Joyland director Saim Sadiq talks about queer history in Pakistan, and why American audiences struggle to understand that “this is a film with a trans person as one of the leads, not a film about a trans character”
was told by censors it had been“We’d done everything, we had the certificates in our hands,” says the 32-year-old director of, an exquisite feature debut that took home the Jury Prize at Cannes last year. “We expected problems when the film was submitted but they passed it, with certain cuts which we agreed to. They did it at the last minute so we had very little time to act; [the message] was like, ‘OK, just give up, shut up and sit down.’ But I’m glad we didn’t.
Eventually, the censors board, who had caved to right-wing pressure groups in banning the film, relented, and it became a big hit with domestic audiences,“It’s really a monster of their own making,” says Sadiq. “They gave it so much attention it’s still playing in theatres there.”tells the story of a family in Lahore sternly watched over by its ailing patriarch .
SS: No, the character of Biba was there from before I started doing my research; I had spoken to a few trans women before I started writing the first draft. I felt like I needed to find one person who was like [the character I’d written] so I’d feel she was authentic enough in terms of character, but what happened was I was able to find many traits in many different girls.
SS: There are many differences. Historically speaking, these people were never discriminated against [in Pakistan].
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