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Waiting for Sunrise (2005)

Waiting for Sunrise is a short documentary covering a wide range of Social and political subjects - Kids are living in shanty towns, abused and living in extreme poverty.



1 nomination. See more awards »


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Waiting for Sunrise explores extreme poverty in Lahore, Pakistan. Children without parents live in slums, cold and unloved, begging in order to stay alive as they endure verbal and physical abuse to earn enough money to live each day. These issues are rarely dealt with on such a personal and emotional level. Lahore and its collection of people becomes a character for this short documentary. Written by Tabitha Powers Ahmad

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Plot Keywords:

poverty stricken | See All (1) »


Waiting for Sunrise deals with the poor and dispossessed - and really the poorest of the poor in Pakistani (urban) society







Release Date:

28 September 2005 (UK)  »

Box Office


£2,500 (estimated)

Company Credits

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Technical Specs

Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


Waiting for Sunrise won the UNICEF award for Best short film and was also shortlisted for one of the film world's most distinguished awards - the Grierson Awards for documentary in 2006. The budget in total was 2,500 pounds including flight tickets and post production. See more »

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User Reviews

Waiting for Sunrise is about the lives of impoverished children in Pakistan
14 January 2013 | by See all my reviews

Waiting for Sunrise is both powerful and sensitive. Its power lies in the film's unflinching look at the lives of the poverty stricken street children of Pakistan. It does so, though, with a sensitivity which allows each child to tell his story with a dignity and honesty which engenders a deep sympathy in those who hear the children's stories.

The viewer cannot fail to identify with the children's plight, which the camera brings up close and personal. Yet, at the same time, the children, themselves, show an intelligence and courage, which is touching, considering their circumstances. Their lives are grim, indeed, and yet there is hope.

An elder expresses deep and warm regard for the children, which, after hearing their stories is understandable, for who then with any feelings at all could not care about them? In this lies their hope, one that seems fragile as presented by the film, but also seems possible. Nevertheless, the film leaves the viewer with a sense of hope, rather than despair, which is the hallmark of any great work of art. That the filmmaker achieves this with a delicate and unobtrusive touch is remarkable. I will be looking forward to seeing more work by this filmmaker. Aneel Ahmad.

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