On X's face there is not only love, desire and passion. There is also a request, a plea: I can continue or not. How delicately he treated him. If he had known what the future held for him... The best story of the three so far.
I always look forward to every Filipino LGBT+ production, but many times I end up disappointed. I'll see if I like it, if this film is well produced and acted.
What is clear to me about this series is that, in addition to terrible acting, script, direction... the two protagonists do not wash their hands when they go to the bathroom.
There are other films that make use of multilingualism. In 'Dream in another language', the 2017 LGBT+-themed Mexican film by Ernesto Contreras, he introduces us to Martín, a young linguist, who travels to the heart of the Veracruz jungle to record conversations in Zikril, an indigenous language in the making. of extinction (this is an invented language, as is the one used in Avatar), and discovers that there are not two but three of its only speakers: Jacinta and Isauro, who collaborate with him, and Evaristo, who refuses to do so due to his enmity with Isauro, with whom he has not spoken for fifty years because they disputed the love of the same woman, María. This is what the entire community has always believed. But in reality the two were lovers in their youth, but Isauro renounced his love for Evaristo to marry María and be able to live according to Catholic and conservative morality. The film won the Ariel de Oro Award (2018): best film; Ariel de Plata (2018): best original film script, photography, sound, music composed for film, male performance (eight nominations) Canacine Awards (2018): best music composed for film (two nominations) Florida Film Festival (2017): audience award Sundance Film Festival (2017): audience award (nomination for best director) Guadalajara International Film Festival (FICG) (2017): best actor (one nomination) Huelva Ibero-American Cinema Festival (2017): best script (one nomination) Minneapolis St. Paul International Film Festival (2017): Audience Award Oslo/Fusion International Film Festival (2017): Audience Award
In 'Waiting for Happiness', the Mauritanian film directed by Abderrahmane Sissako in 2002, a young Mauritanian, Abdallah, returns to his hometown near the border with Western Sahara. His intention is to say goodbye to his mother before leaving for Europe. Nouadhibou, which is where the protagonist was born, is a place of passage for African migrants who risk their lives in order to achieve their dream of prosperity in Europe. Abdallah feels like a stranger in his mother's home. He grew up in Mali with his father and has forgotten the Hassanian language, the local language, and is not able to communicate with the local inhabitants. He speaks French and does not seem very attached to his cultural roots. Learn a few words, but they won't be enough. This prevents him, to a large extent, from interacting socially. This circumstance is eloquently highlighted in the narrative plane of the film. Despite his efforts to learn the language, he is humiliated by many locals, especially by a group of young girls who make fun of him because he does not master it.
Another example of the use of multilingualism in audiovisuals can be found in the Japanese film 'Drive my Car' ('Doraibu mai kâ, Ryûsuke Hamaguchi', 2021), one of the most interesting and stimulating films, and, why not say it, most awarded, of 2022. In it, a Japanese playwright, Yusuke Kafuku, a character played by Nishijima Hidetoshi, intends to stage a new version of the play "Uncle Vania" by the Russian playwright Anton Chekhov. Except for a long forty-minute introduction, the entire film takes place between the rehearsals prior to the premiere and the car trips that the stage director makes daily between his hotel and the theater driven by a laconic woman, Misaki, a role assumed by Miura Toko, that they have assigned him as a driver. A peculiarity of this new update of Chekhov's text is that the cast of actresses and actors who are going to participate in the production belong to different countries and that they each recite their sentences in a different language (Korean, Mandarin, Japanese and even French. of Korean signs) that is not understood by others. It seems as if gestures and body language were enough for the interpreters to be able to transcend their linguistic particularisms and elevate us to the universality of emotions. The relationship between Kafuku and Misaki will also strengthen despite the silence, the absence of words, that presides over a good part of their trips. Hence it is no coincidence that the play to be performed is "Uncle Vania." Because the same inability that human beings seem to have, and that Chekhov points out in Russia at the end of the 19th century, to face change, taking refuge in melancholic loss, to assume our desires, abandoning ourselves to guilt, resentment and frustration, of getting out of boredom, routine and boredom, letting ourselves be carried away by a kind of moral inertia, is what Hamaguchi observes in 21st century Japan. And also, and of course, the lack of communication, the insufficiency of language to account for the deepest layers of the human soul. Because both Chekhov's characters and those of the Japanese filmmaker express themselves more in what is not said than in what they really say.
In 'The Best Twins', the 2019 Thai series directed by Phadej Onlahung and starring Pak Papungkorn Sakunsong, who plays twins Pond and Per, the first homosexual and the second heterosexual, and Mild Jinna Pichit-O-Pakun, known for playing Techno in TharnType, who plays Tee, there is an Australian character, actor Chris Chaafe, who brings Thor to life. Chris speaks fluent Thai. He studied Communication Arts at Sripatum University and has lived and worked in Thailand. Therefore, he communicates in Thai without any problem with those around him. A Korean character also appears: Tiger, played by Park Jae Il. This character does not know Thai and speaks English poorly. When he speaks in his terrible English to Thor, he barely understands it, but he manages to serve as a translator for the others. When Tiger talks to others, especially Tee, each in his native language, there is no obstacle and everything flows smoothly. The series runs without any difficulty despite the use of multilingualism. Of course, this series is a comedy, its tone is light, seeking laughter. And this could serve to provoke it. But in both series this does not represent any problem for the development of the series.
I'm not trying to be rude, but Oxin Films have been making series for over 5 years and there have been Pinoy BLs…
Hello. I fully agree with you both in your words towards the director and Pinoy BL. A good review (one thousand) would be ideal for them to "correct the shot" in future projects.
How nice! “I want to know you, I want to understand you, through one of your songs. Play it.” The most beautiful episode of all so far. And that's saying a lot.
There is one issue that seems to bother some viewers: each of the characters speak their native language instead of a single common language. However, this is not a problem for the development of the series. The actors maintain a special dynamic even though some speak Korean and one of them speaks Thai, as they are perfectly synchronized, comfortable in their own languages, and give the idea of being able to understand each other fully and fluently, achieving a connection with the viewer. In my opinion, South Korean director Jagwan Gong has been free to use the tool of multilingualism to provide characterization and establish tone, and also to entrench certain linguistic stereotypes. This situation allows me to remember a brilliant and masterfully choreographed scene from the film 'Everything Everywhere All at Once', by directors Daniel Scheinert and Daniel Kwan, winner of awards in the categories of acting, editing and direction, as well as the coveted award for best film, at the 95th edition of the United States Academy of Motion Picture Arts and Sciences Awards. I'm referring to the scene where three generations of a chaotic immigrant family speak three different languages at dinner. This is a solid example of how screenwriters and directors use language in film to do much more than convey dialogue: language and subtitles also help characterization, set the tone of a scene, and anchor fictional stories to the story reality. What is annoying for some when they watch 'Eccentric Romance', evokes in me the moment when the South Korean filmmaker Bong Joon-ho, in his acceptance speech at the Golden Globes for 'Parasites', in 2019, stated: when the public overcomes the "subtitle barrier, a richer cinematic world awaits." Telling authentic stories in a modern, globalized and multicultural world means fairly portraying the languages spoken and adopted in our society. Hence, sometimes, the need for subtitles. In some of the best scenes in Todd Field's 'Tár', its protagonist, Cate Blanchett, uses German only during orchestra rehearsals and completely dispenses with subtitles. Non-German-speaking audiences may not understand the words Blanchett speaks, but are instead encouraged to focus on the visual aspects of the character's communication: her facial expressions, her physical tics and tremors, and the mounting tension, both visible as audible, between her and everyone around her.
Maybe it's a different San Francisco, the one where it snows.
Although this issue is one of the least significant errors of the many that the series presents, it would be good to point out that there are 38 cities in the world called San Francisco. In addition to the Californian city, Mexico has 13 cities with that name (Baja California Sur, Nayarit, Jalisco, Guanajuato, Querétaro de Arteaga, San Luis Potosí, México, Guerrero, Hidalgo, Veracruz-Llave, Quintana Roo, Puebla, Chiapas) . For its part, Guatemala (in Petén), El Salvador (in Morazán), Nicaragua (in Chinandega), Costa Rica (Heredia Province), Venezuela (in Zulia), Bolivia (Chuquisaca), Argentina (Córdoba) has each of these countries with a city with that name. Peru has two cities called San Francisco, one in Ayacucho and the other in Ica. Honduras has two cities with that name, one located in Atlántida and the other in Choluteca. Panama has three cities called San Francisco, one in the province of Chiriquí, another in Veraguas and the third in the province of Panama. For its part, the Philippines has 7 cities with that name, in Central Luzon, Western Visaya, Calabarzon, Central Visayas, Eastern Visayas and Caraga, and ending with Colombia, which has three cities called San Francisco, located in Putumayo, Antioquia and Cundinamarca. Because most of them are located in America, the time difference with Thailand is still abysmal, in addition to the fact that it does not snow in these regions, and, furthermore, they are not cities with large skyscrapers and infrastructures like the one shown in the series. The cities called San Francisco with the smallest time difference with respect to Thailand would be those located in the Philippines, with only one hour difference, but in that country it does not snow, since the Philippines enjoys a tropical climate that is mostly hot and humid. throughout the year, with a clear dry season between November and May, and a wet season between June and October. Furthermore, they do not have large buildings like those shown in the series.
The dramatic tension between the two cousins and between Gu Yang, Gu Hai's cousin, and Bai Luo Yin or Su Yu in Stay with Me has disappeared in this series. It's laughable and completely disappointing.
In San Francisco, CA, USA it is 1:00AM while it is 3:00PM that same day in Thailand. However, in the series Heroin's cousin slept, and not because he was drugged, because he was in pajamas and ready to sleep with his eyes covered so as not to see the light (he is drugged wearing a striped long-sleeved sweater and in the bed appears wearing black pajamas), while in Thailand Pope and Only also slept at night, after a night's drunkenness. The filmmakers did not take the time difference into account.
What a rich and complex personality Gu Hai's cousin has in the novel, as well as in the two Chinese versions of this series. It was scary to see when he appeared on stage, because the reader or viewer did not know what his mind was up to. What Heroin's cousin in this Thai series can aspire to do is make you laugh.
In this fb you can see subtitles with english, or you can search Caliboy TV in Facebook search https://www.facebook.com/bacoloduntoldstories/videos/1136565916697979/
an "interesting" article put out by Oxin Films about SkyValley.... https://www.facebook.com/share/p/gHo34kQsk1RDdnMU/
Thank you for sharing the text, but if I get carried away by what was said in it, I would have to assume that we would be looking at one of the best series in the world. Nothing could be further from the truth.
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The best story of the three so far.
But in reality the two were lovers in their youth, but Isauro renounced his love for Evaristo to marry María and be able to live according to Catholic and conservative morality.
The film won the Ariel de Oro Award (2018): best film; Ariel de Plata (2018): best original film script, photography, sound, music composed for film, male performance (eight nominations)
Canacine Awards (2018): best music composed for film (two nominations)
Florida Film Festival (2017): audience award Sundance Film Festival (2017): audience award (nomination for best director)
Guadalajara International Film Festival (FICG) (2017): best actor (one nomination)
Huelva Ibero-American Cinema Festival (2017): best script (one nomination)
Minneapolis St. Paul International Film Festival (2017): Audience Award
Oslo/Fusion International Film Festival (2017): Audience Award
Abdallah feels like a stranger in his mother's home. He grew up in Mali with his father and has forgotten the Hassanian language, the local language, and is not able to communicate with the local inhabitants. He speaks French and does not seem very attached to his cultural roots. Learn a few words, but they won't be enough. This prevents him, to a large extent, from interacting socially. This circumstance is eloquently highlighted in the narrative plane of the film. Despite his efforts to learn the language, he is humiliated by many locals, especially by a group of young girls who make fun of him because he does not master it.
Another example of the use of multilingualism in audiovisuals can be found in the Japanese film 'Drive my Car' ('Doraibu mai kâ, Ryûsuke Hamaguchi', 2021), one of the most interesting and stimulating films, and, why not say it, most awarded, of 2022. In it, a Japanese playwright, Yusuke Kafuku, a character played by Nishijima Hidetoshi, intends to stage a new version of the play "Uncle Vania" by the Russian playwright Anton Chekhov. Except for a long forty-minute introduction, the entire film takes place between the rehearsals prior to the premiere and the car trips that the stage director makes daily between his hotel and the theater driven by a laconic woman, Misaki, a role assumed by Miura Toko, that they have assigned him as a driver.
A peculiarity of this new update of Chekhov's text is that the cast of actresses and actors who are going to participate in the production belong to different countries and that they each recite their sentences in a different language (Korean, Mandarin, Japanese and even French. of Korean signs) that is not understood by others. It seems as if gestures and body language were enough for the interpreters to be able to transcend their linguistic particularisms and elevate us to the universality of emotions.
The relationship between Kafuku and Misaki will also strengthen despite the silence, the absence of words, that presides over a good part of their trips. Hence it is no coincidence that the play to be performed is "Uncle Vania." Because the same inability that human beings seem to have, and that Chekhov points out in Russia at the end of the 19th century, to face change, taking refuge in melancholic loss, to assume our desires, abandoning ourselves to guilt, resentment and frustration, of getting out of boredom, routine and boredom, letting ourselves be carried away by a kind of moral inertia, is what Hamaguchi observes in 21st century Japan. And also, and of course, the lack of communication, the insufficiency of language to account for the deepest layers of the human soul. Because both Chekhov's characters and those of the Japanese filmmaker express themselves more in what is not said than in what they really say.
A Korean character also appears: Tiger, played by Park Jae Il. This character does not know Thai and speaks English poorly. When he speaks in his terrible English to Thor, he barely understands it, but he manages to serve as a translator for the others.
When Tiger talks to others, especially Tee, each in his native language, there is no obstacle and everything flows smoothly. The series runs without any difficulty despite the use of multilingualism. Of course, this series is a comedy, its tone is light, seeking laughter. And this could serve to provoke it.
But in both series this does not represent any problem for the development of the series.
A good review (one thousand) would be ideal for them to "correct the shot" in future projects.
There is one issue that seems to bother some viewers: each of the characters speak their native language instead of a single common language. However, this is not a problem for the development of the series.
The actors maintain a special dynamic even though some speak Korean and one of them speaks Thai, as they are perfectly synchronized, comfortable in their own languages, and give the idea of being able to understand each other fully and fluently, achieving a connection with the viewer.
In my opinion, South Korean director Jagwan Gong has been free to use the tool of multilingualism to provide characterization and establish tone, and also to entrench certain linguistic stereotypes.
This situation allows me to remember a brilliant and masterfully choreographed scene from the film 'Everything Everywhere All at Once', by directors Daniel Scheinert and Daniel Kwan, winner of awards in the categories of acting, editing and direction, as well as the coveted award for best film, at the 95th edition of the United States Academy of Motion Picture Arts and Sciences Awards.
I'm referring to the scene where three generations of a chaotic immigrant family speak three different languages at dinner.
This is a solid example of how screenwriters and directors use language in film to do much more than convey dialogue: language and subtitles also help characterization, set the tone of a scene, and anchor fictional stories to the story reality.
What is annoying for some when they watch 'Eccentric Romance', evokes in me the moment when the South Korean filmmaker Bong Joon-ho, in his acceptance speech at the Golden Globes for 'Parasites', in 2019, stated: when the public overcomes the "subtitle barrier, a richer cinematic world awaits."
Telling authentic stories in a modern, globalized and multicultural world means fairly portraying the languages spoken and adopted in our society. Hence, sometimes, the need for subtitles.
In some of the best scenes in Todd Field's 'Tár', its protagonist, Cate Blanchett, uses German only during orchestra rehearsals and completely dispenses with subtitles.
Non-German-speaking audiences may not understand the words Blanchett speaks, but are instead encouraged to focus on the visual aspects of the character's communication: her facial expressions, her physical tics and tremors, and the mounting tension, both visible as audible, between her and everyone around her.
Because most of them are located in America, the time difference with Thailand is still abysmal, in addition to the fact that it does not snow in these regions, and, furthermore, they are not cities with large skyscrapers and infrastructures like the one shown in the series. The cities called San Francisco with the smallest time difference with respect to Thailand would be those located in the Philippines, with only one hour difference, but in that country it does not snow, since the Philippines enjoys a tropical climate that is mostly hot and humid. throughout the year, with a clear dry season between November and May, and a wet season between June and October. Furthermore, they do not have large buildings like those shown in the series.
It's laughable and completely disappointing.
3:00PM that same day in Thailand. However, in the series Heroin's cousin slept, and not because he was drugged, because he was in pajamas and ready to sleep with his eyes covered so as not to see the light (he is drugged wearing a striped long-sleeved sweater and in the bed appears wearing black pajamas), while in Thailand Pope and Only also slept at night, after a night's drunkenness.
The filmmakers did not take the time difference into account.
Nothing could be further from the truth.