During the weeklong Kolkata International Film Festival, the complex of Nandan in Kolkata, India, is filled to the brim with cinema fans. From film enthusiasts, art students, media representatives, critics, and retired people, Nandan is swarming with people interested in cinema. The movies range from the most obscure Belgian queer film to the most famous film of the local heartthrob. The queue to get tickets for any show is significantly long and many people have to be turned away because seats fill up that quickly. 20
December was no exception, and Nandan's main hall, one of the largest movie theaters in the city, was filled to the brim, with people standing or sitting on the staircase even!
It was 4:30 PM and the film being screened was the first ever Pakistani Cannes Film Festival entry, filmmaker Saim Sadiq’s directorial debut, Joyland. No matter what their individual opinions about the country and its people, the audience as a whole fell silent and watched in wonder as a tender, heartfelt, and compassionate narrative about the tragic impact of patriarchy on the lives of unsuspecting and innocent ordinary people unfolded on the screen over a span of two hours. The standing ovation at the end was inevitable, but a mournful and contemplative silence had fallen over the audience. Was the ending cathartic? People were trying to make up their minds.
Joyland has been making waves in media circles ever since it was screened at the Cannes Film Festival and won the Queer Palme. It’s the first film from Pakistan to win at Cannes, and was shortlisted for the Oscars. It tells the story of the Rana family and how its members are affected by patriarchy and cisheteronormativity. The patriarch of the family, Amanullah (Salmaan Peerzada) is waiting for the birth of his first grandson. His elder son, Saleem (Sohail Sameer), is married to Nucchi (Sarwat Gilani), who has had three daughters with him and is pregnant at the start of the film. The younger son, Haider (Ali Junejo), is jobless and stays at home with Nucchi, helping with household chores and looking after his three nieces, while his wife, Mumtaz (Rasti Farooq), works at a beauty parlor doing makeup for rich clients and earning significantly. Amanullah doesn’t like the fact that Haider plays the role of a homemaker while Mumtaz is the earning member in their marriage. He doesn’t say anything explicitly, but his body language makes it clear that he believes that Haider has been emasculated. Things change when Haider gets a job as a background dancer to transgender performer Biba (Alina Khan). However, fearful of the toxic masculinity of his father, he tells the family that he is a theater manager.
The family tells Mumtaz to stop working because Haider has a job. They insists that Nucchi will have to be alone at home with the kids since Haider will be going out for work now. Mumtaz and Haider both stand up for her independence, but are silenced by the latter’s father and brother. Working with Biba is a liberating experience for Haider and he stays back with her late at night every day. Mumtaz stays at home with her sister-in-law and father-in-law, missing her job and her husband. Her mental health begins to deteriorate and their marriage becomes strained as a result. Meanwhile, tensions rise within the family because it’s revealed to them that the theater Haider manages hosts a transgender dancer. Haider spends even less time at home, but Mumtaz has something to be thankful for, as Nucchi takes initiative and bonds with her. They spend time with each other, sometimes frolicking and sometimes finding solace in confiding the struggles that the patriarchal family puts them through. Joyland takes its time exploring the various interpersonal dynamics between its characters, and instead of pointing fingers at characters who’ve been brought up to not know better, it makes a primary enemy out of the cisheteronormative patriarchal society we live in.
