Journal of International Women's Studies
Volume 25 Issue 7 Article 18
October 2023
Joyland: A Story of Unquenchable Desires
Salma Javed
Al-Barkaat College of Graduate Studies, India
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Javed, Salma (2023) "Joyland: A Story of Unquenchable Desires," Journal of International Women's
Studies: Vol. 25: Iss. 7, Article 18.
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Javed: Joyland: A Story of Unquenchable Desires
Joyland: A Story of Unquenchable Desires
Reviewed by Salma Javed1
Film Information
Title: Joyland
Director: Saim Sadiq
Country of origin: Pakistan
Year: 2022
Length: 127 Minutes
Original language: Urdu and Punjabi
Genre: Drama
Abstract
Contrary to the title, Saim Sadiq’s debut work Joyland is about struggling with gender
identities and unquenchable desires in a conventional society. This heart-breaking drama of a
conservative family belongs to the exceptional kind of cinema that sews craft with content.
This poignant tale contains such intrigue that the viewers feel glued to the aching narrative
until the very last minutes of the movie. The storyline follows three men protagonists from a
damaged family, and four women characters, including a transgender woman. The story takes
a turn when Haider, one of the main characters, falls in love with Biba, a transgender woman,
causing him to experience significant changes. This review discusses some heart-breaking
scenes which make the viewers question who the real villain in Pakistani society might be.
Keywords: Patriarchy, Gender, Women, Gender discrimination, Oppression, Transgender
relationships
Introduction
Joyland is a Pakistani movie directed by Saim Sadiq and acted by Alina Khan, Ali
Junejo, Sameer Sohail, Rasti Farooq, Salmaan Peerzada, Sarwat Geelani, and others. Sadiq
makes his directorial debut with this brave and passionate movie released in Urdu and Punjabi
languages. The film focuses on a patriarchal family in Lahore, Pakistan. Although it takes up
a neo-realist approach to the characters’ daily lives, the movie often turns so personal that it
distresses the audience to another level of frustration. However, Joyland itself never judges.
The film tells the story of a damaged family consisting of Rana Sahib and his two sons,
Saleem and Haider. Rana Sahib is unhappy that his sons have not given him a male heir, which
has caused a rift in the family. Haider, the younger son, is a sensitive house-husband and a
feminist, unlike his elder brother who is a domineering personality. Haider has been struggling
to find a job for a long-time and is the kind of person who helps his sister-in-law Nucchi with
daily household chores and takes care of her kids. Haider’s father and elder brother often
humiliate him for his willingness to do chores deemed women’s work. His wife Mumtaz is not
like the usual homemaker; she works in a neighboring beauty parlour and is passionate about
her job. Through a friend, Haider finally gets a job at a local theater as a background dancer,
1
Dr. Salma Javed is an Assistant Professor at Al-Barkaat College of Graduate Studies, Aligarh, India. She has
completed her Ph.D. from the Department of English, Aligarh Muslim University, Aligarh. She is the recipient
of the Innovative Research Developers and Publishers “Best Researcher National Award.” Her previous
publications have been published in Scopus-indexed journals and peer-reviewed refereed journals. She can be
reached at [email protected].
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Journal of International Women's Studies, Vol. 25, Iss. 7 [2023], Art. 18
leading Mumtaz to give up her career to handle the house chores. She must sacrifice her passion
for working to stay at home as Nucchi’s domestic partner.
In the meantime, Haider meets a trans starlet named Biba, a passionate dancer
determined to make a name in the theatre industry, which is usually dominated by female
heroines. Though Biba is vulnerable, she has the confidence to take a stand for herself and is
powerful enough to resist those who oppose her. Meanwhile, Haider falls in love with Biba and
begins a journey of self-discovery. Haider and Biba’s scenes on the screen are sensual yet
pricked by Mumtaz’s unspoken misery. The viewers can sense that Mumtaz’s character is
silently fighting for emotional, sexual, and narrative space in a movie that focuses on the two
other underdogs. Bit by bit, Mumtaz suffers in the film, unnoticed by her spouse, who is
preoccupied with his own awakening.
Analysis
Most modern-day Pakistani movies are full of swirling romance, but Saim Sadiq’s
Joyland is a masterpiece that simultaneously features different and daring themes. Patriarchy,
belonging, sexuality, identity crisis, social stigma, discrimination, and gender are the varied
themes witnessed in this two-hour movie. Every character in the film is socially imperfect;
however, there is nothing incorrect about how they feel. The movie received considerable
critical acclaim and has won several international awards.
The movie’s craft makes the audience notice the complex love between Haider and
Biba: the strength and sadness of their love, which Pakistani society will never accept.
However, Mumtaz is pushed aside, reflecting the broader prejudice that shapes Pakistani
society. Haider has a very friendly relationship with his wife and takes care of her, but this care
differs from his love towards Biba.
The women characters in the movie have been penned with rare sensitivity by the
filmmakers which is evident when the audience comes across the well-meaning neighbourhood
aunty; a widow visiting the house. The viewer notices that the patriarchal nature of Rana Sahib
has been passed on to his son Saleem, who objects to the growing proximity between his father
and the neighbouring aunty. Saleem’s exasperated disapproval of her often stopping by and
carrying bowls of delicacies completely breaks her, which throws light on the loneliness and
social rejection that a widow experiences in a traditional society. But ultimately, it is Mumtaz’s
character that made the biggest impression upon this viewer. Mumtaz tries to take matters into
her own hands and masturbates but grows embarrassed when caught by a family member. By
including this scene of masturbation, the filmmaker suggests the consequences of a lack of love
from a partner.
The film shows that Haider, Biba, and Mumtaz are marginalized in their own different
ways, and South Asian society forces a kind of hierarchy even upon the downtrodden. The
desires of a man steal the spotlight from the desires of a woman. Mumtaz’s suicide at the end
of the movie leaves a question in the minds of the audience: who is the villain, and who is the
victim? It makes us hate the patriarchy a little more than ever. The movie beautifully captures
moments of “Joy” in a “Land” full of miseries. The performances by the lead actors are
impressive, particularly Ali Junejo’s portrayal of Haider, which is both convincing and
emotionally charged. In the last scene, Haider visits a seashore, which he had discussed earlier
with his wife. He keeps walking in the sea, portraying that he is now submitting himself to the
waves.
The sound of the waves is symbolic of the screams of the suppressed section of the
society: the women expected to bear a male heir, the widows expected to throw away all the
color from their lives, and wives expected to live a domestic life. The supporting cast also
delivers strong performances, adding depth to the film’s characters and their struggles.
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Javed: Joyland: A Story of Unquenchable Desires
Conclusion
In contrast to the movie’s title, the characters follow a life devoid of joy where they
conform to be accepted, surrender their passions to measure up to the patriarchy, and suppress
their desires in order to fit their society’s dictates. The movie’s storyline is a powerful and
poignant portrayal of the struggles faced by transgender individuals in Pakistan, and the
societal pressures and expectations that families face. The director has done an excellent job of
building the characters and their relationships, and the film’s cinematography captures the
beauty and complexity of the story. It depicts the misery and confusion that the characters
experience while coping with their circumstances.
Overall, Joyland is a thought-provoking and emotionally charged movie that sheds light
on the struggles faced by transgender individuals in Pakistan and the societal pressures and
expectations faced by families. The film undoubtedly is successful in unmasking sordid and
distressing social realities. The film’s excellent storytelling, stunning cinematography, and
strong performances make it a must-watch for anyone interested in socially relevant cinema.
The impeccable delicacy by which the director has exhibited the “what-will-they-say” (log kya
kahenge2) belief is worth praising. The movie is a character examination of people who conceal
themselves in homes situated not only in narrow lanes in Pakistan but around the globe. Art is
boundless when it forces you to look at and experience things around you in a way you would
not have done earlier. Art is most poignant when it gives you a wake-up call about the
revolutions required to improve society.
2
“Log kya kahenge” is a Hindi phrase that translates to “What will people say?” in English. It is a concept
deeply ingrained in Indian society and culture, reflecting the significance of societal opinions, norms, and
expectations in people’s lives. In the Indian context, the phrase refers to the fear or concern individuals often
have about how their actions, decisions, and choices will be perceived by others in their social circle,
community, or society at large. While “log kya kahenge” can have positive aspects, such as encouraging
individuals to consider the impact of their actions on their community and family, it can also be a source of
stress and restrict personal freedom. It can lead to conformity, suppression of individuality, and even
compromise on personal happiness to meet societal expectations.
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