces public scrutiny over its portrayal of female redemption, prompting lead actress Durefishan Saleem to address the ongoing controversy.
The drama Dar e Nijaat has sparked considerable debate across Pakistani television, particularly concerning the evolving relationship between Zaryab and Abu Bakr. Viewers are actively discussing the narrative’s portrayal of Abu Bakr as a ‘knight in shining armour’ figure, entering Zaryab’s life to rescue her from mental distress after Zamil’s marriage to Hamna. This saviour trope has drawn significant criticism towards writer Umera Ahmed.

Durefishan Saleem, the talented actress who embodies the character of Zaryab, has quickly risen to prominence in the Pakistani entertainment industry. Known for her compelling performances in various dramas, she has garnered a loyal fan base. Her portrayal of complex characters often resonates deeply with audiences, and she frequently engages with her followers on social media, including her official Instagram account, Durefishan Saleem.

The core of the criticism against Dar e Nijaat revolves around the perceived message that women require a man to ‘save’ them during challenging times. Many viewers expressed discomfort with this narrative, advocating for female self-reliance and empowerment. Comments flooded social platforms, with one user stating, “Love Dar e Nijaat but I hope the writer has not showed that a man will save you.” Another echoed, “Heal yourself. No man is coming to save you,” emphasizing the importance of individual healing. In response to this growing sentiment, Durefishan Saleem addressed the backlash directly. While agreeing that women should indeed find their own worth, she clarified that the story also aims to highlight the double standards often applied to the redemption arcs of women versus men in society.


As the debate continues to unfold, it prompts a broader conversation about narrative responsibility in Pakistani dramas and the messages they convey to a vast audience. What are your thoughts on Durefishan’s perspective, and how do you believe such storylines should be approached in contemporary television?






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