US-based Muneeb Hassan has deep roots in Karachi, Pakistan. He is a member of the Motion Picture Editors Guild and a recent MIT-certified professional in AI Machine Learning. He started directing movies in 2012, and he has since authored five short films. The latest one All The Men I Met But Never Dated, about a closeted queer Pakistani finding love in the gym, premiered at the Woodstock Film Festival earlier this year. He is also a film producer.

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Joshua Polanski – How autobiographical is the story we see on screen?

Muneeb Hassan – The story is deeply personal and entirely autobiographical. It’s based on a true story, and even the ending of the film is true to what actually happened in real life (though I’ll hold off on spoiling it for viewers just yet). Fun fact: it all stems from a fourth date that went completely wrong – one of those experiences that’s heartbreaking at the time but, in hindsight, gives you a story worth telling.

JP – Shihab-Eldin and P-Smith both do a good job conveying the emotions they need to in such a short time. Can you walk me through the casting process? How early in pre-production did you know who would be playing Ali and Oliver?

MH – Casting was one of the easiest decisions I made for this project. I’ve known Ahmed for years through his work as a journalist and as a person, so he was always in mind for Ali while I was writing the script. He may be fairly new to acting, but something came through in his journalism work that interested me. I liked how readily he conveyed a kind of quiet, humble integrity and a loyalty to the truth. His authenticity and commitment to being true to himself made him the perfect fit for the role.

Jared, on the other hand, was someone I initially discovered on Instagram. We’d only met in person twice before the project, but I knew right away he had the qualities I was looking for to play Oliver. I wanted someone with a naturally masculine persona and a touch of that southern “bro” vibe, which was based on the real-life inspiration for the character. Jared brought all of that to life while adding warmth and quiet complexity to Oliver’s role. Their chemistry was undeniable. We had two to three rehearsals, and I spent additional time with Jared prepping him for the role. The way Ahmed and Jared connected on screen exceeded my expectations – it was as if they’d known each other for years. Their dynamic gave the film the emotional depth it needed.

JP – What was the hardest aspect of production? What made it difficult?

MH – Honestly, time was our biggest challenge. We only had one and a half days to shoot – one day in Cold Spring and half a day in New York City – so we had to be super-efficient while still making sure the emotional depth of the story came through. Every minute counted, and it made for a pretty intense experience.

Finding the right locations was another hurdle. We needed a backyard that felt intimate but also quiet, and that’s nearly impossible in New York City—pretty backyards are rare, and the city noise is constant. So, we decided to shoot upstate in Cold Spring, which is about two and a half hours away from NYC. It was a bit of a trek, but it was worth it to get the right atmosphere for those scenes.

In New York, we shot at four different locations but only had official permission for two of them, which added some logistical challenges. The carousel scene was especially tricky—we had to get just the right shots without anyone getting dizzy or losing focus. It was fun but definitely stressful!

The NYC scenes were all shot with one camera and no sound recording, which helped us move faster but meant extra work in post-production. For the backyard and other key scenes, we used a three-camera setup, which saved a lot of time on setups but required careful coordination to keep everything consistent.

JP – Ali and Oliver have two different concepts of the “closet.” Where did this metaphor come from and how important was it in the formation of each of their characters?

MH – The concept of the closet is incredibly layered, and I wanted to explore its duality in the film. For Ali, the closet is a sanctuary—a place where he can maintain his connection to his family and culture while still navigating his own identity. For Oliver, on the other hand, the closet feels like a restriction, a denial of his true self. This contrast was essential in shaping their dynamic because it reflects two very different ways of viewing the same concept. It creates both tension and moments of understanding in their relationship.

I know it’s not a popular thing to say, but it’s worth addressing there’s a very Western perspective that assumes being in the closet automatically means someone is oppressed or helpless. But the truth is, for a lot of people, the closet is a safe haven. It’s a space where they don’t have to answer questions or face backlash from their conservative families. Staying in the closet can be a deeply personal, brave choice, and I wanted to show that complexity. It’s not always about shame; sometimes it’s about love, protection, and survival.

JP – Ali still loves his family, profoundly, and wants to be a good son — even if he desires to shield his sexuality from his family. It would have been easier for Ali to resent his family. Why did you decide to take the other route?

MH – I wanted to portray the nuance of Ali’s love for his family. Resentment would have been simpler to write, but it wouldn’t have captured the complexity of his experience. For many people in similar situations, love and duty coexist with personal struggle. Ali’s choice to protect his family from his truth is not about shame but about love and respect. It’s a quieter, more tender conflict that I felt was important to explore.

JP – Have you had the chance to show the film to your family? How did that go?

MH – I haven’t shown the film to my family yet. It’s a deeply personal project, and I’m still processing how and when I want to share it with them. The film is a reflection of my own journey and sharing it with them would be an important step – but one I’m approaching with thoughtfulness and care.

JP – In the press notes, you said “It has reaffirmed my belief in the power of cinema to foster empathy, understanding, and a deeper connection to the myriad ways in which we navigate our lives and relationships.” Can you expand on how the process rearmed your belief in the power of cinema?

MH – Making this film reminded me how powerful storytelling can be. Seeing people connect with Ali’s journey, whether they’re closeted, out, or from completely different backgrounds, showed me how cinema builds empathy and understanding.

One moment that stuck with me was at the Lone Star Film Festival in Fort Worth, Texas. A man from the audience told me he’d never been to a gay film festival and thanked me for showing the film there. He said he was in the closet and felt seen in a way he hadn’t before. Hearing that, especially from people in places like Fort Worth, TX, reinforced how films like this can bridge divides and start meaningful conversations. That’s the power of cinema.

JP – What other stories or films did you look to for inspiration while making All the Men I Met but Never Dated?

MH – I drew inspiration from films like Call Me By Your Name (Luca Guadagnino, 2017) and Beautiful Thing (Hetti Macdonald, 1997), which beautifully capture intimacy and emotional nuance. I was also influenced by the understated storytelling of Moonlight, where silence and subtlety speak volumes. These films helped me focus on creating a world that feels real and deeply personal.

JP – What’s one thing you learned on this project that you hope to bring into your next project?

MH – This project taught me how vital collaboration and trust are. Every single person, from the cast to the crew, brought something unique to the table, and that collective effort made the film better than I ever imagined. Moving forward, I want to keep creating a space where collaboration thrives, and everyone feels heard and valued.

I also learned the importance of fixing things in the script stage rather than relying on post-production to solve problems. For my next project, I’m working closely with my screenwriter to ensure we address potential issues early, so the shoot runs as smoothly as possible. It’s a lesson that’ll stick with me for every project ahead.

JP – What’s next for you?

MH – I’m currently developing a feature-length musical film titled You Are My Only Secret. It builds on the themes explored in All the Men I Met But Never Dated but takes them to a larger scale with even more layers of cultural and emotional complexity. It’s another deeply personal story, and I’m excited to bring it to life.

I’m also looking to expand into other genres, but my focus will always be on telling stories that resonate deeply, spark empathy, and challenge perspectives. I want my work to continue connecting people to the complexities of identity, love, and the human experience.

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Muneeb is pictured at the top of this interview. The other image is a still from All The Men I Met But Never Dated.