#Joyland

[deadmotelsusa]

Joyland Amusement Park of Wichita, Kansas operated for 55 years before closing permanently in 2006. The park featured a wooden roller coaster and 15 attractions, including the Whacky Shack, Dodgem bumper cars and Louie the Clown.

Attempts were made to revive the park but financial difficulties prevented its reopening. Since then, Joyland deteriorated, facing vandalism, looting, and several fires. In 2018, the mostly vacant property was purchased by an anonymous buyer for $198,000. Joyland’s time has officially come to an end. Sources 1, 2, 3, 4, 5

[smittenskitten]

ASIAN QUEER MOVIES 🎬🌈

[kindwhispers]

Joyland (2022) dir. Saim Sadiq

[treethymes]

Joyland (2022, dir. Saim Sadiq)

[aaronkraten]

Joyland - Taito

[eohachu]

WATCHED IN 2023:

جوائے لینڈ Joyland (2022), dir. Saim Sadiq

ALINA KHAN as BIBA ALI JUNEJO as HAIDER RASTI FAROOQ as MUMTAZ SARWAT GILANI as NUCCHI

"you really think if you do

what you want to,

it'll lead to your funeral?"

"most definitely."

[coldcoldlampin]

[cloudtinn]

"Sometimes I feel like I have nothing that's my own."

Joyland (2022), dir. Saim Sadiq.

[artfilmfan]

Alina Khan & Ali Junejo in the superb “Joyland” (Saim Sadiq, 2022)

[m--bloop]

“Am I still invisible?”

Joyland dir. Saim Sadiq (2022)

[variousqueerthings]

something that strikes me about joyland vs many other films centering trans women, is that biba’s story is one that interweaves with various cisgender women -- while it does have scenes showing her community, which is notably a place she is happy and safe and able to let her guard down, her actual story stands in comparison to other cis women, who likewise are comparable to each other. she’s not the “othered” woman to their “normative” woman, she’s a woman, whose perspective is relevant to a story largely about women

the part where her being transgender is important (and it is important!), is that she has taken the necessary steps in life to be freely herself, and this has come at great cost, but it’s also working. she knows the pain that comes with that and we see a lot of it in the movie itself, but she’s definitely also got the joy that comes from a certain kind of freedom (the freedom of creating a new reality after everything is gone)

so in that sense, the main contrast of her as “trans woman” to their “non-trans woman,” is that it’s given her the opportunity for joy precisely because the margins -- once everything has perceivably been lost -- is where that joy is to be created, whereas the other women whose stories we see are clinging to what scraps they have. they aren’t happy, not because they’re women, but because the little bits that they do have in the society in which they function, are things they’re too afraid to lose to stand up for what they want 

nucchi at first appears to be happy as a housewife, desperate to produce a son, but she gets stripped away, bit by bit, merely as someone who can tolerate the role she has. she studied to be an interior designer, I believe it was, and it makes perfect sense, once she shares that piece of information with mumtaz. she comes into focus -- and then she’s the one who suggests that she and mumtaz leave the house together (gasp) to go to the amusement park, for their One Good Day

and mumtaz you simply see deteriorate, until she’s on the verge of doing the one thing that might help -- running away -- and then cannot go through with it. I think at least one of the reasons is that she’s wondering if maybe she can do this after all, if maybe once she tells haider that she’s pregnant something will open up, but instead the future closes in and in and in. she doesn’t manage to grab that one sliver of freedom she had (and it would have come with so much pain), and the ending starts careening at the viewer from that point onwards

the second-to-last scene, where you see haider and mumtaz talk prior to their wedding is just... oof. ouch. mumtaz :( me, sitting in this movie screaming at the screen to just get her the damned air-conditioners she wanted, at least! one thing!

and then lastly the neighbouring woman, who at first presents herself as all about that propriety, and who you then realise is at the end of what this journey is going to be. no longer useful, only a ghost, not even allowed to leave the house, and there’s no way she’ll do anything but accept this, even as she feels, deep down, there’s some way to have joy, and she even briefly offers a small fight for it, before she accepts her fate anew

in the face of all of this, biba’s is the story with the most hope, presenting out and proud transness as a gift rather than a burden that must be borne because nothing else is possible, as it often is. biba is not in a society where she’s safe, or accepted, or respected -- hell, she’s clearly the least privileged person we follow in this film -- but she is free

[smittenskitten]

جوائے لینڈ JOYLAND (2022) dir. - Saim Sadiq

[ourdadai]

☆ joy ( red velvet) lockscreens !

[celluloidrainbow]

جوائے لینڈ | JOYLAND (2022) dir. Saim Sadiq The middle-class Rana family, headed by elder patriarch Amanullah, yearns for the birth of a grandson. Amanullah forces his daughter-in-law Mumtaz to quit her job after Haider, his youngest son and her husband, finds work at an erotic dance theater. However, complications arise when Haider becomes infatuated with Biba, the transgender dancer he works for. (link in title)

[blodbranddod]

I like lists

[goodolreliablejake]

I admire Stephen King's restraint in not associating writers with the shine. Thinking specifically of Joyland's protagonist, who wistfully longs to be special in that way.

Granted, the time he literally made himself the voice of god in The Dark Tower showed less restraint.