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I love dancing, so I knew I’d fall for this movie, I just didn’t realize how much. To me, you listen to music with your soul and dance with your heart. A great dancer doesn’t just move to the beat, they feel the music, as if every cell in their body is a note being played through the dance. And that’s exactly what the movie is about: love, but in a broader sense. Not just romantic love between two people, but also the act of feeling, of surrendering to emotions you can’t control.I don’t see Shinya Sugiki and Shinya Suzuki as opposites. In fact, they’re more alike than they realize. Both are professional dancers who’ve dedicated their lives to the dance, which is at the core of their identities. And while they emphasize different sides of dance, Sugiki prioritizing strict technique over emotion, and Suzuki prioritizing desire and emotion over rigid technique, they’re still two sides of the same coin. That similarity is what makes their relationship so magnetic and what kept me glued to the screen. Each sees in the other both a reflection and a contrast.
They also recognize in each other a silent pain they both carry. I wish we knew more about their backstories, what shaped them into who they are. Suzuki says he can’t stand lies or betrayal. Who lied to him? Who betrayed him? Could that explain his arrogance and disdain for elegance, finesse, competitions, and audiences? At one point, Fusako says Sugiki believes he has to suffer to grow stronger. What happened to make him become the “grim reaper,” killing off all his feelings just to be stronger and successful? I don’t think it’s simply because of his failed relationship with Liana.
As for the romance, I’ve always seen Sugiki and Suzuki’s relationship like a moth drawn to a flame. They’ve always felt this magnetic, irresistible pull toward each other, an admiration that was almost impossible to control. And working together turned that admiration into something deeper: love. When Sugiki danced with Liana, it was forced by the competition committee. But when he invited Suzuki to dance, that was a true declaration of love. He chose Suzuki, and in a way, crossed that line and lost himself. It was also a declaration of love for dance itself, where both of them allowed themselves to feel everything, together with the audience.
At first, the audience’s applause was hesitant and confused, but as they kept dancing, Sugiki overwhelmed by emotion, Suzuki more restrained and technical, the applause grew louder and louder. With each performance, they showed what they could achieve if they let go of their fears and insecurities, the things holding them back from what they truly wanted. That’s my favorite scene in the whole movie.
Takeuchi Ryoma and Machida Keita’s performances were absolutely phenomenal. The two-hour film flies by thanks to them. Not to take away from the rest of the cast, who were flawless, but honestly, the movie could’ve been just Ryoma and Keita and it still would’ve been amazing. Their chemistry is out of this world. If Ryoma’s hips had me hypnotized, Keita’s eyes had me completely captivated. He conveyed everything: admiration, love, pain, doubt... all hidden beneath Sugiki’s rigid, cold exterior. Netflix nailed the production, and the soundtrack was fantastic.
I desperately need a sequel, a mini-series, a special episode, anything. I’m not picky. The story of Shinya Sugiki and Shinya Suzuki cannot end here.
I know this isn’t a film for everyone, but if you allow yourself to feel the passion, you’ll be swept away by this beautiful story. Highly recommended!!
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A Man Who Defies the World of BL Final
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This was definitely a strong contender for my “best of the year” list because it was genuinely engaging. I really enjoyed the series, especially since I love fantasy stories that blend intense romance with supernatural elements. It carried such an epic vibe, weaving in cultural influences from Hinduism and Buddhism, which made it stand out from the usual everyday romance plots. From the very first episode, it set a mysterious and intense tone, with stunning natural scenery, vibrant cinematography, well crafted visual effects that brought the curses and powers to life, and beautiful costumes inspired by the mythical past of the lost city of Tambralinga.It wasn’t perfect, but it kept me hooked, at least until the last two episodes, when things really fell apart. I kind of expected Siwat wouldn’t survive, but the ending felt rushed, incoherent, and inconclusive, hinting at a possible second season that we’ll probably never get. Overall, the acting was decent, though the cast struggled to fully convey emotions in the most dramatic scenes. Au and Ongsa are adorable together, and the OST is absolutely breathtaking.
In the end, the show couldn’t live up to its own ambitions, which is a shame because it had the potential to be truly epic.
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“As long as there is love, there is always hope.”
I probably wouldn’t have watched this movie if it weren’t for the BL Watch Challenge and I’m honestly so grateful I did. It ended up becoming one of my all-time favorites. I’m not even sure why it hit me so hard, but it did.It’s a beautifully layered family drama that also includes a tender romance between two teenagers. What really stood out to me was how it captured the unpredictable nature of love in all its forms: love for family, for music, for someone special, for friends. It explores relationships like grandson and grandmother, mother and children, romantic partners… and dives into themes like grief, sexual awakening, peer pressure, family responsibilities, and the pain of being apart from those we care about.
The characters are so well-written and feel incredibly real. The storytelling is so delicate and heartfelt that the nearly three-hour runtime flew by in a blink. There are so many unforgettable scenes, thanks to the amazing cast. Mario Maurer (Tong) and Pchy Witwisit (Mew) were phenomenal, giving such heartfelt, natural performances, especially Mario in that emotional scene with Tarn Kanya (Ying), where he breaks down crying, struggling with his identity and the pressure from his friends. My heart shattered when Tong tearfully asked Ying, “What am I, Ying? Everyone’s upset with me because I don’t know what I am.” That moment was raw and powerful. Their chemistry isn’t loud or over-the-top. It’s subtle, but incredibly powerful. You really feel the connection between them in every scene
And I have to highlight Nok Sinjai (Moira from Shine) as Tong’s mother. She was absolutely brilliant. Every time she appeared on screen, you could feel the loneliness and pain of a mother trying to stay strong through family tragedy. Her eyes alone conveyed so much emotion. She might come off as strict or sensitive, but deep down, she loves her husband and son fiercely.
I cried a lot during the final scenes, it felt like a part of me broke, but at the same time, I was left with a strangely pleasant, bittersweet feeling. It wasn’t the right time for them. Tong’s family was still grieving, and his father hadn’t healed. Not every first love ends happily. But the open ending carries a spark of hope, a possibility. When Mew places the last piece on Santa Klaus, sits on his bed, and says “Thank you,” it felt like he was thanking Tong for the memories, for the love they shared, and for loving him even if they couldn’t be together. Tong gave him hope that maybe, someday, things could change. And in my heart, I imagine them meeting again, older, wiser, and finally ending up together. Because “As long as there is love, there is always hope.”
And to wrap it up: the soundtrack is absolutely gorgeous. It expresses everything the characters feel but can’t quite say out loud.
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After the first few episodes, the show kind of lost its charm. It’s frustrating when you have such an interesting premise, but weak direction and a messy script ruin it. The characters felt underdeveloped and lacked the emotional depth needed to make an impact. The actors showed occasional sparks of personality, but the poor writing killed any chance of genuine performances. I also didn’t feel any real chemistry between the couples.
Even though the final message was nice, the series dragged for six episodes before cramming in a bunch of twists at the very end. Sadly, by then it was too late to save it for me.
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The story is told from the perspective of Tam, a lonely teenager who’s mentally and physically abused by his family and classmates because of his sexuality. The film dives deep into the emotional maze of Tam’s mind, and over the course of nearly two hours, we witness his slow mental unraveling. It constantly blurs the line between reality and delusion, creating a sense of discomfort and introspection that makes you feel exactly what Tam feels: lost, rejected, craving connection, but surrounded by pain and darkness.
The Blue Hour doesn’t hand you easy answers. Instead, it invites you to reflect on how trauma distorts our perception of reality, and how the longing for connection can either destroy us or set us free.
Gun Atthapan and Oab Oabnithi deliver stunning performances. The cold blue color palette perfectly mirrors the sadness, melancholy, and emotional isolation Tam experiences. Director Anucha Boonyawatana crafts a poetic, introspective atmosphere that’s both ambiguous and deeply sensitive. He treats Tam’s fragility with care, never judging him, and portrays his queerness with honesty and nuance, highlighting the impact of bullying and family rejection without falling into simplistic victim narratives.
The slow pacing gives you space to fully sink into the emotional world of the characters. The whole film was a haunting, powerful experience.
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To me, Bishonen is, at its core, a film about loneliness, even though it’s wrapped in romance and longing. That loneliness is the emotional thread that ties all the characters together.
Jet is a young gay sex worker whose beauty makes him highly sought after. He’s portrayed as someone who owns every room he walks into — charming, seductive, magnetic. But behind that polished exterior, he carries a deep, aching solitude. The film doesn’t judge him for his work, quite the opposite. It shows him as someone using his body not just to survive financially, but emotionally. What he’s really searching for in Sam is something real , a connection that money and sex can’t buy.
Sam, on the other hand, embodies the loneliness of repression. He leads a double life, hiding his sexuality from his conservative parents and from society. He’s weighed down by family expectations and the pressure he puts on himself. Past heartbreaks have made him hesitant to open up again, and even when he’s with Jet, there’s always a wall between them. His loneliness feels suffocating.
Then there’s KS, who hides his own isolation behind the spotlight of fame and the impossibility of loving openly.
Even as they walk through the crowded streets of Hong Kong, the city is portrayed as cold and indiferente, a place that marginalizes queer desire. The loneliness of those who can’t live their truth, who exist on the fringes even while being desired, mirrors the experience of so many LGBTQIA+ people who are tolerated in certain spaces but never fully accepted.
But Bishonen is also a film about love, even when it’s fleeting or impossible. Real love, the kind that lives deep in your heart, doesn’t just fade with time. Time might quiet it, but it doesn’t erase it. Even a short-lived relationship can leave a lasting emotional imprint.
Love isn’t rational or controllable. It doesn’t care what others think or what society demands. The heart follows its own path, no matter the pressure. And to love — even if it’s not returned, or doesn’t last, or ends in pain — is still a transformative experience.
Jet loves Sam deeply. That love is brief and painful. But it defines Jet. It gives meaning to his journey. And it stays with him, like a permanent memory. To love, in the end, is an act of courage and beauty.
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At first, I struggled to get into the story, mostly because Nishime reminded me way too much of Peat (probably just my delulu brain making connections that aren’t there 😂 ). Peat has these super cute expressions and mannerisms that are kind of his signature, and I felt like Nishime was trying to mimic that, but it didn’t really land for me. But when it got emotional, he truly shined as Ai.
The chemistry between Kunigami and Nishime felt so natural and genuine. It made every scene between them hit just right. On the other hand, the GL couple was a letdown. Fumi’s over-the-top innocence got on my nerves a bit.
Still, I really enjoyed how the story unfolded overall. I’m a sucker for the “opposites attract” trope, and Kaishin breaking through Ai’s emotional walls was beautiful to watch. Despite their differences, they found a home in each other’s hearts and that always gets me.
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It was my first time seeing Nani act, and I was genuinely impressed. Comedy is tough, but he nailed it! Wutkrai was hilarious , a total mess, ridiculously lucky, and sweet in the most innocent way.
And my baby Prem? Just wow. He completely blew me away in this role. He started off as someone trying to investigate and expose the cult led by “Father,” but as the series went on, you could see those subtle flashes of madness in his eyes. That final episode was chef’s kiss , absolutely perfect.
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Kanade Shinichiro is a quiet, reserved man living a quiet routine as an office worker. He carries deep emotional wounds and has chosen to hide his sexuality as a way to protect himself. But despite living an almost numb existence, cause he's afraid to allow himself to feel, he’s incredibly sensitive underneath it all.
Mashiro Kosuke, on the other hand, is more spontaneous, but he’s not without his own insecurities. He represents a part of Kanade’s past that he tried to bury, but that keeps knocking at his door.
I saw some criticism about the intimate scenes between the two characters, and while I agree with most of it, I honestly wasn’t expecting anything different from what we got. To be honest, a different kind of scene would’ve felt off to me cause it just wouldn’t match their personalities.
The rain in the story isn’t just a symbol of cleansing, it’s also nourishing. It washes away their repressed emotions and makes space for love to bloom. That little “wedding” scene in the café, which felt like an emotional sanctuary for them, was absolutely adorable. They’re not alone in the world anymore.
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