The Unlikely Rom-Com That’s Taking Aim at Toxic Masculinity

Zarrar Kahn’s new film, “The Lion Does Not Concern Himself,” tackles toxic masculinity in a way that’s both unexpected and urgently necessary. Set in the confines of online misogyny and male anger, the movie uses wry humor to explore what it means to be human in today’s world.

Kahn’s fascination with the intersections between identity, culture, and technology is evident in his previous film, “In Flames,” which premiered at Cannes and later played Toronto. In this new film, he draws on his own experiences as a gym-goer to craft a story that’s both tender and tart. The protagonist, a likeable gym coach, becomes embroiled in a romance with one of his clients.

The movie is a nuanced exploration of how men are socialized to be aggressive, competitive, and alone. Kahn uses the familiar terrain of online culture to examine the performative nature of extremism, where ideologies can be parodied and co-opted for comedic effect. The film’s title, taken from “Game of Thrones,” is a nod to this phenomenon.

By turning the tables on toxic masculinity, Kahn’s protagonist finds love – and himself – in unexpected places. This reversal has the result of both critiquing toxic masculinity and exploring what it means to be human. The movie’s production notes suggest a keen awareness of its own place within the cultural landscape.

Kahn has stated that he wanted to reframe familiar themes as something more positive, using the classic rom-com genre to tell this story. This bold move pays off: the trailer is both funny and poignant. As “The Lion Does Not Concern Himself” premieres at Toronto, it’s clear that the city remains a hub for innovative storytelling.

However, the film’s significance goes beyond its place in the festival circuit. It highlights the enduring power of romantic comedy as a genre – even in uncertain times, we crave stories that are both funny and true. The movie also raises questions about the nature of authenticity and connection in the modern world, where online identity often blurs with real-life relationships.

As “The Lion Does Not Concern Himself” unfolds on screen, it’s hard not to think about its broader implications – what does it say about our times, and the challenges that lie ahead? Is this film a critique of toxic masculinity, or is it something more? Ultimately, these questions are less important than how we respond to Kahn’s vision. Will we take his message to heart, or will we ignore it? The answer remains to be seen.