ariel alba

Thank you for your words. I hope I can find Priest's novels in English, as well as the series. At this time the first two episodes have been broadcast. Thanks again.

https://www.youtube.com/watch?v=m8FxTimbHkI

I loved Pedágio, the mother who uses her job to get money to take her son to an anti-gay "cure."

Do Começo ao Fim Perdón, the relationship between the two male brothers, I liked it. Another controversial film on the subject is Teus Olhos Meus. I really like Brazilian cinema.

Sorry, now I remember you're Brazilian. Of course, your name is Latin American. Is it written like that in Portuguese? As I told you, and I remember now, I watch a lot of films from that country. I recently saw The Uninhabitable Ones, Nova Dubai, Tatuagem, Madame Sata, Primos, Hoy Quiero Volver Solito, Sócrates, Depois de tudo, and many other films.

Hello, Gustavo: Thank you once again for your words and candor. I only wish with my texts to contribute something to the fight for the rights of LGBT people, while expressing my ideas about audiovisual products that I like. My reviews are generally very high: I only consume what I like. What I don't, I stop seeing and, therefore, I don't review. Sometimes I seek to review an undervalued, little-seen work, to draw the public's attention and invite them to view it.
From your name I assume you are Ibero-American. The safest thing in Latin America. You wrote Gustavo and not a variant of this name in French, German or another language. I am Latin American, specifically Cuban, resident in Cuba.
After the question about your name Gugamil I thought I would be crossing the line by asking you something personal. Especially considering that many MDL users are from homophobic countries where not only discrimination is committed against LGBT+ people, but crimes are also committed against them. Of course, being a member of this group is not a condition to watch BL series and other films with LGBT+ themes.
What do you see now? What do you like? I don't generally watch series about vampires. "1000 old year" motivated me because it was the first of several about vampires that will come out almost one after the other, but I didn't really like the first episode. It's the genre (horror, supernatural) that I don't like. Great, I can take it in a little more. It is the drama that I like, among these the social (especially the social) and romantic drama, romantic comedy.

Zhang Yimou's aesthetics

The stylized, delicate and striking images are Zhang Yimou's most characteristic hallmark. Themes approached with a marked feminine point of view, photographic evocation, the splendid use of montage, minimalism in the texts and the allegorical form with a desire for social criticism, are some of the constants of her cinema. Until he produced his spectacular action films, he was a master at recreating historical or contemporary dramas, with social content and almost always with female protagonists. Of the filmmakers of his generation, he is the one whose style is closest to Western sensibility, which explains why he has been the greatest ambassador of his country's cinema throughout the world for many years.

Zhang Yimou is a photographer, actor and considered one of the most influential and talented directors in current Chinese and world cinema. For many years the greatest ambassador of Chinese cinematography throughout the world. He debuted as a director with the film Red Sorghum (1987), one of the most promising debuts known, and which earned him the Golden Bear in Berlin. Then came The Red Lantern, which was nominated for an Oscar and for which Zhang won the Silver Lion for best director. Both films, with stories that take place at the beginning of the 20th century, renewed interest in Chinese cinema around the world.
Then came Qiu ju, a Chinese woman, with whom Gong Li, her protagonist, won the Volpi Cup for best actress in Venice, and with whom Zhang also won the director award. In 1994 he filmed ¡Vivir!, a historical chronicle of China between the 1940s and 1980s, through a family. It is considered one of the filmmaker's best films. He then filmed the gangster thriller The Jewel of Shanghai, in 1995, less rounded than his other films.
In 1999, he released Not One Less, a film that won the Golden Lion in Venice, a drama about a teacher who loses one of her students. The way home is superior to the latter. With this film he won the Silver Bear for best director in Berlin. An emotional romantic drama, love story of a girl and a young teacher. This film marked the brilliant debut of Zhang Ziyi, who became Gong Li's artistic replacement for Yimou. Zhang Ziyi becomes a movie star thanks to Tiger and Dragon, by director Ang Lee. This was the director who made 'wuxia' fashionable, a genre originating in Taiwan and Hong Kong, which is distinguished by its particular action scenes and the exquisiteness of its historical settings. Tiger & Dragon will have a great influence on Yimou's later cinema.
After making another of his memorable films, Happy Times, in 2000, Yimou embraces 'wuxia' in Hero. With an overwhelming photographic treatment, upon its release, the film becomes an international success and receives the Alfred Bauer Prize at the 2003 Berlinale for the most innovative work. Aware that through this path he reaches a wider audience than with his dramas, he later directed The House of Flying Daggers and The Curse of the Golden Flower along the same lines. He only allowed himself to return to his usual dramas with The Search (2005), which despite its quality, passed without any recognition. He is a genius as a filmmaker and a man with a golden heart like few others before whom I prostrate.

It's a shame that the film is so underrated. I hope many other users first learn of its existence and then are encouraged to watch the short.

The film is an immense and constant declaration of love. Its director, Chinese filmmaker Meicen Meng, weaves a visually evocative narrative that captures the internal struggle of the two characters in their struggle to discover and accept themselves, while exploiting our emotions while giving us perhaps one of the most iconic farewells of the seventh art.

I suppose "Chains of Heart" has a second season to conclude the story.

Sukiyanen Kedo Do Yaro ka (JBL), Ossan's Love Returns (JBL), Perfect Propose (JBL), Anti Reset (Taiwan), My Strawberry Film (JBL), Cherry Magic (Thailand BK), Cooking Crush (Thailand BL).

The series exudes homophobia and misogyny. The characters, especially Pluem, are designed with a strong homophobic and misogynistic load. Let's ask ourselves: why does a handsome, rich, athletic young man with a good body, good character, sensitive, at 22 years old, have had 20 girlfriends and all of them, without exception, end up breaking up with him? Why does a young man with the aforementioned characteristics and with marked masculine attributes end up being publicly slapped by each and every one of his girlfriends, and he ends up crying to them, literally begging them not to abandon him and to get back together? Why is he shown as a faint-hearted, ridiculous, weak-willed, poor-spirited, unhappy, shameful being, who crawls on the floor while chasing them and making his supplications?
Homophobia is observed when the character, who has always believed that he is heterosexual, comes to understand that only after meeting a boy of the same sex, approaching him and establishing (or not) an emotional bond that ranges from friendship to romance is that he manages to feel happy and fulfilled, he manages to be himself.
Misogyny is evident when characters like Pluem come to justify his sexual orientation (we will surely see this, explicitly or implicitly, in the following episodes) by the fact of having been rejected and despised by women, giving this the reason to despise female representatives. of the genre that until that moment were of interest and attraction. Sometimes we have seen in Thai BLs that “they stop being heterosexual and become homosexual” only because of having been deceived by the girls, since they only have an interest in the character because he is popular, rich, etc. Khonprot is the “Prince Charming” who will come to rescue the “beautiful princess” from her destiny of unhappiness of remaining heterosexual and will show her that “being homosexual is what suits her like a glove.” Please notice the strong doses of sarcasm that I use in my words, motivated by my disappointment that there are many Thai BLs that show this same pattern or formula, instead of showing real human beings with the freedom and capacity to love. whoever they wish to love, while fighting for the rights of LGBTIQ+ people.
I am invited to this series by Kut-Thanawat Sukfuengfueng in his role as Khonprot. I discovered him in 'Chains of Heart' playing Din, a young forestry officer, in love with Ken (Sarunsathorn Tanawatcharawat (Haii). There he played a more manly role in his role as a vigilante, as a fighter against drug traffickers... I regretted that his role was short, because after his "death", another actor came to play his role after having undergone surgery and changed his face. Here we see him more "effeminate" pining in the corners for his beloved, and in his dealings with friends and his mother.
Another point that would be good to think about is related to: What are the chances that in the same classroom at an Engineering faculty there will be three homosexuals (namely the protagonist and his two twin friends, who have not yet been explicitly told if are they homosexual or not, but I have no doubt that they represent queer characters), when these faculties are seen as an example of heterosexuality, machismo and even homophobia? Generally, in this type of series, we see an Engineering student and a student from another supposedly “less manly” faculty.
I cannot finish my extensive comment without referring to the twins. They may be the worst actors in the world, but how I like them in the role they play.

On social networks and in Psychology consultations in the country, stories can be found from homosexual students from Thai Engineering faculties, especially the "effeminate" ones, describing psychological, physical and sexual violence against them, demonstrating the articulation of homophobia and misogyny. among university students. Much of his narratives describe the role of alcohol in strengthening masculine bonds, negotiating manhood before groups of peers, and evading feelings and frustrations. Others, to hide their homosexuality, are forced to seduce and have sex with several women and separate them from their true feelings and emotions. The fact is that many homosexual students of this program have had, and have, problems with alcohol. When narrating their experiences, when they do so, they generally hide them, as well as their sexual preferences, they express it with a didactic tone, with moralistic messages about this "vice." This shows that they uncritically assume the dominant discourses on masculinity. That is to say, the stories present few identity alternatives given the limited options that society offers them as they move from youth to adulthood. Thailand is a sexist and conservative society in which marriage between people of the same gender is not yet legal and in which homosexuality is taboo and frowned upon by both family and religion. What will happen when these students graduate and become engineers, that is, when they occupy a higher place in the male hierarchy. Topics such as the need to seek new ways of “being human and free” in the university environment, or how boys construct new ways of being a man and being young in the society in which they live, as well as the other problems highlighted in this review. to 'A Scretly Love' are absent in the plots of BL series, which do not take into account the social and historical nature of masculinity. This is a social construction recreated, reproduced and reinvented daily by social actors differentiated by age, sexual orientation and other factors.

Dear Gugamil (I assume this is not your real name. If so, I would like to know what you mean by that name, if possible). Thank you for your words. I hope to continue collaborating, watching series and films and shorts that I like so much. I must clarify that I am a boy, not a girl. I don't know if it was myself who mistakenly identified myself as female, when in fact I am male. I watch a lot of movies, especially with Brazilian homosexual themes. I like them. We'll keep in touch, if that's okay with you. A hug.

My comment was intended to raise how stereotypes of queer characters continue to be shown today, as these three people undoubtedly are, to whom you correctly confirm my words, although not explicitly said: they are villains. They are caricatured people to make people laugh and show evil and human baseness. I said: "(...). "Homosexuals have been portrayed in a stereotypical way or in roles of ruthless killers, caricatures of human beings. On many occasions their effeminacy was exaggerated so that the audience could distinguish the homosexual characters without words". These three characters carry many of the stereotypes of all homosexual characters reflected in the history of film and television.

Throughout the history of film and television, homosexuals have been portrayed in a stereotypical way or in roles of ruthless killers, disturbed suicides, caricatures of human beings. On many occasions their effeminacy was exaggerated so that an audience could distinguish the gay characters without words. In this way, the audience could easily identify them as homosexuals because they reflected the clichés that still existed in society towards them. These consisted of portraying them as extremely mannered, prim characters, with thin mustaches and often grotesquely made up. In addition to repudiating this “perverted behavior,” filmmakers and television channels or film companies seek to provoke laughter in the viewer, since in comparison to them, men could feel more masculine and women more feminine.
This has been the case since the short film 'Lot in Sodom', by James Sibley Watson and Melville Webber, produced in 1933, which treated homosexuals as depraved sex-hungry satyrs. A film like 'Brokeback Mountain', by Ang Lee, from 2005, had to arrive, already in the 21st century, to present homosexuals to the general public as "common" men, with traditionally masculine appearance and without any type of pathology. that justified the presence of the character himself in the film.
This situation has been gradually transforming to the present day in which the major film and television production companies, especially European ones, pioneers in this subject, make films and series aimed almost exclusively at the LGBTIQ+ audience, showing more realistic characters and settings, films that are shown in commercial theaters or in the numerous film festivals on this theme that are held on all continents, or series broadcast on television channels in much of the world.
Although these current audiovisuals show how difficult it is to “come out of the closet” and project to the viewer the reality in which homosexuals find themselves, series like 'Cooking Crush' do not escape from reveling in stereotyping queer characters. Thus we see how Prem's three fellow students and also participants in the culinary contest, only with competitive, malicious objectives, are able to constantly harass and mock another member of that human collective.

On such a momentous day in the life of a young man, he does not worry about letting his grandmother and his sister, the only relatives he has left, know about the latest events related to his life, including the fact that he already has a boyfriend or his participation in a nationally televised culinary competition that is so important to him and his friends, as they try to build their future. But the disinterest is mutual: while one prefers not to sit at the table to eat for I don't know yet what reasons, everything indicates that in order not to share with Samsi and Metha, two of Prem's friends, after accepting Dy's invitation and Fire, another is busy ironing and watching a television series. One will say that she was shy because she is in love with the “gray-haired man” and the other that she is more interested in seeing the kiss of the boy on TV than that of her only grandson.

I love movies in which the viewer builds the story. I praise the director and screenwriter of the film in which you, as a viewer, have to discover and construct the puzzle. In fact, the film begins at an intermediate point in which the protagonists kiss. Then Min-ki, trying to escape the circumstances, arrives at the place where he was kissed, and returns to meet Jae-jee again. He is already in love.

I recommend that you see it, and with your eyes wide open. If so, you will like it. Be open to debate and controversy. That is the goal, in my opinion, of the film.