When a film gets banned in certain countries, whether it be for political or moral reasons, it often inadvertently contributes even more to the film’s publicity campaign. People start debating its issues as an abstract, rather than discussing what the film is actually about. The conversation turns to questioning the ethics of cinema: should people really have the power to ban a film, even if its contents are deemed controversial? And what does this reveal about a country which deems a film too taboo to be screened? Joyland, Saim Saddiq’s debut feature about a “happily patriarchal” family and a transgender dancer working at an erotic theatre in Lahore, is a perfect exa
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