Filmmaker Yassa Khan shares his journey from graphic design to cinema, creating deeply personal, visually stunning films like PINK, blending identity, resilience, and powerful storytelling, with Vinta Nanda.

Welsh-Pakistani filmmaker Yassa Khan brings his unique perspective as a gay artist to the world of cinema. From his acclaimed short film PINK, inspired by his life, to documentaries like COSMOTO and OVERHEATED, Khan’s work resonates with heartfelt narratives, striking visuals, and themes of identity. A former graphic designer for global brands like Gucci and McQueen, he transitioned to filmmaking during lockdown, exploring stories that inspire change and connection. Let’s get into this compelling interview to discover how Khan turned his personal experiences into a cinematic masterpiece.

Yassa Khan’s journey as a filmmaker is as extraordinary as the stories he tells. Welsh, Pakistani, and gay, Yassa draws from a turbulent childhood to craft deeply emotional narratives imbued with respect, sensitivity, and a signature visual flair. From short films and documentaries to music videos and commercial work, his oeuvre showcases a mastery of storytelling that balances grandeur with intimacy, often exploring themes of identity and connection.

Khan’s creative style is rooted in his early career as a graphic designer and art director, where he worked with global advertising agencies and iconic fashion brands like Gucci, McQueen, and Comme des Garçons. This background informs his striking, almost kaleidoscopic visuals, evident in acclaimed works like COSMOTO, a short documentary spotlighting Zambian anti-poaching officers, and his latest feature documentary, OVERHEATED. Featuring Billie Eilish, Vivienne Westwood, and Yungblud, this climate-focused film, created in partnership with WeTransfer, received global praise for its urgent message and cinematic brilliance.

But it is PINK—a short film based on Yassa’s own life—that he considers his magnum opus. Rooted in the true story of a fleeting 24 hours spent with his estranged, bank-robbing father after a 12-year prison sentence, PINK explores themes of crime, pain, love, and self-discovery. The film culminates in a pivotal moment: Yassa coming out to his father, a revelation that profoundly reshaped their relationship and helped Yassa embrace his identity.

For Khan, PINK is more than a film—it is a tribute to acceptance and the enduring impact of love in even the most unexpected circumstances. With its dream-like sequences and bold aesthetic, PINK pushes the boundaries of short-film storytelling. Yassa's meticulous attention to detail shines through in everything from casting Welsh actress Alex Roach as his mother to bringing Gordon Warnecke, of My Beautiful Laundrette fame, to embody his father.

I had a conversation with him that follows. Over to Yassa Khan…

Vinta Nanda: What drove you to make PINK?

Yassa Khan: Since the actual events happened in 2001, I had told friends about the story, which people couldn’t believe was true. Even in those early days, I knew that the story had a cinematic edge. During lockdown, after years of thinking of it as a film, I started writing a feature script about life that included the events depicted in PINK, which was called DAFFODIL. I knew that to get people interested in DAFFODIL, I would need to make a proof of concept. There were a few options within the feature script, but PINK was the one I thought could have the most to offer as a stand-alone short film. Additionally, at the beginning of last year, my father was diagnosed with Alzheimer’s, which was an additional push for me to make it. So, I applied for funding and raised the extra money myself to make it in June of last year.

Vinta Nanda: Tell us about your transition from a celebrated graphics designer to becoming a filmmaker — the differences in processes and the similarities in the creative approaches.

Yassa Khan: I was a graphic designer for almost 20 years before I made the leap to filmmaking during lockdown. It is an incredible craft that teaches you multi-disciplinary skills. Not only did I learn about fonts and design but also art direction and image creation. I would spend my days consuming imagery to find solutions to specific briefs and tasks. Ultimately, I think that has translated into my work, particularly in my use of colour and graphic framing within my film work.

Vinta Nanda: PINK is largely autobiographical. Was it easy to draw from the well of personal experiences, or did you face challenges while internalising the story before putting it out for the world to see?

Yassa Khan: The age-old quote is “Write about what you know,” and I knew from talking to people about my life and how I told the stories over the years that I had to do something with it. Because I have never shied away from my turbulent past, it was relatively easy for me to put it out there. In some way, it’s also been my form of therapy. Writing your life in a script form helps you really evaluate what happened with a fine-toothed comb. The most incredible and moving thing about PINK was initially writing the script, then seeing actors play out my life in front of my very eyes. It was one of the most surreal and cathartic experiences I’ve ever had. Watching some scenes was very emotional, and I’m not ashamed to admit that I cried a lot during some takes. In others, I couldn’t have been happier and prouder.

Vinta Nanda: You have worked with some of the biggest brands in the world and then turned to independent cinema, which is a whole other culture of work. Can you walk us through the journey?

Yassa Khan: I started studying graphic design in Sheffield, UK, and moved to London in 2002 for my first graphic design job with a property firm in Mayfair. After two years there, I started working for more fashion-focused brands and eventually worked as a designer for the Gucci Group, handling brands like McQ, Stella McCartney, and YSL. I was then offered a job at Grey London, a huge advertising company. I quickly rose through the ranks and took a job in Grey Ecuador as Head of Art. After a year there, I returned to the UK to work at Droga5, another advertising company in London. I stayed for five years, but when the lockdown hit, something snapped in me. Like many people, I realised this job wasn’t for me. I began writing and making small films and was signed to Camp Productions, where I pitched for my first job: a music video for Pet Shop Boys. From there, I started making documentaries and commercial work, culminating in PINK late last year. I’m now focusing on making the feature DAFFODIL.

Vinta Nanda: Tell us about your films COSMOTO, OVERHEATED, and the one with Coca-Cola — short answers on how you tackle such a diversity of subjects.

Yassa Khan: I’m passionate about making films about subjects that directly affect people. COSMOTO was an incredible experience—understanding the sacrifices made by anti-poaching officers sworn to protect wildlife while being ostracised by their communities. Seeing their unwavering commitment and passion was inspiring. OVERHEATED was incredible in a different way—showcasing the passion for change among gigantic pop stars and tribesmen from the Amazon. I wanted to make a film that spoke to younger generations in a way that was heartfelt, abstract, and attention-grabbing without being preachy or “woke.” One of the most challenging and rewarding films I made was JUST A GIRL, about child marriage in Nigeria. The resilience and hope of the young girls I met during that trip have stayed with me.

Vinta Nanda: How important, according to you, is the film PINK? People worldwide must watch it, right?

Yassa Khan: I think PINK has struck a chord with people and festivals because it tells a tale not usually told in queer cinema. It has drama but also hope and love at its core. It was important for me to stay true to fact and show that even fleeting moments of love can affect and change you forever. To me, it’s the most important piece of work I’ve done, and I hope more people can watch it in the coming year.

Vinta Nanda: Dive into your life of being Welsh, South Asian, and gay, and tell us how you level out with the contradictions and similarities.

Yassa Khan: Being gay, Welsh, and South Asian are badges that I wear with pride. It’s a rare mix that I hope gives me unique insight into people and the emotions they feel. That’s what I’m focusing on in my narrative work for the coming year. 

After 20 years of envisioning this project and eight months of relentless dedication, Yassa has transformed a deeply personal, beautifully traumatic memory into a cinematic masterpiece. With PINK, he invites the world to witness not just his story, but a universal tale of identity, reconciliation, and the power of love.