What Are Pakistanis Watching on Netflix in June 2025, And Should You?

For Netflix users in Pakistan, June 2025 has been an exciting month. A glance at what most Pakistani Netflix users are watching reveals a fascinating blend of local hits, regional favorites, and global sensations.

The streaming scene in the country is changing quickly, and Netflix is leading the way in how people watch movies and TV shows. As of June 22, 2025, let’s take a closer look at what people in Pakistan are watching and go into detail about the most popular movies and TV shows.

More importantly, let’s look at the trends behind these choices and see if we can find some helpful tips for viewers as they explore this ever-growing library of content.

The Top 10 Unveiled: A Glimpse into Pakistani Viewing Habits

As of June 22, 2025, data from FlixPatrol highlights an intriguing mix of Indian films, international animations, gripping documentaries, and beloved returning series that are ruling the charts. This snapshot serves as a valuable insight into the country’s varied viewing tastes, showcasing the immediate effects of new releases alongside the lasting charm of old favorites.

Netflix Top 10 Movies in Pakistan (June 22, 2025)

Netflix Top 10 TV Shows in Pakistan (June 22, 2025)

One striking takeaway from these lists is just how many Indian productions are making waves. A large chunk of the top 10 movies, like Jaat, HIT: The Third Case, Deva, Jewel Thief – The Heist Begins, and Retro, are all Indian.

This trend carries over to TV shows too, with The Great Indian Kapil Show, Rana Naidu, and C.I.D. taking center stage. The sheer number of these titles in both categories highlights a strong and ongoing cultural connection. It’s not just about a few standout hits; it shows a widespread preference for content from the Indian subcontinent.

This points to a powerful attraction that stems from shared languages, cultural nuances, and the broad appeal of Bollywood and Indian TV stars. It also sheds light on reports suggesting that Pakistani viewers lean towards “foreign content,” as “foreign” here often includes culturally similar Indian offerings, not just Western productions. Another interesting thing to note here is that even though the neighboring countries are not on the same page diplomatically, the culture and arts spread without bounds.

The “days on chart” data paints a picture of diverse viewing habits. There are fresh releases like KPop Demon Hunters (2 days) and The Waterfront (2 days) that are sparking immediate buzz and viewership.

At the same time, long-time favorites like Ginny & Georgia (111 days), Rana Naidu (88 days), and C.I.D. (79 days) continue to hold their ground. This shows that while new content grabs quick attention, a significant number of viewers are still hooked on ongoing series or are discovering popular older shows through binge-watching.

It suggests that Pakistani viewers have a two-fold approach to consumption: they’re eager to dive into new releases and trending topics, but they also appreciate and stick with longer series.

For Netflix, this highlights the need for a steady stream of fresh, high-quality content to draw in initial interest, along with engaging storylines in returning series to keep viewers coming back. This aligns perfectly with the binge-watching habits of Pakistani youth, who often consume entire series in one go.

Decoding the Hits: Why These Titles Resonate

Regional Powerhouses: The Enduring Appeal of Indian Content

Jaat, starring Sunny Deol and Randeep Hooda, commands the top spot on the movie charts. Reviews describe it as a “mindless yet entertaining mass entertainer”. Its appeal lies in its “over the top entertainment packed with punches” and “kickass dialogues,” delivering a “mass feast” that prioritizes spectacle over intricate plots. Its number one ranking in both Pakistan and India underscores its broad regional draw.

The overwhelming success of titles like Jaat and The Great Indian Kapil Show strongly indicates that the “masala” entertainment formula—characterized by high-octane action, broad comedy, melodrama, and the magnetic presence of established stars—is a primary driver of viewership in Pakistan. This genre, which prioritizes mass appeal and entertainment value over critical depth or realism, consistently resonates deeply with the Pakistani audience’s entertainment preferences. This implies that a significant segment of the Pakistani Netflix audience seeks pure escapism and entertainment, valuing the spectacle and star power these productions offer.

The Great Indian Kapil Show secures the top spot for TV shows, with its Season 3 premiere featuring superstar Salman Khan, generating significant buzz. The show’s format of celebrity interviews and comedy sketches, along with the return of popular personalities like Navjot Singh Sidhu, contributes to its massive viewership.⁶ Its widespread popularity across the Middle East and South Asia confirms its regional powerhouse status. However, the show has faced criticism for “classless adult jokes” and “sexist jokes,” raising questions about its suitability for all family members despite its UA13+ rating.

Rana Naidu, the second season of this “gritty, swaggering crime drama,” is an Indian adaptation of Ray Donovan. While it offers a “messy portrayal of family trauma” and a “flashy acting showcase,” Season 2 has been critiqued for “mediocre writing” and being “style over substance”. Notably, it reportedly toned down the “overkill of cusswords and sexually explicit scenes” from its first season.

The reception of Rana Naidu and the criticism levelled at The Great Indian Kapil Show for “classless adult jokes” highlight a nuanced relationship with mature content within the uncensored Netflix environment. While Netflix offers an uncensored space, and there is an appetite for “explicit content” among youth, there is also a clear cultural sensitivity.

The toning down in Rana Naidu and the public criticism of Kapil’s jokes suggest that even within this relatively free environment, there are boundaries and expectations, particularly when content involves popular, family-oriented figures or is perceived as crossing a line. This implies a dynamic tension between the desire for unrestricted content and prevailing cultural norms.

C.I.D., an enduring Indian police procedural, maintains a consistent presence (79 days on the chart), suggesting a loyal, long-term fan base drawn to its classic, episodic crime-solving format.

Global Phenomena & Gripping Documentaries

KPop Demon Hunters, an animated action musical, has achieved global success, topping charts in numerous countries, including Pakistan. It has garnered “generally favorable” reviews, praised for its “stunning animation,” “catchy musical numbers,” and “terrific fight sequences”. Its inspiration from real K-pop groups undoubtedly amplifies its appeal among the significant global K-pop fanbase, which extends to Pakistan.

 

The popularity of KPop Demon Hunters alongside Indian content signifies that Pakistani audiences are not confined to regional or traditional Western entertainment. They are increasingly embracing diverse global genres and cultural phenomena, particularly those with strong, trending cultural niches like K-pop. This demonstrates a clear openness and active consumption of non-South Asian content, specifically from East Asia, pointing to a broader trend of cultural globalization influencing entertainment choices in Pakistan.

Titan: The OceanGate Submersible Disaster is an impactful documentary, released around the second anniversary of the tragedy, delving into the implosion of the Titan submersible.

It chillingly reveals that its creator, Stockton Rush, was aware of the inherent risks, exposing a “flawed company culture” that prioritized ambition over safety. Its presence in the top 10 indicates a strong interest among Pakistani viewers in real-life events, investigative journalism, and compelling human interest stories.

The high ranking of this documentary indicates a significant interest in factual content, especially those that offer deep dives into recent, impactful tragedies and expose underlying issues. We see now that Netflix serves as more than just a source of escapist fiction for Pakistani audiences; it is also a platform for serious, thought-provoking content, highlighting a mature aspect of the audience’s viewing habits.

Returning Favorites: The Enduring Appeal of Series

FUBAR (Season 2), Arnold Schwarzenegger’s spy comedy, returned in June, picking up after its Season 1 cliffhanger. While reviews are mixed, noting “subpar action and awkward subplots,” they also highlight that the show works best when focusing on “interpersonal drama”. Its continued presence suggests a loyal audience for returning action-comedy series, particularly those featuring established global stars.

Ginny & Georgia (Season 3), a “soapy dramedy,” continues to be popular, having dropped earlier in June. While praised for touching on “important topics” like self-harm, addiction, and teen pregnancy, Season 3 is criticized for “unbelievably executed” courtroom drama and “repetitive storylines”. It contains explicit content and mature themes, leading some critics to deem it “trashy escapism not fit for the teens it’s aimed at”. Its long run on the charts (111 days) indicates a strong, dedicated fan base.

The immediate charting of new seasons and series like FUBAR S2, Ginny & Georgia S3, Olympo S1 (released June 20), and The Waterfront S1 (released June 19) demonstrates the strong anticipation among Pakistani audiences for returning series and the effectiveness of Netflix’s global content release schedule. This indicates that viewers are actively tracking and anticipating these releases, turning them into viewing “events.”

Beyond the Charts: Notable New Arrivals in June

While the Top 10 reflects current popularity, June 2025 saw several other notable global releases that could influence future charts or cater to specific tastes. These include Tires (Season 2), Long Story Short, and the highly anticipated Squid Game (Season 3), which was set for a June 27 release. The immediate impact of other new movies like

K.O. and STRAW, which quickly entered Pakistan’s Top 10, further demonstrate the audience’s appetite for fresh content. The high anticipation for Squid Game S3 underscores Netflix’s successful strategy of creating global original content that transcends language barriers and cultural contexts, building massive international fan bases. This implies that Netflix’s investment in diverse, high-quality international originals is profoundly impacting global viewing habits, with Pakistani audiences increasingly open to and actively seeking content from a wide array of international sources.

A significant development for the local market is the anticipated, but delayed, first major Pakistani Netflix series, Jo Bachay Hain Sang Samait Lo. Featuring a stellar cast including Fawad Khan and Mahira Khan, it was initially slated for a June 2025 premiere, but its release date has been pushed to October or November 2025.

While reports indicate a preference for foreign content among Pakistani subscribers, and Pakistani dramas enjoy global appeal for their intricate plots and emotional depth, this delay means Netflix missed an opportunity to tap into local narratives and talent in June.

However, the high anticipation for this series suggests a significant latent demand for quality local productions, indicating that local content can indeed capture the domestic market if it meets audience expectations in terms of production quality and star power.

The Pakistani Netflix Audience: Preferences and Patterns

A 2025 study provides crucial demographic information, revealing that the majority of Netflix consumers in Pakistan are notably young, primarily falling between 18 and 24 years old. This demographic seeks “multiple options, pleasure seeking, a good time pass and flexible hours” from their entertainment, indicating a preference for on-demand, diverse content that fits their lifestyle.

Binge-watching is a highly prevalent behavior among Pakistani Netflix users, with many consuming entire series within a day or two. The primary purpose of watching Netflix is overwhelmingly for “Movies (61.8%)”, followed by series. A significant portion (61.8%) also uses shared accounts, indicating a strong community aspect to consumption and possibly a cost-conscious approach.

The study indicates that series “mostly watched by teenagers or youngsters in Pakistan are based on explicit content,” with a noted consumption of “fiction, melodrama, sex and violence”. Preferred genres include “Science fiction (47.3%)” and “Horror (40%)”, suggesting a taste for genres that might be less prevalent or more censored in traditional local media.

Unlike traditional television, films, and print media in Pakistan, Netflix content is notably not subject to the same “censorship policies”. This regulatory vacuum allows for the consumption of a broader range of content, including themes and explicit material that might otherwise be restricted on local platforms. The confluence of a young user base and the absence of censorship on Netflix represents a key value proposition for the platform in Pakistan.

This demographic, which is often more open to diverse and mature themes, is drawn to Netflix precisely because it provides content that is unavailable or heavily edited in traditional, censored media. This implies that Netflix is an important outlet for content consumption that challenges societal and cultural boundaries in Pakistan, with its growth being fueled in part by the demand for unrestricted viewing.

The study says that Pakistani Netflix subscribers prefer foreign content, but Pakistani dramas have a global appeal and a lot of different themes that make them interesting. This “foreign” preference might be more about the quality of local stories, the availability of content, and the way they are marketed than a natural dislike of them.

People will naturally be drawn to Netflix’s foreign library (which includes high-budget Indian movies) if it has more variety, better production values, or certain genres that aren’t well represented in local streaming content right now. This shows that there is a lot of untapped potential for high-quality, diverse Pakistani original content on Netflix.

Should You Watch? Recommendations for the Discerning Viewer

For those seeking pure, unadulterated action and entertainment that does not require much thought, Jaat is a top pick, delivering a “mindless yet entertaining” experience. For fans of gritty crime thrillers,

HIT: The Third Case offers intense performances, but be prepared for its “excessive violence and bloodshed,” which might not be for everyone.

Comedy enthusiasts might find The Great Indian Kapil Show appealing for its celebrity-driven format and the return of Navjot Singh Sidhu. However, it is important to note that some reviews highlight “classless adult jokes”, which could make it uncomfortable for family viewing despite its UA13+ rating.

For animated and fantasy lovers, KPop Demon Hunters is a highly recommended “stunning animated action musical” with broad appeal. Its vibrant animation, catchy songs, and K-pop inspiration make it a strong choice. Documentary buffs will find

Titan: The OceanGate Submersible Disaster a compelling and impactful watch, offering an investigative look into a recent tragedy and corporate accountability.

Series bingers have several options. Rana Naidu offers a messy but engaging crime drama, an Indian adaptation of Ray Donovan.

FUBAR provides action-comedy with Arnold Schwarzenegger, though critical reviews are mixed regarding its plot and action sequences.

Ginny & Georgia is a “soapy dramedy” that tackles serious themes like self-harm and addiction, but can suffer from repetitive storylines and emotional manipulation; it also contains significant mature content.

It is crucial for viewers, especially parents, to exercise discretion. Many popular titles, particularly those consumed by younger audiences, contain “explicit content, melodrama, sex and violence.” Given Netflix’s noted lack of censorship in Pakistan, content ratings should be carefully considered, and parental guidance is strongly advised for younger viewers.

Reviews for Ginny & Georgia and The Great Indian Kapil Show specifically highlight these concerns, emphasizing the need for viewer discretion. The “Should You?” aspect of the query becomes particularly critical and nuanced in this context, moving beyond mere quality recommendations to responsible guidance regarding cultural appropriateness and parental advisories.