This phenomenological study reveals the societal backlash faced by Rahat Khwaja in the movie Zindagi Tamasha, highlighting broader implications for the acceptance of queer identities within Pakistan's socio-religious landscape. I, hereby, contend that Pakistan’s gender-based patriarchal society disregards and questions queerness, especially in religious personalities. Rationalising this study using Sara Ahmed’s queer phenomenological model of affect as contact with Gillian Rose’s visual methodologies, I examine the conundrums of gender performance in the patriarchal Pakistani society by significantly focusing on how Khwaja's dance performance challenges normative gender roles and problematises societal backlash on becoming a queer-oriented religious person. Nonetheless, his newly acquired queerness as rejection of the norms highlights the socio-religious dilemma of his existence. This study reflects on the problem of queer phenomenological belongingness and unbelongingness of Khwaja as a disoriented figure in the hetero-obsessed patriarchal society and the resultant challenges he faces due to the backlash on his dance performance while asserting his identity as a righteous masculine man. Although he refuses to apologise, this extended space becomes disgraceful for him, and recreates his marginalised position as a fat-belly dancer. By examining the societal reaction to Khwaja's performance, I underscore the complexities of queer identity politics in contemporary Pakistan, shedding light on both the challenges and resilience of individuals navigating cultural norms for adjustment. Keywords: Queer Phenomenology, Zindagi Tamasha, viral queer memes, disgrace, socio-religious shaming culture; Pakistani queer cinema, Rahat Khwaja
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