‘Joyland’ Review: A Striking Debut Feature Examining Gender And Identity In Modern Pakistan

Courtesy of Oscilloscope

From its first moments, Joyland's square aspect ratio perfectly portrays the intimacy and restriction experienced by the film's intricate characters. The feature debut of 32-year-old Pakistani filmmaker Saim Sadiq, Joyland takes place in Lahore and concentrates on the Rana's, a tight-knit family whose members experience personal pressures within their beautiful but traditional society. Living in a culture that still firmly upholds conservative gender roles, the Rana's struggle to manage the expectations placed upon them, traveling isolating journeys towards understanding who they are as individuals. Tragically romantic and unassumingly confident, Sadiq's first feature profoundly examines identity standards in modern-day Pakistan. 

The opening scene of Joyland first introduces Haider, the film's heart, hiding under a white sheet in the courtyard of his family's home, playing a game with his young nieces. This ghostly image strongly embodies Haider's reality as a veiled version of himself, stuck between two existences, just like other characters in the film. Haider lives in a cramped apartment with his wife, father, and older brother's family, where he assumes a submissive position in the household because he has been unemployed for years, as his family constantly reminds him. But, on the other hand, Haider's wife, Mumtaz, revels in a degree of independence provided by her job as a makeup artist.

After hearing about the gig from a friend, Haider auditions at an exotic dance theatre to be a background dancer for a new show led by a woman named Biba, who captivates him at first glance. Biba is a trans woman with unflinching confidence and an undimmable soul, portrayed in great contrast to Haider's meek spirit. When Haider takes the job, his family insists that Mutmaz leave the career she appreciates so much to assume Haider's responsibilities at home. As Biba's dancer, Haider quickly becomes captivated by her, neglecting his home life to explore his own authentic notions of desire for the first time. When Mumtaz learns that she is pregnant, the whole family, except for her and Haider, are happy with the news. Haider grows secretly closer to Biba and leaves Mumtaz feeling isolated. As Joyland moves towards its melodramatic climax, its central characters develop an increasing sense of lostness as they listen to their personal longing despite the crushing cultural norms they encounter.

Joyland's sensibilities entrench the film deeply within the context of the Rana's Islamic culture in Lahore while also commenting on the society's sustained repression of non-conforming expressions of identity. When Biba asks Haider if he has ever been to the beach, he replies, "I've never been outside of Lahore," accentuating the city's imprints on his identity. The closeness portrayed by the Rana family and Biba's chosen family of trans women emphasizes the significance of community in connection to the people of Lahore. While Haider's repressed sexuality is at the forefront of Joyland's narrative, the movie also focuses intensely on the feminine experience through the perspectives of Biba and Mumtaz, who serve as distinct representations of female selfhood. The overwhelming authority wielded by masculinity is not only exercised by the film's heterosexual male characters but also through how misogyny has shaped Haider's understanding of Biba. Joyland performs a great balancing act of displaying the severe turbulence and wonderous happiness experienced in the lives of its rich characters.

The visual style of Joyland is incredibly influential in communicating the intricate language of the film. As mentioned earlier, the 4:3 ratio effectively encloses the characters within the urban spaces where they live and work, transmitting their limitations. In addition, cinematographer Joe Saade utilizes a sumptuous contrast between light and shadow - particularly in the nighttime scenes Haider shares with Biba - which gorgeously contributes to the romantic atmosphere and chemistry between the two. As the film continues, the saturation of color begins to fade, matching the narrative shift brought on by the building dread as Joyland approaches its finale. 

Also to be highlighted is the movie's fascinating understanding of physicality, which Sadiq operates through moments of happiness, romance, and violence in Joyland's narrative. While much of the film is made up of static, painterly scenes that allow focus on the film's domestic setting, moments tap into an extraordinary sense of movement where the film's characters can experience flashes of liberation. This idea is in consideration of scenes where Haider flies through the traffic of Lahore on the back of Biba's scooter or another where the camera shows Mumtaz laughing till she cries while on a roller coaster at the movie's eponymous theme park. Likewise, incredible feats of expression through physicality are displayed in the many scenes of Biba's dance performances at the theatre, her place of freedom and proclamation of self.

Courtesy of Oscilloscope

Queer identity and queer desire exist at the forefront of Joyland, a significant achievement for a film given such a powerful platform since homosexuality is still outlawed in Pakistan. While Haider's journey toward self-discovery is still internalized through his experience, Biba's unapologetic existence cannot be hidden by her lifestyle, and she and her trans community are very much objectified and condemned within their culture. This tension surrounding individual expression within Pakistan's predominantly Islamic identity is maintained throughout the film, as queerness is forced into the shadows and quiet corners of Joyland's narrative.

Since premiering at Cannes last spring, where it won the Jury Prize in the Un Certain Regard section, the Queer Palm, and made history as the first Pakistani film in the festival's Official Competition, Joyland has wowed audiences at film festivals across the globe, most recently reappearing at Sundance where it was featured in the Spotlight Program. In addition, the film has garnered a nomination for Best International Film at the upcoming Independent Spirit Awards and was even shortlisted in the same category for the 95th Academy Awards, although it was not included in the final nominations. However, Joyland experienced some controversy last November when Pakistan decided to retract the movie as their official Oscar entry due to the film's queer themes and reverse its theatrical release in the country. Pakistan's judgment was met with international outrage, leading to the social media movement #ReleaseJoyland, which was fully backed by Sadiq and the movie's cast and crew. On November 16, the decision was reversed by Pakistan's Ministry of Information & Broadcasting after minor cuts were made to the film, although Joyland still remains banned in the country's province of Punjab.

Joyland is a beautiful portrait of disparaged figures living in a society that pushes them to the margins. Through the perspectives of the film's main subjects, audiences can see Sadiq's vision of the magnificence of Pakistani culture and his critiques on how the country's mainstream culture still operates with traditional beliefs. After playing film festivals worldwide, Joyland finally snagged a US distribution deal in January - Oscilloscope will be theatrically releasing the film later this year.

4.5/5

Courtesy of Oscilloscope