Creativity doesn't just call to Amna Aslam — it is woven directly into her DNA. As the great-granddaughter of the legendary master painter Ustad Allah Bakhsh, she carries a profound artistic legacy that naturally tunes her eye to visual storytelling. Armed with an MS in Mass Communication from NUML, Amna’s career kicked off at a breakneck pace, launching her into the high-stakes world of national news anchoring for major TV networks.

Yet, realising the daily grind of the newsroom couldn't contain her true calling, she made a definitive leap of faith, trading Lahore's circuit for the buzzing, high-octane professional landscape of Karachi to pursue acting full-time. Alongside her on-camera pursuits, she also established herself as a versatile voice-over artist, using her broadcasting background to bring depth to audio narratives.

Following a year of relentless hustle, portfolio drops, and pivotal mentorship from industry figures like writer Ali Moeen and actress Kiran Haq, Amna landed her breakout role in Sirat-e-Mustaqeem. Since then, she has steadily built an impressive momentum, delivering versatile performances in serials like Mere Hi Rehna, Madawa, Munteha, Sambhal Jaa Ae Dil, and Sazawar. With upcoming projects like Ranjish and the short film Delete, Amna is firmly entering her main character era, proving that she is a formidable force to stay and play a long innings.

AK: You started in the high-pressure world of broadcast journalism. How did it help you carve your own niche?
AA: Anchoring gave me an incredible amount of raw confidence. The entire experience — the aura of being in a live studio, managing an entire program, and being on top of current affairs — gives you massive awareness. But eventually, it became a double-edged sword. Art has always been in my genes, and I started finding it hard to process the sheer negativity of the daily news cycle. When you are on air every day talking about blasts, murders, and horrific crimes, it takes a heavy toll on you. One day, I looked at myself and felt like I was becoming heartless just to survive the job. I realised my heart just wasn't built to witness that level of tragedy on a daily basis and remain unaffected.

AK: Was there a specific moment where you realised you absolutely had to leave the news industry?
AA: It was during the peak of the pandemic. I was running a severe fever and feeling completely helpless. I told my co-anchor and the production team that I was incredibly sick and felt like I was going to faint on air. Instead of [showing] empathy, they assumed I was just making an excuse to get out of work. I pushed through and finished the 12 o'clock bulletin, but I was at my breaking point. Thankfully, a female colleague came over, realised I was burning hot with fever, and immediately sent me home. That entire experience of institutional helplessness and lack of empathy made me realise that the newsroom was no longer the place for me.

AK: Moving from the cultural hub of Lahore to the massive, cut-throat metropolitan industry of Karachi is a massive leap for any artist. How challenging was that transition for you?
AA: I am a big believer in manifestation — I manifest my path. But let’s be completely honest: the transition was filled with hurdles and constant challenges. If I had allowed myself to sit and obsess over those struggles from morning till night, it would have broken me. Instead, even on the days I spent crying, I made sure to fall asleep with a sense of hope, waking up the next day telling myself, "I can do this."

AK: Acting in intense, emotionally draining dramas can take a heavy toll on a performer. How do you penetrate into a character once the director calls ‘action’?
AA: It is actually very easy for me; I don't let characters linger. I know exactly how to step out of a role immediately because of years of disciplined practice. A major reason for this agility is my background as a dubbing and voice-over artist. To date, I have dubbed over 35 international projects, including Turkish, Spanish, Arabic, and Lebanese dramas. Voice acting forces you to switch emotions instantly, page by page. Because of that training, I can step into a character and switch right back out of it in a heartbeat. I don't prolong the emotional weight or carry it home with me year after year, like some people do.

AK: What makes you say ‘yes’ to a project? Is it the production banner, the cast, the script, or the role?
AA: For me, the script absolutely has to be the solid first — that is the foundation. Once the script works, you look at the character. I strongly believe there should always be a collaborative session between the writer and the entire cast. Actors need to interact with the creator to understand the original vision, the core idea, and what is going on in the back of that character's mind. You want to hear it straight from the source, not just through production intermediaries.

AK: Which has been your favourite role to play so far? Can you break down the emotional arc of that character and why it was so artistically fulfilling?
AA: It was the character of Mantaha in Sambhal Jaa Ae Dil. It was such a beautifully layered character of a brave young girl who falls in love with her nanny's son and sneaks out under the guise of taking tuition classes to meet him. Her mother is incredibly strict and controlling, and when she finds out about the romance, she poisons Mantaha. Prior to that project, I felt like I hadn't truly been given a character that allowed me to push my boundaries. The dramatic intensity of those final sequences and the sheer emotional weight of the role gave me my first real opportunity to perform and prove what I can do as an actress.

AK: Do you feel an actor has the power to elevate a character that might seem weak on paper?
AA: Definitely. Even if a character isn't written exceptionally well, as an actor, you should possess the capability and the skill to make it strong. That only happens when you deep-dive into your research and thoroughly study the role before ever stepping onto the set.

AK: When approached by legendary directors, is it intimidating to ask questions about your role, or do you stand your ground?
AA: The very first question I always ask is: What is the arc of this character? It doesn't matter how massive the brand is or how legendary the director is. Some people might hesitate and think "a major production house has locked me for a project, so I should just be grateful and say ‘yes’." But I view it differently. Knowing my character and its arc is my right as an artist.

AK: Do you think big directors appreciate that kind of directness from an actor?
AA: They appreciate it when an artist asks substantial questions about the character rather than just asking about the commercial aspects or the budget. They respect the craft. If you don't ask, you might arrive on set only to realise your "big role" amounts to just putting on make-up and serving a cup of tea in the background. You have to advocate for your character. I would honestly decline a role unless I am given a proper script and a clear understanding of my character's trajectory.

AK: How much of a difference does the director make when you're dealing with difficult on-set environments?
AA: The director sets the entire tone [on set]. For example, I am currently working on a project with Zeeshan Zaidi, and he is a remarkably lovely director. He has a strict rule: no matter how minor an actor's role is, nobody is allowed to overtake or overshadow them. He respects that every actor has lines and deserves their moment to perform. Working with a director like that is a pure joy.

AK: Beyond television, you’ve also dipped your toes into a short film for festive cinema. Can you tell us about your new project “Delete”?
AA: It’s a psychological study centered on women who fall into deep, consuming love and end up spiraling into intense psychosis. The narrative explores the heavy theme of mental trauma — specifically how a person experiences psychological fracturing and attempts to systematically "delete" painful chapters and people from their life to survive. It was shot specifically for the international festival circuit, and I am incredibly proud of it.

AK: You’ve worked with a mix of veteran actors. What has your experience been like with the industry seniors?
AA: Working with veterans like Nida Mumtaz and Sabahat Bukhari has been an absolute dream. They are pure love and total gems. Before working with them, I didn't realise how close and supportive senior actors could be. They treated me with so much warmth and instantly made me feel like a buddy on set. There is zero ego with them, just pure beauty and mentorship.

AK: Many actors find themselves trapped in the same repetitive roles. Why do you think typecasting is so prevalent?
AA: In our industry, there is a strong tendency to make writers play it safe, which leads to them repeating successful formulas over and over again. Production houses find a template that works and they want to continue doing the exact same thing. Personally, I’ve fought hard against that. I started with a negative character, then shifted to a positive one, went back to negative, and then positive again. I firmly believe an actor should diversify their portfolio early on. It keeps you sharp and versatile.

AK: What genre do you feel ultimately suits you best — serious drama or comedy?
AA: Honestly, I believe I can adapt to all of them. I don't want to limit myself to just one lane. I recently explored a television comedy project and it was an amazing experience. Because I am originally from Lahore, my Punjabi is very natural, which allowed me to completely break free from the script. I was improvising, adding my own punchlines, and creating jokes on the fly.

AK: You also have a very active presence on Instagram where you do a lot of comedy. How is that ?
AA: I love posting comedic content on Instagram because it’s a fun, instant way to connect with people. But I definitely do not want to be boxed into doing comedy forever. I view myself as a versatile artist, and while the digital sketches are great for engagement, my ultimate focus is on serious, performance-driven acting roles.

AK: In our society, there is often immense pressure on young women to settle down. How do you handle the conversation around marriage?
AA: When my father initially brought up the topic of marriage, I told him that I want to make something of myself first. I am completely obsessed with my career right now, and I refuse to be dishonest with it. To bring another person into my life at this stage wouldn't be fair because all my love and energy are poured into acting and chasing substantial projects. Of course, marriage is a beautiful reality of life and a union blessed by Allah, but I believe in waiting for the right time. You should understand yourself and your trajectory [in life] before taking that step.

AK: It can be notoriously difficult to convince parents to hit pause on marriage proposals. How did your family react to your decision?
AA: I am incredibly fortunate. My mother has already fulfilled all her major familial desires with my siblings, so she just tells me to focus on enjoying my life. My elder sister is also an immense pillar of support. They both agree that when it has to happen, it will happen organically. It is all in Allah's hands, so why rush it?

AK: Speaking of storytelling, what do you consider your proudest achievement during your academic years?
AA: It was securing the first position in my department for my final MS thesis. My university years allowed me to truly shine. I independently researched, scripted, and directed a comprehensive documentary on the life of the legendary, Ustad Nusrat Fateh Ali Khan. Tracking down archival material for a figure as massive as him was an incredible challenge for a student. It was an exhausting but deeply rewarding process. I had to hunt down rare archives, pitch to television stations to access their vaults, and compile extensive research entirely on my own.

AK: What do you enjoy doing in your leisure time?
AA: Reading is one of my greatest passions and my favourite way to unwind. Above all, the Holy Quran holds the most special place in my heart, as it provides guidance, wisdom, and inner peace. I also enjoy reading books that inspire personal growth and self-reflection. Among my favourites are The Secret and The Power by Rhonda Byrne, both of which encourage a positive mindset and gratitude. I also greatly admire writer Fyodor Dostoevsky, especially for White Nights, which beautifully captures human emotions and longing. The timeless works of Charles Dickens and Franz Kafka have also influenced me through their profound observations of society, human nature, and the complexities of life.

With over 20 years of experience in the entertainment industry, the writer is a seasoned freelance journalist. For inquiries or feedback, he can be contacted at: [email protected]