Joyland: A Reflection on Masculinity in Pakistan

Saim Sadiq’s film "Joyland," released in 2022, has stirred significant controversy in Pakistan. The Ministry of Information and Broadcasting banned the film, citing "highly objectionable material which does not conform with the social values and moral standards of our society." This ban has sparked curiosity, especially since the film has received numerous awards and nominations at prestigious international events. Many viewers, intrigued by the reasons for the ban, have sought to understand the film's content and themes.

Despite the reasons given for its prohibition, some believe that "Joyland" could have been edited to remove objectionable content while still maintaining its overall impact. The film features limited sexual intimacy and some vulgar language, which could have been softened with careful editing. The question arises: what exactly constitutes this "highly objectionable material"? The conservative factions in society primarily object to the film's LGBTQ themes. However, it seems that the portrayal of masculinity is what truly unsettles certain segments of the audience.

In "Joyland," traditional male heroes are notably absent. The characters do not fit neatly into the categories of good or bad. Instead, they are depicted as flawed individuals struggling with their identities and relationships. The story centers around the Rana family, a low-income household in Lahore, grappling with issues of masculinity. The patriarch, Abba, played by Salman Peerzada, is portrayed as a once-powerful figure now confined to a wheelchair, symbolizing the fragility of traditional masculinity.

As the family navigates their daily lives, they encounter various challenges that highlight their struggles with societal expectations. Abba's reliance on a widow neighbor, Fayyaz, for assistance after a humiliating incident underscores the shifting dynamics of gender roles. Fayyaz, despite being a woman, exhibits strength and courage, challenging societal norms. However, Abba's response to her kindness is cold and dismissive, reflecting the complexities of masculinity in crisis.

The film also explores the theme of endangered masculinity through the character of Haider, Abba's younger son. Overwhelmed by his father's expectations, Haider grapples with his inability to fulfill traditional male roles. His journey is marked by moments of conflict, particularly when he takes a job as a background dancer for a transgender performer. This decision leads to tension within the family, as Haider's wife is pressured to abandon her career to conform to traditional gender roles.

Haider's relationship with Biba, a transgender woman, adds another layer of complexity to the narrative. While their connection challenges societal norms, it also raises questions about masculinity and identity. Biba's desire to transition fully into a woman creates tension, as Haider's fragile masculinity struggles to accept her transformation.

While "Joyland" has been praised for its bold representation of a transgender character, Biba's portrayal raises questions about the true nature of strength. Unlike other prominent transgender figures in Pakistan, Biba is depicted in a stereotypical role, which may undermine the film's message. Her character's most empowering moment comes when she drives a scooter with Haider, symbolizing a shift in power dynamics. However, her role primarily serves to highlight the fragility of masculinity rather than to present a strong transgender figure.

"Joyland" serves as a mirror reflecting the complexities of masculinity in contemporary society. It challenges traditional notions of gender roles and highlights the struggles faced by individuals in navigating their identities. The film's exploration of these themes invites viewers to engage in a broader conversation about masculinity, societal expectations, and the evolving landscape of gender in Pakistan. As audiences continue to grapple with the implications of the film, it becomes clear that the conversation surrounding masculinity is far from over.