“Breaking Boundaries: Joyland and the Fight for Freedom in Pakistan’s Cinema”
- aun
- Oct 7, 2024
- 2 min read
Joyland, the Pakistani movie directed by Saim Sadiq, is a profound narrative. The movie portrays themes of gender identity, love, societal oppression, and the problems of living in a patriarchal society. The film tells the story of Haider, a Pakistani man. He finds himself in constant trouble due to traditional masculine expectations. Biba is a transgender woman; she fights for herself in society, which considers her an outsider. By showing their relationship, the movie challenges the heteronormative boundaries and gender roles that are defined in conservative Pakistani society.
The concept of women as “others” is an idea that is shown in Joyland. As de Beauvoir explained, women have historically been positioned as subordinate to men. This concept can be extended to Biba, who is a transgender woman. Biba, due to her gender, is treated as the “other” by society because her identity does not conform to the rigid male-female binary that defines orthodox Pakistani culture.
Haider also faces the status of “other” because he does not fit the societal expectations of masculinity. His traits like sensitivity and performing domestic duties such as taking care of family do not align with the traditional understanding of masculinity in Pakistan. De Beavoirs theory helps us to understand how someone who does not fit in a traditional patriarchal society is alienated or marginalized.
Apart from that, Haider’s wife, Mumtaz, is a clear example of how patriarchal expectations affect women’s personal and economic agency, as explained by Shailaja Fennel. In the beginning, Mumtaz is satisfied with her work, but over time, she is forced to quit her job to fulfill her role as a housewife. Such forceful economic disempowerment shows Fennel’s critique of how patriarchal structures hinder women’s development by making them dependent on men.
Meanwhile, Haider’s job in a dance theatre, along with Biba, challenges the traditional male breadwinner role. His relationship with his family and society is further complicated by his willingness to take on traditionally not seen as masculine work.
Madeleine Arnot’s ideas on how gender is reproduced through socialization can also be seen in Joyland. The family structure in Joyland portrayed an orthodox patriarchal hierarchy, with her father embodying a stern, conservative masculinity that enforces strict gender roles on his children. Thus, Haider needs to conform to these expectations. He is seen as a disappointment by his family. Joyland critiques the patriarchal system that shapes characters’ lives by showing the consequences of going against societal norms. It also shows a glimpse of liberation and tragedy. Individuals like Haider, Mumtaz, and Biba should try to carve out spaces for themselves in a society that refuses to accept them.
In conclusion, Joyland is a groundbreaking yet controversial film in Pakistan’s cinematic landscape, pushing boundaries with its bold exploration of gender, sexuality, and societal norms. Despite receiving international acclaim, its portrayal of a romantic relationship between a man and a transgender woman triggered an intense backlash from conservative and religious groups. Citing the film’s content as “un-Islamic” and a threat to traditional values, the government initially banned it after pressure from these factions. The ban highlighted the deep-rooted tensions between artistic expression and cultural conservatism in Pakistan, sparking critical conversations about censorship, representation, and the fight for more inclusive storytelling in the country’s film industry.