ariel alba

Whether we like it or not, we can only have one part of our partners

"Why don't you ever kiss me?" Mark asks his boyfriend Li Ting in the short film "Floss," by Chinese filmmaker Fan Popo, known for his documentaries "Mama Rainbow" (2012) and "Papa Rainbow" (2016), which address the experience of parents coming to terms with their children's sexual and gender identities in a society where family and face remain paramount. "I just did it," Li Ting replies without flinching. "No, I mean with tongue kissing".
By then, viewers have already discovered that Li Ting is harboring a strange secret: he's obsessed with teeth, both his own and Mark's, but especially with the delicate floss they use daily to clean them. His obsession even drives him to dive into the piled-up trash to retrieve a floss used by his partner. We soon discover that his paranoia has nothing to do with oral hygiene.
If in 'The Drum Tower', her previous work of fiction, also from 2019, Fan posed a story about the budding connection between an introverted student and a transgender shopkeeper in Beijing, in 'Floss' she explores the abject objects of our desire and the often unacknowledged loneliness of love, seen through the relationship between two young people in the Chinese capital that becomes strained after one of them develops an unusual fetish.
In the short film, the Chinese filmmaker (whose work is compared to that of fellow queer filmmakers He Xiaopei and Cui Zi'en for his "direct queer aesthetic", with a "media-savvy" approach, linked to the global LGBT+ movement and advocating for the acceptance of queer people in a more open and diverse society) introduces us to a pair of lovers: Mark (played by Xiao Ke) and Li Ting (Etsen Chen).
In the eyes of others, the two young professionals live a life no different from any other couple: they go out to dinner at luxurious restaurants, and after returning home from walking the dog, they settle down on the couch to watch movies together. Every night, in the bedroom, they have hot, energetic sex, in large quantities.
But an obsession grows in Li Ting's heart. When Mark, after shopping at the market, shows up at the house with floss sticks instead of the usual dental floss, Li Ting can't hide his Dissatisfaction.
That night, during sex, Li Ting shows no interest in emotional intimacy. Time and again, she offers her boyfriend excuses avoiding much more embarrassing situations. Distressed, Mark tells her at one point, "I don't think you like me at all." And he receives silence in response.
Matthias Delvaux's cinematography soon shows us that the photos of a happy couple decorating the apartment bear little resemblance to the sullen couple who live within its four walls.
From this moment on, things visibly change within the couple. Or have the images shown of the couple at the beginning only exposed a false reality, an illusory world? Have the two protagonists truly been happy? Despite the vigorous sex, is there passion? Don't the two seem to be living in separate, different worlds? Doesn't Li Ting look away from Mark while they have sex? Isn't he later tormented by dreams of being bound by a glowing spider web?
And that's when the viewer begins to understand what Fan is trying to tell us: the line between desire and disgust can be so thin that it can be erased at any moment and by any trigger: for some, it might be sweat, saliva, an unwashed body... For others, it's our partner's semen spilled on our chest during sex, blood, and pieces of chewed food.
The neurotic protagonist of the short film is aware of the abject nature of his own fetish. Expressing his obsession also entails shame and the silence that comes with it. That's why he prefers not to kiss Mark; why he chooses to look away when he meets her gaze; why he chooses to remain silent...
How much of ourselves do we hide from the person closest to us? That's the central question that 'Floss' invites the audience to reflect on, as it uncovers an uncomfortable truth: whether we like it or not, we can only have one side of our partners.
What's interesting about the film is that through the sexual obsession with dental floss, something certainly novel, 'Floss' examines contemporary relationships and the secrets we all have and jealously guard.
The film explores the communication barriers that exist between human beings, no matter how close or intimate we are with the people around us. Li Ting's confusion reflects the loneliness of ordinary people, especially those living in big cities.
Li Ting's obsession invites us to reflect on the intimate and idiosyncratic nature of fantasy and the power it wields, especially when it involves some aspect of reality that is often forgotten or forbidden in everyday life, as the Chinese director so aptly reminds us.
Presented at Palm Springs International Short Fest, Queer Lisboa, and Frameline: San Francisco International LGBTQ Film Festival in 2019, and Inside Out Toronto LGBT Film Festival in 2020, in 'Foss' the Chinese director accepts the challenge of tackling themes and approaches little explored by much of current LGBT+ cinema, to focus on the less attractive aspects of love and lust, in this case a fetish, to question the universal model of the monogamous couple.

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Love, wedding, tragedy and curse

At just 8 minutes, 'From Now On To The Past' constitutes one of the great milestones in audience and critical reception on the screen of the People's Republic of China in the last decade.
In this exponent of cinema that shows pure love with a gay theme, a magician predicts that there will be blood at the wedding. But it will still be celebrated, because fear and imprecation will not prevent Sang (Hu Ling Meng) from speeding up the marriage plans with Tian (Pei Zi Tian), although carrying out the betrothal is something that should not have even been thought of. Apparently, a kind of ancestral curse haunts true lovers.
In addition to the young couple, Da (Wang Keda), their good mutual friend who will serve as best man, will join the terrifying wedding. Full of complex and real emotional entanglements, which eventually lead to tragedy, the three prepare to wait for the dark day. Everything ready now for the unimaginable…
Directed by Chinese filmmaker Yang Yongchun, and released on November 11, 2015, the film shows an impressive and deep scene of intimacy between two men. Filmed in Thailand, 'From Now On To The Past' explores that love means giving unconditionally for the person you love, even the most precious thing one can have: one's own life.
Produced by Beijing Pansy Pictures Co., Ltd., the viewer can see how the relationship between Tian and Da has undergone subtle changes over time. Da suffers in silence, as his feelings for Tian have turned into same-sex love, and the two can only hide this love in silence. They both break the friendship of the brothers who grew up together, and even break the shackles of love on the rainy night before the wedding.
The film works, mostly, by appreciating the way in which the technical resources contribute to the scenario of growing sexual tension between the two men, the restlessness and fear generated by the curse; as well as the articulation of climates that range from celebration to the dark, very well conceived and managed.
With natural and attractive performances, the audience comes to understand that the three characters are full of entanglement and pain.
Note that while the magician's prophecy was coming true, Sang comes to remember the second half of the prediction, hidden from the public until that moment: "the person he loves the most will die".
The craft of the Chinese school is manifested here, in this sense, through photography and the work of the team of artistic directors. The music also contributes to the above, and in this section the weight falls on the interpretation of the actress and singer Hu Ling Meng to the closing song, which is titled "From Now On To The Past." The conjunction of the three fronts determines the impressive visual and sound display of the film.
Two other indicators of value of 'From Now On To The Past' are linked to the management of its cast, populated by famous local figures from cinema and series, and to the way of interweaving the story – wrapped in the cloaks of drama, fantasy, romance and melodrama – with the indigenous weight of superstitions and wedding celebrations.
As the film confirms, such procedures are still decisive in the culture of a country whose technological, scientific and industrial rise does not prevent the permanence of atavistic practices based on the convergence of beliefs from diverse origins.
If you ask me why this film has such a tragic ending, I would answer that the writer and director want to tell us that homosexual relationships can end in tragedy; that is to say, it is easy to get together and break up, without the support of family, friends...
The sad ending also better sublimates the theme of the entire film, such as telling people that members of the LGBT+ community should receive more support in our societies.

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Poetry, dance and homosexual desire

I remember that I was not able to go to its movie premiere in October 2011, because I was not yet of the necessary minimum age, but the interest in appreciating it was marked since those days, when my literature teacher spoke to us in the classroom about the poetry of the main Filipino feminist poets Rebecca Anonuevo, Benilda Santos, Merlinda Bobis, Joi Barrios, Ruth Elynia Mabanglo and Ophelia Dimalanta, and of the very artistic 'Ang Sayaw ng Dalawang Kaliwang Paa' ('The Dance of the Two Left Feet'), since then hailed as one of the great milestones of audience and critical reception on the Philippine screen so far this century.
My teacher told us in class about how this beautiful and moving film, winner of 7 Gawad Urian 2012 awards, including Best Film, Best Cinematography and Best Original Score at the Cinemalaya Independent Film Festival 2011 and the Pre-Columbian Bronze Circle Award at the Bogotá Film Festival that same year, elegantly presents poems by Filipino feminists that are intertwined with the dances featured in the 68 minutes of footage.
"The film is a technically sophisticated exploration of romantic longing that is both intellectually stimulating and emotionally engaging", the words of my literature teacher still ring in my ears.
Shortly after, I was able to see it, stored on a flash memory that we high school students who were interested in seeing a film of great cultural richness, originality and lyricism were passed from hand to hand directed by Alvin Yapan, one of the most respected film directors of the independent scene of that nation, also internationally recognized for 'Ang Panggagahasa kay Fe' (2009), 'Debosyon' (2013) and 'An Kubo sa Kawayanan' (2015).
The first thing I confirmed after watching the film is that with it the director has taken the potentially risky step of including in his script large sections of poetry by Filipino feminist writers, in addition to in-depth classroom debates on topics such as the myth of Orpheus and Eurydice and the nature of cinema.
Although there are a couple of clumsy moments of exposition towards the endings, which slightly break the spell, Yapan's strategy pays off thanks to excellent image and sound editing, overlaying charming dance sequences with well-chosen poetry readings and literary debates that say everything about the repressed emotions swirling around the main actors.
I was then able to see through my eyes what I read in the press about this film, shown as part of the Official Selection of the 2011 Hawaii International Film Festival, and which I consider to be much more than a gay film, as it manages to address gender roles and how dance and the small gestures that construct it become a means of communication and sexual expression, and an exploration of the game between Marlon, Dennis and Karen, its protagonists.
In this context, dance, poetry and desire serve as a vehicle to explore an unconventional love triangle that arises from the infatuation of a university student with his elegant literature teacher, who is about 40 years old.
With a well-crafted atmosphere of restricted eroticism persistent from the first scenes, I discovered that Marlon (Paulo Avelino), a student from a rich family who is doing poorly in his literature class, looks longingly at Karen (Jean Garcia), his teacher of that subject.
For several days Marlon follows Karen to discover that she also works as a choreographer and classical dance teacher. Eager to impress her, he hires Dennis (Rocco Nacino), his classmate who attends Karen's dance classes, whom he asks to teach him how to dance as his private tutor, without her knowing.
Wanting to get her attention, Marlon plans to sign up as a newcomer and impress Karen with his natural ability, after learning the dance moves in advance.
Urged by Karen, Dennis will inform that Marlon enrolled in her class to be close to her. Then the woman confronts Marlon. Marlon feels betrayed by Dennis, revealing his closeness to his classmate, whom he now considers a friend. By then, Marlon and Dennis have become inseparable in tackling the complexities of poetry and dance. They would even talk during their dance classes about how to make sense of the poems for the subject taught by Karen.
As he learns how his body should move, Marlon begins to understand the intersections between poetry and dance.
Marlon will come to understand how the poems are testimonies of Karen's choice to live the life of an artist who chooses to remain single, rather than marry into luxury. Her only passion is her dancing. To support her art, Karen teaches literature and choreography for block parties, weddings, baptisms, and other secular events.
Through their lessons, the two young men become closer, but Dennis begins to have feelings for Marlon that go beyond the friendship that Marlon does not reciprocate. Soon their friendship becomes strained and Marlon can't understand why. It is only through dance that Marlon is finally able to express what he cannot say in words to Dennis.
The two male actors capture all the curiosity and naivety of young people learning the rules and repercussions of attraction. For her part, Garcia quietly plays the older, attractive, single woman whose true feelings remain tantalizingly ambiguous.
Possessing a great deal of romanticism, the film focuses mainly on poetry, dance and art rather than the loveless relationship between the two male leads. Dennis, Marlon and Karen are transfigured into a medium to convey a love affair with the arts, lovingly enunciating every word of every poem, every twist and sleight of hand evoking a torrent of emotions none of them will ever be able to say.
I don't know how many times I've watched the film since then. Every time the images roll before my eyes I realize that 'Ang Sayaw ng Dalawang Kaliwang Paa' is a striking film in which the delicately constructed dance of desire becomes an indication of homosexual attraction that arises as Marlon's lessons with Dennis intensify, producing the expected result of attracting Karen's attention to the stage.
I am pleased with how the stories of the three protagonists are intertwined, each carefully told and fused together through words, shapes and movements. Art unites all three. There are almost never overt displays of physical or verbal intimacy. It is only through dance that the trio of characters shout out their most intimate and repressed desires.
Little by little I can see how Marlon's love interest moves from one to the other. The relationship between him and Dennis is not openly stated. Only through their looks and gestures, particularly during their dances, can I see the growing sexual tension. Marlon uses movement to express his longing for his dance partner. It is impressive how Alvin Yapan, who is also the screenwriter, makes use of the kineticism of each touch, of sliding and grabbing, to represent the desire that consumes Marlon.
Karen emerges as their guide, an orchestrator who never imposes herself. She embodies the feminist poetry she teaches and simply aims to reveal what we can all appreciate: a hidden passion so palpable that it gives weight to every step and posture of her performances.
At one point in the footage, Karen invites Marlon to dance with her, but in the middle of the dance, she passes him to Dennis. The dance culminates with Marlon and Dennis dancing, as a preamble to the final scene of the film, in which the two will assume the roles of Humadapnon and Sunmasakay on stage.
While the poems focus on the personal relationships between men and women involved in a power struggle, the dance performances will materialize the contest between two dancers. Who will take the lead? The one who assumes the role of a woman or the one who assumes the role of a man? In my opinion, this is the core of the film.
I find the use of Panay Bukidnon's epic Humadapnon to support gay criticism in popular literature highly interesting. The choreography explores the difference between Western and Eastern dance, one oriented towards the sky and the other oriented towards the earth.
Technically proficient, the film's scenes are carefully edited and the dance sequences, choreographed by Eli Jacinto, are beautifully shot, which is almost an achievement in itself.
'Ang Sayaw ng Dalawang Kaliwang Paa' is a dazzling waltz in the burning fires of desire. I can, as a viewer, feel the anguish that each of the protagonists feels. Ultimately, the film is a cultural triumph that highlights the achievements of Filipinos in poetry, architecture and dance.
Excellently produced despite its modest budget, the film features engaging visuals by lenser Arvin Viola and an eclectic score by Christine Muyco and Jema Pamintuan that works harmoniously with elements of poetry and dance to lend a metaphysical atmosphere to the proceedings.
I highly value how through the kinetic interpretation of the lyricism of poetry, the film becomes the first Philippine film to be adapted from poetry. In 'Ang Sayaw ng Dalawang Kaliwang Paa' dance and poetry join hands, using the works of leading Filipino feminist poets to talk about the plight of dancers and artists, particularly the marginalized ones.
Another thing to take into consideration is that 'Ang Sayaw ng Dalawang Kaliwang Paa' is about artistic pursuit and the status of artists in a third world country. Set on the FEU campus, home of Art Deco architecture, the film seamlessly fuses poetry and dance in an everyday setting, questioning the place of art and its role in our lives. The film also focuses on how the arts are taught in a country where such subjects are relegated to the background.
I will not tire of saying that with the film, for the first time, Philippine cinema explores the marriage of poetry and dance. Poetry as a more lyrical medium compared to fiction, lends itself more appropriately to dance performances. Focusing on feminist poems rather than just focusing on feminist issues, the film explores how feminists and members of the LGBT+ community share some commonalities in their advocacy activities.

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A story about the transience of love

The lack of family support, the consequences of discrimination in conservative, heteronormative and patriarchal societies, the lack of friends, the nonexistence of a romantic partner, etc., can influence reinforcing a certain feeling of emptiness or loneliness that is often attempted wrongly satisfy with the fleeting and sporadic physical contact of casual sex, which sometimes has a price tag.
The LGBT+ themed short film reminds us that sex is not the solution to fill that void or that feeling of loneliness.
Distributed by Matchbox, the South Korean film released in 2021 explores the complexities of love, the human need to be free and human relationships, through an intimate approach and a visually poetic narrative.
Through the story of Soo Hyuk, a young man who silently cries out for help and works for a dating service run by a manager whose only interest is money, we will experience how the protagonist will experience the emotional ups and downs of an ephemeral love, when a The client hires him to spend the afternoon with him, but it may not end as they both expect, because while one hopes to find the dreaded violent sex, the other is looking for something more than a simple carnal relationship.
The meeting between prostitute and client, two heartbroken men seeking human warmth, will become a turning point in the lives of both young people, probably generating a radical change in their lives.
The director of the film (I would like to have references from the cast and crew) portrays two disturbed characters in an alienating environment, who will begin a brief emotional relationship, sharing their feelings and emotions, seeking the warmth of human company.
The story can convey a great feeling of melancholy. It may be the successful musicalization, or it may even be the story, with which it is difficult not to feel identified in a certain way:
- How not to feel identified with the client, a writer who needs much more than sex, and is looking for company to eat and talk while writing a novel... an anonymous client who uses the gay dating service for the first time and from the first moment feels worried seeing the newcomer sad, hurt, bewildered, stressed?
- How not to feel identified with a prostitute with a heart of gold who perceives himself as a sexual object for those who call the gay dating service looking for casual sex to hide the loneliness and pain in their lives. What does the cover photo want to tell us, if not the image of two men not behind a large window from where you can see the outside, but rather the bars of a prison from outside where you can see the sadness, the melancholy of their lives?
• How not to feel identified with the story of these two young people, which reminds us that there are people who are not here to stay with us, but who have a purpose in our lives. How can you not feel identified with the story of these two young people who forged a brief connection that helped them get to know themselves?
• How can you not feel identified with the end of the short, which sends us a message of hope, that everything will be fine if we take a sudden turn in our lives when they lead us to a dark and sad dead end?
In short, a tender erotic short film about the most prolific topic in gay cinema. What is old is new again. Transactional sex pales in comparison to a meaningful kiss.

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The most beautiful declaration of love in world cinematography

Chinese cinema, supported by European critics in the 80s and 90s and by the public in recent years, has been in good health for more than a hundred years.
Chinese cinematography makes about 400 films annually, covering all genres and themes. In its exhibition halls, this production occupies 60 to 70 percent of the projection time.
They also make just over a hundred television series and about 20 cartoons for younger audiences.
The awards from European festivals are repeated, and although the Hollywood Oscar resists, the European and Asian awards are almost never missing.
The development of childhood and adolescence, the daily life of the peasantry and the development of contemporary Chinese society are among the priority themes of the Asian giant's cinematography.
Stories about young people who love, study, work, live and make their way in life are present in the Chinese films of the so-called Sixth Generation.
From the hand of contemporary filmmakers, films such as 'As black as coal' (Báirì Yànhuǒ, Diao Yinan, 2014), 'I am not Madame Bovary' (Wǒ Búshì Pān Jīnlián, Feng Xiaogang, 2016), 'Mrs. Fang' (Fang Xiu Ying, Wang Bing, 2017), 'An Elephant Sitting Still' (Dà Xiàng Xí Dì Ér zuò, Hu Bo, 2018), 'That woman/Ash is the purest white' (Jiang hu er nü, Jia Zhang Ke, 2018), 'Long journey into the night' (Dìqiú zuìhòu de yèwǎn, Bi Gan, 2018), 'Farewell, my son' (dìjiǔtiāncháng, Wang Xiaoshuai, 2019), 'The Wandering Earth' (Liu Lang Di Qiu, Frant Gwo, 2019), among others.
Queer cinema is not far behind, and if in 1996 Zhang Yuan released 'East Palace West Palace', Cu Zi En filmed 'Jiu yue' (2001), Wang Chao released 'Xun Zhao Luo Mai' (Looking for Rohmer), Lu Po-wen presented 'River Knows Fish Heart' (2018), Luo Ye filmed 'Chun feng chen zui de ye wan' ('Spring Fever' / 'Nuit d'ivresse printanière') and Xu Fang Yi exhibited 'Kinematic Theory' and 'The Ambiguous Focus', filmmaker Tang Shi premiered 'Sentimental and Peaceful Today' ('The Raccoon', or 'The Reccoon'), with a script of his own.
Originally conceived as a degree project by professors of Chinese Literature at Peking University, the interest of an increasingly large group of admirers and benefactors made it possible to turn the short film into a feature film.
'The Raccoon' is a faithful reflection of the predominant Chinese personality as a people and culture: interactions that are not warm, although love and affection are still shown. It is part of the formal nature of relationships in Chinese culture.
Gu Xiao An (actor Weng Hai Bin) is a student studying Chinese Literature at a university in Beijing. One night he receives an invitation from his dorm roommates to sleep on the roof of the building to escape the heat. Xiao An lies down, and a friend lies next to him. In the early morning he feels cold, and when he wakes up he notices that his blanket (printed with bears) does not cover him, and next to him a person sleeps with his blanket. He pulls it to get hold of it and, accidentally, touches the erect member of the sleeper, who wakes up and shouts: "It hurts, it hurts". Xiao runs away with the blanket. When he gets to his room he discovers that his friend is sleeping covered with his blanket, so he took the wrong one. He hopes that because it is dark at night, the owner of the blanket has not seen him, but the next morning he is woken up by the owner of the blanket, Mao Cai (actor Wu Di), ready to get his blanket back. The entire misunderstanding is cleared up and when Mao Cai is about to leave, Xiao tells him that he offended, upset, tried to hit someone, and not an apology. Mao Cai invites him to dinner, as an apology. Thus begins a love triangle, as Lao Si (Deng Tian Xiong), another roommate, is in love with Xiao.
Xiao and Mao Cai quickly become close friends. Mao Cai is the first to approach Xiao. He calls her "my wife" to his friends. The friends tell Mao Cai why he dresses so elegantly if his wife lives in the front room and he sees her every day. Students govern relationships in the dorms. There is no presence of any professor or administrative official of the university interfering in the lives of the students.
Xiao sick with jealousy. Moments before he argued with the handsome and slender seme Mao Cai. He is confused by his feelings for him and doesn't want him around. He remembers that Mao Cai, to his question, answered that two years ago, in high school, he was in love with a girl, but they broke up when they graduated. Xiao is sad. Mao Cai is not among the visitors to the hospital, but later, upon returning to his bedroom, he finds out that Mao Cai was the one who picked him up, took him to the hospital, and bought his medicine. This makes him go look for him and they reconnect.
At another point, the cute and sweet Mao Cai tells Xiao that he reminds him of "his brother", who died years ago. He liked bear-printed blankets, he liked the same foods that Xiao likes, and he always walked behind Mao Cai's back, as if he were his shadow, like Xiao walks behind him. "I'm going to sing for you. I'm going to call you my brother". Hugs him. Mao Cai skips his class, and enters Xiao's. He tells him not to write, to play with him. The game consists of reaching under the table and touching the other's penis. A surprised Xiao scolds him. "Are you sick?". The teacher notices. She, the only teacher in the film, is cheerful and positive when she discovers the two boys holding hands in her Chinese Literature class.
Xiao asks him, always on the rooftop where they met and where they meet, why he wants her to call him "brother". And Mao Cai tells him about his parents' divorce when he was a child. He went with his mother to another city, and his younger brother stayed with his father. Xiao now doubts if Mao Cai is in love with him or if he just reminds her of her brother. And, hurt, he distances himself again. This moment is taken advantage of by the thin and passive Lao Si to approach Xiao.
The action is slow, but the film captures the viewer, keeping them interested in the events, often with the need to put a handkerchief close to their eyes. The film takes its time to reach intimacy quickly. It is in the manner of that great Asian and universal filmography that is Chinese: the protagonists meet to talk for hours over a long period. Then a shy, light hug, to give way, after long hours of conversation and after a long period, to a much warmer hug, and finally a kiss, as a prelude to the tender love relationship. That is the classic courtship employed by the Chinese methodological way: step by step and often tumultuous, as we continue to see among Chinese university students, in the last premiere of that country, in the one before it and in the one to come.
They reconnect again. They go back up to the roof to talk. They share the bowl of noodles again.
Mao Cai is jealous, because in the dining room he saw Xiao looking into the distance at Lao Si while he was looking for lunch for the two of them. Mao Cai will be acting in a play in which his girlfriend betrays him with another man. Mao Cai is the first to provoke Xiao: "Aren’t you worried about the female character kidnapping me? ". But Xiao replies: "It's good to have a sister-in-law. It's not bad to have someone taking care of me. To check if my future sister-in-law is suitable, I would have to go see the play…".
It doesn't end. A tormented and jealous Mao Cai, little by little, while listening to him, stopped eating, and as in his character in the play, he threw the bowl of food and left. He is already in love with Xiao. He no longer wants him as a brother. He desires it, longs for it as a lover.
It's the dress rehearsal. Mao Cai goes to Xiao's room to look for him so they can both go to the theater, but he has left early with Lao Si. At the theater, the two arrive holding hands. Mao Cai throws the bowl on the floor when he sees them and leaves the theater. Xiao thinks it's part of the performance, and applauds. He goes to Mao Cai's room. He finds out that he is in a bad mood and has not gone to rest: “Haven't you realized why Mao Cai is in a bad mood? "Shouldn't you have gone to the theater with him? ". Mao Cai's companions understand the reason for Mao Cai's mood, but Xiao is unable to understand.
They see each other on the roof. "Xiao, why didn't you wait for me to go to rehearsal? I don't know why, when I saw you holding Lao Si's hand, my heart hurt terribly. I feel like you belong to me". And after a hug: "Xiao An, do you still love this brother?". Mao Cai pulls Xiao over and they kiss.
Lan Xin, the young student and female character in the play, pursues Maocai. After the success of the play and a night of drinking, Xiao An and Mao Cai wake up naked in a hotel bed the next morning. Xiao says he doesn't remember anything from the night before, and Mao Cai throws himself at him and tells him that if he wants they can repeat what they did. That's when Lan Xin arrives to give Mao Cai the "jacket you left in my room last night." And he sits on the bed in which Xiao lies still, without getting up, naked, and tells him, before a disturbed Mao Cai, that the night before he got drunk and Mao Cai brought him to the hotel room, that he should be grateful to him. , and invites him to go eat together, the three of them. But Xiao doesn't go. And when he is alone he calls Lao Si. Xiao hugs him when Lao Si tells him how could Mao Cai leave him in that condition in the hotel. Mao Cai sees them hugging, from the doorway, with food in their hands, and leaves without them noticing. He didn't have time to go to eat with Lan Xin. He immediately returned to look for Xia. Throw the food in the trash can. Were Xiao and Mao Cai together? Were Mao Cai and Lan Xin together? At this point, Mao Cai admits to being in love with Xiao.
Apparently, Xiao believes that Mao Cai played with his feelings. That's why he is close to Lao Si now.
Lan Xin shoots a photo at Mao Cai and hands him her cell phone, but her goal is for Mao Cai to see a photo she took the day before of Xia and Lao Si in the hills "looking cute together."
Lao Sin and Xiao return from a walk. Xiao is sad. Mao Cai and Lan Xi wait for the bus to go to dinner. The four of them are seen. Mao Cai tries to talk to Xiao, but Lao Sin interferes: "if you already have the girl, why your interest in going after Xiao?" And Mao Cai hits him.
The next morning, Lan Xin calls Mao Cai from the ground floor of the building to go to breakfast, but he kindly and politely shows his disinterest.
Mao Cai calls Xiao. He awaits him in the stands of the university stadium. Arrives. It's cold. "As your friend, I'm tired. So let's stop being friends," Xiao suggests. And, when he turns his back to leave, Mao Cai gets up, hugs him from behind, surrounds Xiao's entire body with his arms, and the most beautiful declaration of love ever written in the history of cinema occurs: "Don't go." Let me tell you everything I feel. These days I haven't even seen you. I can't sleep at night. It's all you. Our chemistry, your way of lying, the way you get angry. …My mind is "Sometimes I want to go find you, but I think you want to see Lao Si. Looking at you and seeing you laugh makes my heart sad.
Here I am, annoyed with the translation. Parts of the monologue are lost or poorly translated.
Mao Cai turns Xiao on his heel, and the two look into each other's eyes. Shy, Xiao, lower your gaze. Mao Cai continues: "Do you hear me?" "Yeah". "Can you understand it?" Xiao looks up. Their gazes meet again. "NO". Mao Can, defeated, collapses his arms. And Xiao's voice is heard again, while, happily, he runs away from Mao Cai and he chases him, laughing, with happy music that plays for the first time: "I would like to hear your declaration of love again." "Xiao, idiot".
And as the credits roll, Xiao hugs Mao Cai, tells him he missed him, and will sing a song adapted for him.
Note: The structure of the review is very atypical in my production, but I am reluctant to review the film in any other way.

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Nothing gives a young soldier more pleasure than being a dog loyal to his master

Based on the novel "Military Dog" (軍犬) by Petit (Xia Mu Cong), the Taiwanese short film of the same name shows an intense virtual erotic encounter between a "human puppy" named Li Jun-Zhong and his Master DT, while offers a glimpse into the unique BDSM scene, the well-known human-puppy play in Taiwan, influenced by Japanese shibari (繩縛) and culture leather/kinky/fetish from the United States.
Based on his own experience in the army, which, in Xia Mu Cong's words, is a gigantic sadomasochistic place, 'Military Dog', a psychosocial thriller of obsession, directed in 2019 by Ping-Wen Wang and scripted by Yi-Hsun Yu delves into the strangest and most provocative areas of the human mind, while viscerally penetrating all the spooky moments that keep us up at night.
Film that won the Gold Award at the Outfest: Los Angeles Gay & Lesbian Film Festival 2019, tells us about a soldier who wants to level up through an extreme method, which involves his Master DT: entering the world of BDSM.
Shocking and full of suspense... a little fun as the soldier follows his Master's instructions via video call, 'Military Dog' received high ratings from critics and the public during its screening at the 2019 Outfest LGBTQ Film Festival and 2019 Outfest Fusion LGBTQ People of Color Film Festival "Opening Night Gala".
One night, in the military camp, the young soldier, played wonderfully by Chun Yao Yao, an actor known for his participation in the LGBT+ themed film 'Dear Tenant' (2020), by Wang Li Wei, accepts the proposal of his Master DT to become his "puppy" to demonstrate his burning desire and tremendous loyalty and submission.
The cast also includes Tommy Wang, an actor known for playing Eric in 'Dear Tenant', Kevin in 'Gentleman Spa' (2019), and Xiao K in the series 'Dark Blue and Moonlight' 2017), all of LGBT+ theme, who plays Junior Soldier here.
In an exclusive sphere where any activity can occur, Li Jun-Zhong as the "Military Dog", and Master DT (although his face can barely be seen through the mobile phone, in an outstanding performance by Li Yun Tsai, actor known for participating in several LGBT+ themed films, such as 'Bao Bao' (2018) and 'The Story of the Stone' (2018), like "Master", blur the limits of pain and pleasure through control and submission, the look, the compliance with orders, the speed with which he must react if he wants to gain the acceptance of the "Master", the dangers he must run to satisfy the Master's demands in a place guarded by other soldiers on duty, the sound of the urine when falling, one's own touch, smell and breathing.
What make the story more fascinating are the young Taiwanese director's imitation of an instructor's training and the oath of enlistment, culminating in the pleasure of built-up erotic tension.
Full of passionate and kinky exploration along, DT is referred to as "Master" and "He" in the story to indicate a relationship between a caretaker and a pup.
Naturally, Li Jun-Zhong's pronouns "he" and "his" (with "Military Dog" as his pup's name) are presented in lowercase. The purpose of this conceit is, first, to show the respect, love and adoration of the human cub towards its Master; secondly, prove that DT is the only Master of Li Jun-Zhong.
At the same time, the film adopts combined first and third person points of view to refer to "Military Dog", celebrating the fluidity and versatility of his sexual identity. In the film, viewers are supposed to understand that "I" is "he" (lowercase) is "the slave".
The film gains vigor thanks to Eric Chao's photography with flat colors with little color saturation seasoned with dark night nuances, and a sharp, penetrating music by Thomas Foguenne.
'Military Dog' focuses on sexual fluidity and the metamorphosis of humans into "dogs" in the context of contemporary Taiwan. Captivatingly shot, the film subverts cultural norms by outing the underground BDSM scene and imagining the military as a distinct site of queer performance, creating a layered act of queering what is normal or "vanilla".
Furthermore, this important and timely work questions the universalizing claims of queer desire and fundamental notions of the erotic, the individual, and the body. The short film seeks to document the existence of the Taiwanese BDSM scene and new sexual identities. It also offers the opportunity to imagine a new politics of sex, one that projects a vision of our queer past and future.
Moving away from stereotypical representations of queer characters as a group of suffering victims, Ping-Wen Wang explores and showcases LGBTQ+ experiences using new approaches.
'Military Dog' reaffirms the high level of social acceptance of Taiwanese queer cinema, while promoting greater awareness of the LGBTQ+ community. This film is a demonstration that the film industry is evolving, progressing and expanding queer productions, responding to increasingly deep conversations about queer issues and recognizing their commercial potential.

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From Chinese BL fiction to the colors of Southeast Asia

The plot begins when An's world is shaken after Jin, his adoptive brother and platonic love, returns to Thailand from the United States, after several years geographically and sentimentally distanced.
In this way, those who, between laughter and games, and without having any blood relationship, had grown up within the same family, meet again. But they are not children anymore. They are two university students. The reunion gives rise to the fact that, while both discover that some powerful and intense feelings unite them beyond being "brothers", An immerses himself in a journey in which he realizes a shocking truth from his past.
We are talking about 'Secret Love', a BL genre miniseries, directed by Content, the Chinese-Thai adaptation of the Asian giant's novel danmei, by J.W. "Secret Planet Series".
Produced by Bebravehud and distributed internationally by executive producers Wang Yuren and Wu Ben, 'Secret Love' leaves the viewer with a carnival of events, secrets, crimes, manipulations, intrigues, betrayals, revelations, adoptions, childhood traumas, reconciliations and love affairs
It is a short miniseries of the BL genre presented by QuStory, with 81 episodes of 2 minutes each.
Among the points to highlight, it is necessary to keep in mind the schedule for which it was conceived. 'Secret Love' was not created for primetime requirements, but to be shown on Saturday and Sunday evenings in China, Hong Kong and Thailand by HONGKONG QUKAN Network Technology CO., Limited.
It is a short miniseries of the BL genre presented by QuStory, with 81 episodes of 2 minutes each.
Among the points to highlight, it is necessary to keep in mind the schedule for which it was conceived. 'Secret Love' was not created for primetime requirements, but to be shown on Saturday and Sunday evenings in China, Hong Kong and Thailand by HONGKONG QUKAN Network Technology CO., Limited.
The fact explains several characteristics that today are understood from a more systematic perspective: the colors, the lightness of the plot, the construction of charismatic and attractive characters, the secret and forbidden romance for various reasons and the titanic strategies of the father of one of the two boys. for obstructing it.
It should be taken into account that, for years, we have consumed the products of the countries involved in the project that release BL series frequently, with different target audiences and, therefore, records of particular audiences. ELIMINATE
That a poor boy is adopted by a rich family after surviving an accident, at age eleven, in which his parents died; that in the future the same person who welcomed him into their home may be unfairly accused of causing his orphanhood; That someone he trusts is the real culprit of the murder, and ends up in love with his adoptive brother, may seem implausible; but in the vision of its creators it is nothing more than a functional resource that is inserted into an imaginative and traditionally light dramaturgical conception.
While Gu Hao Wei (Thitipol Nimsakul), the company's CEO and friend of An's deceased parents, and his wife (a role assumed by actress Ganitharin Pacharapakdeechode), have upset more than one viewer with their actions, the first for his homophobia and practice of domestic violence against Jin, and the second for carrying several blames, a point in favor is the overthrow of his negative attitudes due to the growing love between the young orphan and his own son, as well as the loss of control of the company when it passed into the hands of the adopted boy.
For his part, Uncle Q (Chakkritt Wangpattanasirikul) is a dark and negative character, who tries to manipulate An for his own benefit.
The fact that it is a short drama does not represent a serious problem for me: I watch the 20 weekly episodes, in a subtitled edition, one following the previous one.
On the other hand, the sum of all the episodes broadcast between Saturday and Sunday add up, in their entirety, to the approximately 40 minutes that the BL series that we frequently enjoy have. In total, the 81 episodes would represent four episodes in a series of this format.
We also have Turbo Chanokchon Boonmanawong among the cast, an actor known for playing Camp in the story 'Friends Forever', from the BL series 'My Universe', and Anda in 'Love Stage!!', who plays in this one. occasion to Lan; and Tee Vitsarut Suwinijjit, popular among genre lovers after starring in 'Restart(ed)', now adding the role of Tong to his resume.
The flashbacks that lead the viewer to understand An's past, the gloomy settings and, at times, the soundtrack of 'Secret Love', underline the dark elements of the story.
Despite some timorous performances (to be developed in the immediate future by the two protagonists), and the lack of depth in the story, the latter being a typical feature of short plots and low-budget productions, both in music and in dialogues, the viewer will also find a beautiful story of love and reconciliation, especially with oneself for hiding an atrocious family secret for years. All of these elements immerse us in engaging entertainment, and debuting stars Tle Matimun Sreeboonrueang, as Jin, and FirstOne Wannakorn Reungrat, as An, are especially charming.
Casting directors take note: Tle and FirstOne, in their respective first roles in their young careers, are two actors to be reckoned with, capable of conveying subtle shades of inner turmoil, of discomfort at finding themselves in love with someone of the same gender, then of his time on the 'TV Show DMD Friendship the Reality', Domundi's artist training program.
They both need a little more acting skills, confidence in front of the cameras. I have no doubt they will win in this regard.
The protagonists of 'Secret Love' had already participated in the 'TV Show SosatSeoulsay', precisely in episode 237, a television program that follows the protagonists and actors of Thai dramas.
In the script, which adapts the Chinese BL novel of the same name, the ingenuity of Wang Tinglian and Ding Wuen must be highlighted, by taking the original work and transferring its setting to Thailand, where the centers move between lavish mansions, companies and the university, with its pertinent allusions to studies, to obtaining the family company as an inheritance and to the search for success at any price, no matter if through crime.
And, if we talk about society, the series explores in a sensible way (and with high doses of sensitivity) certain topics such as male homosexuality, the emancipation of children from their parents, the breaking of taboos, self-acceptance and friendship.
The miniseries, with Chinese narrative inspiration and a warm mix of Thai essences, manages to satisfy the public thanks to the combination of melodramatic elements in an agile, light and attractive story.

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Can love change people into better versions of themselves?

Boy meets girl, or girl meets girl, or boy meets boy. Boy and girl, or girl and girl, or boy and boy fall in love, overcome some bumps in the road and in the end they are happily ever after. This is, with variations, the structure of most of the portraits of love that films and television series have left us.
Although it is evident that the vision of the relationships that world cinematography has, starting with Hollywood, is, to say the least, quite limited, cinema and television have contributed decisively – just like music, novels or advertising – to shaping our expectations about life as a couple. It also leads to frustration when, as often happens, the actual experience does not correspond to those expectations.
Much has been written about the role of television series in consolidating the myths of romantic love. Experts on the subject have identified up to ten myths: that of the better half (which assumes that we all have a predestined soul mate and we will only be happy with that person), that of exclusivity (the belief that we cannot love more than one person at a time), that of free will (which ignores that there are social, biological and cultural factors that influence our choice of partner), that of fidelity (which maintains that all our romantic and erotic desires must be satisfied by a only person), that of eternal passion (which leads us to think that the enthusiasm and ardor of the beginnings of a relationship can be maintained after months or years of living together), that of marriage (according to which, true love necessarily leads to a stable and lasting), that of love that conquers everything (the idea that love always prevails and there is no problem, inside or outside the couple, that it cannot solve), that of jealousy as a sign of true love (very deep-rooted, helps to normalize possessiveness), and the power of love to change people.
And I'm not referring to when we ask for changes that affect the personality of one of the members of the couple by asking them to stop being him or her, which can generate conflicts, when we demand permutations using the pretext that they have to do it "for love".
No. I point out that the way we build our personality, our hobbies and our way of thinking is also influenced by socialization, and depending on our life history there are some people who influence us more or less. In many cases, the person we choose to walk the path of life as a couple makes us evolve to become better individuals.
This is the force behind the Japanese series 'Doku Koi Doku mo Sugireba Koi to Naru', from directors Maiko Ouchi, Masataka Hayashi, Tatsuya Aoki.
Based on the manga of the same name by Keisuke Makino, the series, in the romantic comedy, thriller and legal genre, follows two young people: one of them is Shiba Ryoma (Shogo Hama), a 27-year-old elite lawyer with social anxiety turned into a the youngest partner of an important law firm. Regarded as the cold and ruthless "Ice King of Law", he is valued as legal advisor to numerous important clients, and Haruto (Katsumi Hyodo), a mysterious genius con artist, talented at disguising himself as another person.
Wearing a high-end suit, Ryoma is a perfect man who never makes mistakes and holds a position as a key member of the corporate legal affairs team of a large law firm, dealing with legal disputes such as mergers, acquisitions, and inter-company resolution. His hard heart has never shown interest in anything other than his job, but one day, at a bar where the president of his advisory board takes him, he meets Haruto, a con mastermind with captivating eyes, and a connection develops snapshot.
From that moment on, both begin to live together under the same roof, since Ryoma needs the work of an assistant to help him investigate the legal processes to present in court. Both join forces to solve complex cases, using unethical methods, while developing feelings for each other.
From that moment on, both begin to live together under the same roof, since Ryoma needs the work of an assistant to help him investigate the legal processes to present in court. The two join forces to solve complex cases, using unethical methods, while developing feelings for each other.
However, as the saying goes, "If you take the poison, it will reach the plate", and Haruto's "poison" gradually seeps into Ryoma's cold and firm heart...!
Produced by TBS Drama Stream and Netflix Japan, and scripted by Kawasaki Izumi, the series describes how two completely opposite people become secret boyfriends and solve legal problems in an exciting way.
If I admire something in Japanese BL series, it is their ability to delve into the psychological complexity of people. In this case, above other considerations, 'Doku Koi Doku mo Sugireba Koi to Naru' presents us with two very different young people with no initial ties to each other, and the sentimental and emotional repercussions that they will have to assume when one enters life of the other. None of them will be the same again.
Both will be marked not only by their involvement in the resolution of important disputes in a court of law. And in this look inside a shared existence is how the series delves into the depth of love between two human beings so different from each other, and how their lives will change from that moment on. The interpretations live up to the demanding level of this need to show how far love can go, and to what extent it has the power to transform people, for the better.
In his first leading role in a romantic drama, Katsumi Hyodo wins audiences over as her motherless character begins to love Ryoma's sensitivity and clumsiness. His love for Ryoma, his dedication to helping him solve important and complicated legal cases, will open the doors not only to the lawyer's house. When she meets Ryoma and realizes that he is in love with him, he stops being that man who gets into trouble by being part of a gang of scammers, and fully lives that love, opens his heart and tells her story, which is also linked to that of young people and adolescents who, like him, do not have a home and have been despised by society and even excluded from their family.
Despite this being the first time he plays a lawyer in a love story where he falls in love with someone of the same sex, Shogo Hama shows talent by building a strongly tsundere character, inexperienced in love, frustrated by his inability to express the feelings he gradually develops for Haruto. Win with high marks in this new challenge as an actor.
Ryoma, his character, is a fascinating young man who takes the viewer from coldness to warmth. The lawyer is strong, determined, determined and with a strong personality that projects an image of absolute control in his life, especially before his clients and his opponents in court. However, he carries the frustration of having been betrayed by his senior and having lost, for this reason, a trial that he had won.
The construction of this character allowed Shogo Hama to display a performance full of subtleties, in which Ryoma's external coldness contrasts with the moments of introspection and the decisions he makes since Haruto enters his life.
Over time, one comes to modify the other's behavior for the better, as they fight to resolve legal cases.
What will Ryoma do when his bosses find out that his assistant is a known scammer? Will love be stronger than his dreams of being a defender of the law? What will happen when Ryoma finds out that Haruto is the son of his worst enemy? Will Haruto's love warm Ryoma's cold heart? Will Haruto leave his past behind for love?
The toxic and romantic chemistry between Shogo Hama and Katsumi Hyodo, which almost transpires across the screen from the moment they meet, is one of the keys to the success of this unconventional series between an elite lawyer and a con artist, a few years younger.
These types of stories are preferred by the Japanese viewer, so having one of those plots set in the BL universe feels like a dream.

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Many times love is there, in front of you. All you have to do is open your eyes and see it

At times told with subtlety, other times with symbolism, 'Phupha | Nanfah' tells us a story of an interrupted love and reconciliation of two best friends in love, who due to misunderstandings and lack of communication will not dare to confess their feelings.
Directed by Choi Sittichai ('21 Days Theory') in 2022, the story tells a story based on real events, collected in a novel of the same name written by Thanyathorn Siwanukroh, and adapted by screenwriter Eakarong Coompromboon.
The beautiful soundtrack, composed by Sompob Pokepoom (Boy), is performed by the actors who play the main characters. These manage to convey to the viewer that tension between friendship and the love of a couple that is not always easy to manage.
With good production values, beautiful photography, vibrant cinematography, precise artistic direction in creating a heartbreaking and nostalgic atmosphere, a successful placement of flashbacks to mark the two timelines in which the story is told: past and present, and the electrifying chemistry of the two main actors, ''Phupha | Nanfah' tells the difficulties that occur when one of the lovers believes that love is not possible and chooses to put distance between them.
The story focuses on Nanfah/"Nan" and Phupha/"Phu", two young university students who, in addition to being single, physically attractive, enigmatic personality, dreams, professional goals and adventures, share a dormitory and have built a solid friendship.
The two promised each other that they would never leave each other's side, but Phu has developed feelings that go beyond those of one friend for another, and assuming that Nan does not reciprocate his love because he is in love with a fellow student, decides to break the promise, lie to his friend about his whereabouts and walk away from him.
Divided into two episodes, each focused on one of the protagonists, the miniseries tells the love story from their respective perspectives. The first, titled 'Phupha', introduces us to a heartbreaking but romantic story.
Through a fascinating emotional arc told in just over thirty minutes, we discover that in the present, Phu runs a coffee plantation with his uncle. Through a photograph in its frame that breaks the glass when it falls to the floor, as a symbol of their broken relationship, this character remembers his university years and his friendly relationship with Nan.
In this way, we travel to the past to observe an emotionally charged story, with heartbreaking confrontations, and powerful performances by Wattikorn Permsubhirun (Kiak) as Nan, and Kittikun Tansuhas (Kun) as Phu.
The viewer can appreciate how, despite their times not coinciding due to studying different careers, although they do study at the same faculty, both young people seek to enjoy moments in each other's company.
Their close relationship causes others to speculate about the nature of it, but both will deny having romantic feelings. Gigi (Heidi Amanda Jensen) interested in winning Nan's love, is one of those interested in discovering the essence of the bond that unites the two boys. On the other hand, Deena (Marima Suphatra Kliangprom) has set her eyes on Phu and hopes to get closer to him to win him over.
The relationship between the two protagonists becomes much more strained when Nan asks a reluctant Phu to help him learn the rudiments of the dance so he can participate in a competition. Seeing in this a possibility to strengthen the relationship with his platonic love, Phu finally agrees to be his rehearsal partner and attend professional classes together.
Through misunderstandings, and lack of communication, Phu perceives that Nan's interest in participating in the contest with her friend Deena is because she is in love with her, and this suspicion will generate jealousy, anger, arguments and new tensions.
Through his actions and a gripping inner monologue, the viewer easily comes to understand that Phu doesn't just see Nan as a friend. The episode satisfactorily shows a boy in love and tormented by realizing that his infatuation is not reciprocated, while Nan, unintentionally, breaks his heart, when in truth she also wants to share time with the boy with whom she has built a great friendship.
The audience will live, along with Phu, his intense journey of ups and downs, anguish and heartbreak, as well as incomprehension on the part of Nan as she cannot understand Phu's reactions to her actions.
Both actors are magnificent, one conveying his secret infatuation, jealousy, desperation, and rage resulting from unrequited love. It seems as if Phu's love for Nan flows like the grain of wood. Meanwhile, the other convincingly conveys the nostalgia, melancholy and pain of not being able to hug and laugh with his friend, the impossibility of putting his nose close to his friend's neck to smell the aroma of the freshly sprayed perfume, of capturing it with his hands to preventing him from getting out of bed and forcing him to lie down next to him again, the anguish of not knowing..., the suffering of waiting for the longed-for reunion and the long-awaited reconciliation.
The distressing tension between the two grows even more when Nan introduces Phu to Deena so they can meet, so the troubled lover assumes that Nan is looking to match him with someone else since she has no romantic interest in him. Later, Phu watches from a distance as Nan and Gigi talk and hug. Although Nan has no feelings for Gigi, Phu misinterprets Nan's action, so he decides to break his promise and walk away from him, but not before lying to her about where he is heading and the reason why, according to him, he unexpectedly must leave for Australia.
The second episode, 'Nanfah', which presents us with two young people who are no longer friends, because contrary to their promise, each one has taken different paths, masterfully portrays the suffocating anguish of a friend in search of the other, a friend in need of reconciliation and reunion.
Between them there is an abyss of silence and incomprehension. In the present, Nan still does not know the real reasons why Phu broke the promise and is no longer part of her life, so she tries to bridge the distance that separates them through constant messages through a computer screen or mobile. But his words and tears are met with only silence in response.
In his memory, he travels to the past, to the exact moment he discovers Phu's absence, just on the day of both of their college graduations. He remembers that Phu had promised to confess something important to him after finishing the formal act, a confession never expressed due to his departure.
In this way, the dramatized story tells how, through conversations held with the janitor of the building where the two young people sleep, Nan will suddenly understand the reason why Phu has abandoned him. This truth takes shape in his mind, and will prompt him to travel every year, for a decade, to the Australian city of Melbourne where he believes he will be able to find Phu.
That is, during his pilgrimage, Nan has discovered that Phu has secretly loved him for years, and that misunderstandings and lack of communication between the two are the cause of the separation. Therefore, at this time, Nan is not just looking for a friend. He is aware that he also loves Phu and wants him to return to his life.
On this journey of desperate search, Nan will find an ally in Khunkhao (Seagames Teerapat Angkanit), a young man of Thai origin born in Australia, who will develop unrequited feelings for Nan.
With an open ending, 'Phupha | Nanfah' leaves tensions and undefined relationships to be taken up in a series filmed in 2023 by Kongkiat Khomsiri, known, in addition to his work in horror and action films, as one of the directors of 'KinnPorsche' , and written by Thanyathorn Siwanukroh, who is also the screenwriter of the adaptation.
Kuk and Kiat once again shine as Phu and Nan, respectively, while the character of Khunkhao, with an unexpected turn that will pleasantly surprised everyone, and Deena and Gigi, return to provide diversity and color to the remake.
Like 'Phupha | Nanfah', its prequel is an ode to love and true and sincere friendship.

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Rewrite history and historical truth

The trick of rewriting history and leaving what is not appropriate in the landfill is old: the United States lost the war in Vietnam, but years later it had its 'Rambo', capable of single-handedly winning another vengeful invasion and thus giving comfort to the nostalgic.
Another example of rewriting history was pouring rivers of ink in the American newspapers of the time to blame Cuba and Spain for the blowing up of the North American battleship Maine, on February 15, 1898, with the aim of suing and pressuring the North American government to that he decided to intervene militarily in Cuba and rob the Cubans of their independence and sovereignty.
In fact, the Maine had arrived at the Havana port on January 25 of that year, with the excuse of making a "friendly visit", although, given the tension that existed between the United States and Spain, it was evident that the presence of the ship It was nothing more than one more in the chain of pressures that the North American government had been exerting on the Spanish government in what clearly constituted preparation for intervention, with annexationist and expansionist objectives, in the war that the Cubans were waging against the regime Hispanic colonial.
Let us also not forget how Western historians, especially German, British and American, began to rewrite history to detract from the Red Army and the Soviet Union in the defeat of fascism, and overvalue the intervention of the Western allies, which, although important, was not transcendental for the final victory against Hitler's Germany.
In truth, this war was won from fascism thanks, mostly, to the military and human effort of the U.S.S.R. and its people, who put twenty-eight million victims in the balance of death. However, this objective data is based, among many other reasons, on the fact that more than 70% of Nazi losses occurred on the Eastern Front and that it was the Soviet army that brought the German machine to its knees.
When the Allies landed in Normandy, back in June 1944, the Soviets were already advancing unstoppably towards the heart of the German Reich after defeating the Germans in the Battles of Moscow, Stalingrad and the Kursk Arch, decisive in ensuring a radical turn in the evolution of World War II. Even without Western intervention, Berlin would have fallen anyway and the Soviets would have even liberated Paris or Rome.
In the effort to manipulate history, Western historians forget that Winston Churchill himself, who at that time was the Prime Minister of Great Britain, wrote that "it was precisely the Russian Red Army that took the guts out of the war machine." Hitlerian", or the statement of Dwight Eisenhower, Commander in Chief of North American troops in Europe and future President of the United States, who was forced to publicly declare that "the great deeds of the Soviet Army during the war against Germany They aroused the admiration of the whole world.
I think about the above while watching 'Special: Drama Special Season 15: The Officer Discusses', written by Sudocrean Im Eui Jung ('Love According to Law', 2022).
Based on real events, this excellent work of the historical, dramatic and family genre, tells us, in terms of a relationship of friendship, murders and palace intrigues, how the Crown Prince Yi San (Nam Da Reum), summons the historians of Joseon to eliminate from the annals collected in the "Diary of the Royal Secretariat" the events related to the death of his father, Crown Prince Sado, who was murdered by his own father, King Yeongjo (played by actor Jo Han Chul), who was the twenty-first king of the Korean Joseon Dynasty (reigned October 16, 1724 – April 22, 1776), and by Lady Hyegyeong.
Aware that history can be manipulated if one has the means and capabilities to do so and, above all, if one who writes it in a real and objective manner is silenced, in order to ascend to the throne and consolidate his reign, Yi San, who reigned with the name of Jeongjo of Joseon (October 28, 1752 - August 18, 1800), and was the twenty-second ruler of the Joseon dynasty of Korea (1776-1800), he did not hesitate to assassinate anyone who opposed him in his efforts to try to clear the name of his father, who was considered incapable and weak.
History remembers that on the day Jeongjo finally assumed the throne, after the death of his grandfather, he looked at everyone present in the royal hall and said: "I am the son of the late Crown Prince Sado...". These words were considered a warning to those complicit in his father's death.
During the stage prior to his coronation, characterized by the chaos generated by the murder of his father on the orders of his own grandfather, King Yeongjo, who made the decision influenced by politicians opposed to the crown prince, Yi San demanded that the kingdom's historians Comply with your order.
However, Nam Yeo Gang (Tang Jun Sang), a young historian who in his childhood was sent to the Palace to keep the future king company, and with whom he develops a strong friendship since childhood, refuses to obey him and will seek to prevent the crown prince carry out his unhistorical plans.
When Yi San assures that by eliminating what happened from the annals he intends to refound the nation so that a new State can emerge, the historian Nam responds: "By erasing History, in what way will your Joseon be new?" This is the work of historians: in short, to study, describe, analyze, capture the past in writing, and protect the historical truth.
I would like to finally highlight the performances of the children Lee Chun Moo as Crown Prince Yi San [Young] and Choi Ye Chan as Nam Yeo Gang [Young].

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The time travel makes the film unique among other recent Taiwanese LGBT productions

Who has not ever dreamed of taking a walk through the gladiator era in the Roman Colosseum or playing chess with Napoleon Bonaparte? As long as mobile phones do not incorporate the function of taking leaps through History – something impossible and unusual, at least for the moment –, there is always the option of dreaming thanks to cinema.
For as long as we have been aware of it, the passage of time and its nature have fascinated humanity. Particularly in cinema, time travel and temporal paradoxes have proven to be a resource that, well used, has given rise to truly fascinating films, from well-established classics like 'Back to the Future' to recent gems like 'The Time of Huan Nan', a romantic Taiwanese LGBT+ adventure directed by Leading Lee ('Anywhere, Somewhere, Nowhere', 2014).
Starring Hsia Teng Hung, Wang Yu Ping, Edison Song and Chu Meng Hsuan, the film evokes other notable Taiwanese films, while exploring LGBT+ relationships, family relationships, parents' refusal to accept their children's homosexuality and the market traditional Huan Nan, with a history of 55 years, located in the Monga delta, bathed by the Tamsui River and the Xindian River, in the Mongka district of Taipei.
Inspired by true events, field research and production took more than three years and the film is a strong collaborative project with various departments of the Taipei City government. It was filmed on location in the district and cast many local market vendors.
Although the supreme objective of the film is to represent this historic place where thousands of inhabitants of the island capital converge daily, 'The Time of Huan Nan' is more than the sum of its parts and is a moving work.
Epic, intimate, and with intense colors, 'The Time of Huan Nan' reminded me of 'Les 7 Vies de Léa', a French series released by Netflix in 2022, and which also takes us back 30 years to 1991, but in This case involves teenagers. Something like this happens in the Taiwanese film, although not as complicated.
The film revolves around Chen Yao Hua (Hsia Teng Hung), a daring high school student who in the year 2022, in the midst of the Covid-19 pandemic, works in the historic market at the family butcher stall. While filming with his cell phone his father, Chen Bao Ding, who in the middle of a depression dances on the roof of the market with a sword, Chen is suddenly transported 31 years ago, to 1991, when his father was young.
The film shows that from this roof you can see the best panoramic night views of all of Taipei.
Mistaken for Liu Yong Hui, a missing high school student (which is why he will be called by that name from then on), Chen Yao Hua unexpectedly enters the circle of three inseparable friends: the young version of his own father (Edison Song), An Jiang Chang (Chu Meng Hsuan), her father's lover, and Yu Kang Ming (Wang Yu Ping), the only female member of the close-knit group of friends and who plays an important role in bonding the four gang members
From the first moments, Chen Yao Hua, who has traveled back in time to trace his father's history and discover why he suffers from depression, falls in love with Yu Kang Ming, but neither of them know how to deal with the other's attraction, and, in turn, discovers that his father is homosexual and has a secret relationship with Chang An Jian.
In this way, in this vibrant and vigorous scene converted into another character, these three homoeroticly filmed handsome men, and the charming girl, take the oath as the "Four Young Brothers of Huan Nan" They hang out at the market and flirt with each other while exploring life's possibilities.
Well filmed and with an outstanding rhythm, the film tells us how the four characters jump between 1991 and 2022, while they experience the changes in their lives and how their passions, desires and regrets develop over just over three decades; and how they can make changes to redeem the losses and pain they endured all that time.
All this against the backdrop of a time that is not tolerant for LGBT+ people in Taiwan, and in which the lives of the four friends will eventually be destroyed.
Full of warmth, sensuality and love, in this sense, 'The Time of Huan Nan' joins the list of Taiwanese films that explore homosexual relationships from martial law to today, as is the case with 'Your Name Engraved Herein', by Kuang-Hui Liu (2020), or 'Girlfriend Boyfriend', by Yang Ye Che (2012).
Likewise, like this last film, or 'Eternal Summer', by director Leste Chen (2006), 'The Time of Huan Nan' presents the dynamics of a love triangle between a heterosexual woman and two homosexual men.
Likewise, 'The Time of Huan Nan' evokes other Taiwanese films, while in its final stages it makes visual references to 'The River', by Tsai Ming-liang, while the dynamic between the four protagonists is reminiscent of 'Mongka', the film by 2010 year by filmmaker Doze Niu, including queer subtext. In this way, these two productions share the environment, taking as their setting that historic district of the Taiwanese capital, considered the oldest neighborhood in the city.
Likewise, the intimate bath that Chen Yao Hua gives to Chen Bao Ding reminds me of the bath, in which perhaps strangely because they are father and son the homoerotic aspect is more than hinted at, the one given by Ah Jie (Roy Chiu) to Zheng Yuan (Spark Chen), in 'Dear Ex', the film directed by Taiwanese Mag Hsu.
However, the time travel narrative makes 'The Time of Huan Nan' unique among other recent Taiwanese LGBT films, and its stylistic flair makes it superior to recent hits like 'Marry My Dead Body'.
This won't be the only bathing scene. This will not be the only intimate and homoerotic moment: the three men will enjoy themselves in a public bathroom, and in it the two young lovers will clean their bodies with soap and water under the curious gaze of Chen Ya Hua. Because yes, in 'The Time of Huan Nan' there will be no sex scenes, not even a shy kiss, but there are many dazzling close-ups of beautiful male faces, torsos and buttocks, and intimate close-ups and sexy players behind a ball in a rugby match
Beyond the good editing, the beautiful photography and an exciting and stimulating story full of convincing performances in which the four protagonists carry the weight of the film, with a powerful mix of charisma and excellent chemistry between them, 'The Time of Huan Nan' also seems like a movie that couldn't have been filmed anywhere in Asia except Taiwan.
The most obvious sign of this is its direct representation of LGBT+ characters and themes. While other Asian countries make films of this genre and theme, they are generally not for general consumption.
In just three months since its premiere on July 13, 2024 at the New York Asian Film Festival (NYAFF), 'The Time of Huan Nan' has become a very popular film. This perhaps reflects Taiwan's continuing reputation as the most tolerant place towards LGBT people in East Asia. Although the advances or setbacks in terms of the rights of LGBT+ people may be conditioned by who are the politicians who govern at the level of the entire Island as well as in each district, and impediments that threaten the lives of homosexuals, such as that a gay couple can adopt a child and the impossibility of having property rights and hereditary rights, the widespread success of this film validates and further increases Taiwanese tolerance towards people from that community.
Even the performances of the secondary characters, such as Chen Yao-hua and Chang An-jian's parents, are good, despite their small roles.
The flaws of 'The Time of Huan Nan' are mainly narrative. Chen Yao Hua is perhaps too indifferent to the many new discoveries about his father. Likewise, the film may not stick to its premise, with the time travel plot losing steam towards the end once Chen Yao Hua returns to the present, and is now seen to have been missing for thirty years.
It is dark and complicated to say the least. Especially when he has to worry about an unfolding tragedy: Chang An Jian's disappearance thirty years ago, so he must return to the past once again. But this is not a world in which the future traveler can alter events while traveling through time.
On the other hand, already in the endings, an overly didactic and explanatory section is introduced about the Huan Nan market and the Mongka district, which breaks with the tone and dynamics of the film.

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I see a thread of light at the end of the road

Through the intercultural relationship of Jie Cheng (Ivan), a well-behaved Taiwanese student, and Eric, a rebellious American exchange student, Californian filmmaker Steven Liang explores adolescence and acceptance in the society of Taiwan.
Despite his mother's objections, Jie Cheng, who lives under constant pressure from her, meets Eric and together they embark on a journey along the most dangerous road in Taiwan.
Their trip is cut short when Eric reveals that he must return home after graduation, forcing Jie Cheng to confront his darkest demons.
Beautiful, sensitive and charming, 'Coming Home' has been screened at 30 international film festivals, following its world premiere at the Seattle International Film Festival.
Having been selected to participate in the Beijing Queer Film Festival, LA Asian Pacific Film Festival, Outfest, San Diego Asian Film Festival, Asian American International Film Festival (New York), Boston Asian American Film Festival, Boston LGBT Film Festival, CineSLAM: Vermont's LGBT Film Festival, Festival de Cannes: Short Film Corner, InDPanda Film Festival (Hong Kong), International Student Film Festival PÍSEK (Czech Republic), KASHISH: Mumbai International Queer Film Festival, Marais Film Festival (Paris, France), Peace & Love Film Festival (Örebro, Sweden), Pride of the Ocean Film Festival, Q! Film Festival: Indonesia's LGBT Film Festival, Seattle Lesbian & Gay Film Festival, Taiwan Queer Film Festival, Bilbao International LGTB Film & Performing Arts Festival (Spain), Kansai Queer Film Festival (Osaka, Japan) and Asians on Film Film Festival (Los Angeles) ), speaks clearly about this film co-produced by Taiwan and the United States.
The film made history as the first gay-themed project funded by the Taiwan Tourism Bureau and was distributed by Outplay Films.
Written by Timothy Chang and Steven Liang himself, the film stars Yu-Ting Hsu as Jie Cheng, Benjamin Turman as Eric and Bi Lan Li as the mother.
Interested in telling stories about the resilience of those living on the margins, Steven Liang, an award-winning director and House Ballroom scene photographer, addresses themes of homosexuality and transsexuality, as demonstrated in 'The Extra Mile' (2013), A Better Life (2014), Afuera (2017), Emma and the Butt (2017), Falling for Angels (2017), and Transplant (2018), Coming of Age, among other productions.
Screened in New York as part of the 2015 Asian American International Film Festival, the film, written by Timothy Chang and Steven Liang himself, stars Yu-Ting Hsu as Jie Cheng, Benjamin Turman as Eric and Bi Lan Li as the mother .
The story is populated with thousands of small details, which enrich the look, and a grayer color that carries with it questions that the viewer must answer, if he can.
The song "I Need Your Love", performed by Grace, plays magnificently with the story, and creates a unique and fascinating atmosphere that allows the plot to perfectly connect with the viewer.
The story does not leave anyone who approaches it indifferent, and we all wait for the boys to have a happy ending, and the mother to finally accept her son's sexuality.
The photography and direction are commendable. The plot is beautiful, and although it may seem that all is lost, I see a thread of light at the end of the road.

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Miniseries to see with eyes and, above all, with a very open mind (Third review)

Establishing a new love bond goes beyond the good relationship or chemistry with the new partner. Children represent a challenge and new approaches, and there are borders that foster parents should not cross..., but what if love arises between the adolescent child and his or her stepfather or stepmother? Is it wrong for a mother's boyfriend to have consensual sexual relations with her son? What will happen when the secret is discovered? 'Club Friday Season 16: Domestic Incident', the Thai miniseries directed by Ma-Deaw Chookiat Sakveerakul, raises these and other questions.
Written by Sorawit Muangkaew ('Slam Dance', 2017), Thanamas Dhalerngsuk ('Triage', 2022), Park Thamsarun Khusunthia ('Addicted Heroin', 2024), and Kay Trinnarich Nonghin ('A Secretly Love, 2024), and the same director, the four episodes of this melodrama, lasting about 45 minutes, explore complex and controversial topics such as the non-pedophile relationship between a woman's boyfriend and her son, one of legal age while the other is a teenager; the mother-son relationship and infidelity, with an LGBTQ+ twist.
With the message: "the person who makes you feel at your worst could be the one you love the most and trust the most", concludes the first episode of a miniseries that revolves around a single mother who maintains a very close bond with Guy , his only son, his closest companion.
Rin (Yuyee Alissa Intusmith - 'Chum Taang Kao Chum Thong', 1997), an enterprising and talented woman, unintentionally finds love in Mr. Gott (Lift Supoj Janjareonborn ('Jenny', 1996), an admirer who is interested in a business partnership with Guy's mother's company, a character played by Aon Kasama Khamtanit.
Gott seems to be a good man who tries to win the affection of both mother and her son, as is Rin's wish. However, while Rin and Gott begin a courtship, Gott and Guy cannot help but fall in love, while sharing games of soccer and other distractions between stepfather and stepson.
With an insatiable curiosity about the world, explore his sexuality and experience love, which he believes he has found in Kem, his friend and soccer teammate (Tae Chayapat Kongsub - 'Y-Destiny' (2021), the life of Guy, a teenager Quite typical, he will take a dangerous and abrupt turn when he starts sleeping with him mother's boyfriend.
With a plot adjusted for entertainment purposes only, with no intention of offending anyone, promoting immoral sexual values ​​or creating a pessimistic disposition of a gender or group of people, 'Club Friday Season 16: Domestic Incident' addresses another complex and fully global debate such as incest, typified in numerous penal codes around the world with the "carnal act or other erotic sexual act with a descendant or ascendant, adoptive or adoptive, or with a brother or sister."
However, while in some countries there is debate about its decriminalization, other legal instruments do not classify incest as a crime, considering it as a moral and not a legal problem, considering it as part of individual freedom, the right to free development of personality. and personal autonomy, while they do consider a circumstance of punitive aggravation of the crimes of sexual assault and sexual abuse, violence or intimidation and without the consent of one of the parties, or if the consent of the minor was obtained through deception, seduction and corruption of minors, not present in this Thai audiovisual.
Director and screenwriter Ma-Deaw Chookiat Sakveerakul, known for directing 'The Passenger of Li', '13 Beloved', 'Dew the Movie' (2019), 'Triage' (2022), 'Manner of Death' (2021), Among other films and series, he once again demonstrates that he knows how to describe people adrift, fragile beings in permanent confusion who believe they know what they want and defend what they want.
While the marriage benefits both Gott and Rin, as they could apply for joint bank loans, while the merger of the two companies would serve to better position them in the global market, Gott and Guy will blur all the codes and one will abandon himself to the complex and contradictory desires of the other. However, Ma-Deaw never judges anyone and the telluric force of her direction embraces the complexities of sexual desire with immense tact and aplomb.
This is not a pedophile relationship. The adolescent boy has a say. He counts and decides. Ask, demand and get. Especially sex. A lot, all the time. Maybe too much, if that were possible. He is the one who starts flirting with his mother's boyfriend, testing, enjoying. He's smart and he's lost. With an absent father and a mother, although worried and loving, very busy with her business and rebuilding her love life. It doesn't have many references. To which we must add the disturbing power of a sexy man who has just entered her life, while suffering from a heartbreak.
The premise is interesting. Very entertaining and intelligent. Provocatively frivolous and playful. The beginning is good. An unprejudiced and uninhibited narrative.
I hope that what follows, once the situation is raised, is not a tiring and tedious loop, a repetitive and obvious drama, in which the focus is closing and almost everything is reduced to the sexual exploration of the boy and his boyfriend. mother, while both betray Rin.
Anyway, I would like 'Club Friday Season 16: Domestic Incident' to explore well the loss of innocence, the difficult and painful access to maturity, the mother-son relationship and the couple's relationship, and not remain as a The boy needs more affection and attention than his mother can offer him, so he believes it is possible to find them through sex, using his youthful body and physical attractiveness as currency, especially when it involves a man who could be his stepfather.
'Club Friday Season 16: Domestic Incident' explores well the loss of innocence, the difficult and painful access to maturity, the mother-son relationship and the relationship as a couple.
The miniseries is much more than a boy in full exploration of his sexuality with his stepfather, while both betray Rin. It is much more than the story of a young boy in need of more affection and attention than his mother can offer him, and who She believes it is possible to find them through sex, using her youthful body and attractive physique as currency, especially when it involves a man who soon becomes her stepfather.
It is not the first time that this issue appears on the screen. Films such as 'Soshite, baton wa watasareta' ('And So the Baton Is Passed' – 2021), by Japanese director Tetsu Maeda, the Liechtensteinian 'Eugénie' aka 'Eugenie de Sade' (1973), by Jesús Franco, 'Beau- père' (1981), by the Frenchman Bertrand Blier, 'Russkaya Lolita', (2002), by the Russian Armen Oganezov and script by the director himself and Vladimir Nabokov, the American 'The Diary of a Teenage Girl' (2015), by Marielle Heller , the Italian 'La seduzione' (1973), by Fernando Di Leo, among other films, have addressed a similar topic.
After playing Kluea in 'This Love Doesn't Have Long Beans' (2024), it is impressive how Aon Kasama Khamtanit plays him first leading role, in which her ease, self-confidence, honesty and heartfelt transmitting capacity, picked up on the fly, are evident. by the audience; plus the nuanced performances of Yuyee Alissa Intusmith and Lift Supoj Janjareonborn, actress and actor with more than three decades of artistic experience each.
'Club Friday Season 16: Domestic Incident' is daring, dazzling and different, more in touch with the awakening of a young man to his sexuality and the chaos that it provides, that power that gives a young body learning everything/expert in nothing who simply tries sex with his mother's boyfriend, as an experience of the life he is discovering.
The audiovisual combines narrative, visual appeal and high-quality acting, mainly through the protagonist trio, but with greater focus on the sexual relationship established between the teenager and his mother's husband. A couple that combines a teenager of precocious maturity and an adult who, with his striking traits of immaturity, narcissism and dependence, with an excessive penchant for keeping in touch with young people, among them his secretary, a much younger woman in love with her boss, but not reciprocated, seems to indicate having Peter Pan syndrome.
Acidic, stark and liberated. Direct, raw and open. On the positive side, its freshness, its setting, its characters and its shameless liberal bravery. Against them is their permissiveness and realistic licenses.
Without hesitation, the Thai filmmaker presents us with the thoughts and actions of the male couple in a brilliant, tenacious way, with lively, sweet and transgressive language, we see ourselves in their fears and desires, we explain those loose words, we are recipients of all that philosophy of the short life of the adolescent and that of the adult who has tried on other occasions to experiment with sex with men, precisely, with other young people, but has not been able to achieve it because he considers himself heterosexual, and yet, before Guy he gives in. He does not seek the carnal. He has fallen in love. Therein lies the intelligence of the script, in the way it presents its dilemmas, in its voices, in the direct connection of these two characters with the viewer.
The only thing I don't understand is the director's intention, already at the end, to place Gott having sex with other young people, after having rejected this type of proposals at the beginning, when he was already married and had a sexual relationship with Guy. In the end, he is a man in love with a boy who does not dare to publicly assume his sexuality.
This is a type of audiovisual that, although its creators do not judge or take sides at any time, and are only interested in showing realities that can exist within any family, in the epilogue they issue reflections to the audience. After the secret relationship between her son and her husband is discovered by Rim, it is up to the two male figures to choose, and given the love for her mother and the love for the man he loves, Guy chooses Gott, and the latter, between future of his company that would be assured of maintaining the relationship with Rin, and the love for Guy, Gott chooses Guy.
But since the program has to assume a position towards society, with the intention of giving a moral lesson that marriage is sacred, the miniseries loses its horizon, and that is exactly where it fails, since it places Gott having sex with other young people, despite having rejected proposals like these at the beginning. They position Gott, towards the end, as an evil man capable of betraying everything and everyone in his path, including himself, and as someone incapable of publicly assuming his sexuality, ending his romance with Guy, which will allow mother and son reestablish their fractured maternal-filial bond.
Great music, with a rhythmic rhythm, for a crazy story, fresh, vital and personal that goes beyond conventionalism and flourishes; happy family made up of mother and son, a mother who tries to rebuild her love life with a practically unknown man, a teenager with a broken heart, who loses control when he discovers the pleasure of flesh in contact with another human being; newly found pleasurable enjoyment that will focus your steps towards that evolution where emotions become confused and feelings interrupt a path not lacking in danger and drama.
In other words, 'Club Friday Season 16: Domestic Incident' shows what is not allowed with bravery of taste that does not offend, and perfectly captures that discovery of sexuality in a teenager and the dangers of maintaining a secret relationship with an older person, with a considerable age difference, who on top of this is his stepfather.
Ma-Deaw Chookiat Sakveerakul presents us with a bold, non-conformist and refreshing story that speaks with strength, clarity, directly to the screen and to a compulsive viewer who finds it difficult to welcome and follow this teenager and his avid world without being startled, silenced and fascinated by the naturalness and frankness of exposition that does not hide, that does not flee and that speaks emphatically of the mental mess of two heads, that of the adolescent and the adult, whose bodies go at a mile an hour requesting passage.
It surprises, alters and stuns, a marvel of narration exposed, shameless and insolent, that does not leave indifferent; Whether you understand it or not, whether you like it more or less, whether it shocks you or suggests it, it is clear that the miniseries has captured your thoughts while the frames roll; Get to know it, don't judge it, and remember what it is to feel absolute happiness followed by the most miserable misfortune, that ferris wheel without control or brake that decides without thinking about the consequences and that wants to devour the world even though it, sooner rather than later, devours it. to those involved in the plot, because no one will escape pain and suffering when the secret is revealed.
The best: the freshness of the script, the acting ability of its protagonists, and the courage to address a sensitive but real topic that can occur within any family, and is generally ignored in audiovisuals.
The worst: the betrayal of a mother, the infidelity to his girlfriend-wife, and the intimate relationship that it exposes, can bother a certain audience with a not so open mind.

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A jewel of the Pinku Eiga aesthetic with stories of hidden obsessions and explicit desire

Hisayasu Satô, known as one of the four demons of the Pinku Eiga (ピンク映画, literally "pink film"), a subgenre of Japanese exploitation cinema, with notable impact in the 1960s and until the end of the 20th century for its erotic themes and marginal settings, is a filmmaker known for making incredibly sordid films about ultraviolence, isolation, loneliness, existentialism, obsession, alienation, perversion, voyeurism and perverse and explicit sexual content.
Recognized worldwide for films such as 'Hunters' Sense of Touch', 'Splatter: Naked Blood', 'Lolita Vibrator Torture', 'Train: Dirty Behavior de Molester' and 'Brain Sex', among others, 'Bondage Ectasy' (陶酔遊戯), from 1989, is one of his best films, but not as personal as 'Muscle'.
Famous for his "sledgehammer" cinematographic style and his "guerrilla shooting technique", he filmed countless films under the Pinku Eiga aesthetic, emerging as a response to the strict regulations of the film industry and as a bold exploration of sexuality and social taboos.
Although often associated with eroticism and nudity, the Pinku Eiga films go far beyond the superficial, offering a provocative look at human psychology and the complexities of Japanese society at the time, a kind of response to cinema traditional, by introducing subversive and political elements, which managed to establish a connection with the French New Wave through directors such as Masao Adachi, responsible for 'A gushing prayer' (1971), who was a collaborator of Nagisa Oshima.
The Pinku Eiga films frequently featured marginalized characters and extreme situations, offering a raw, unvarnished view of Japanese society at the time. This directness and cinematic audacity resonated both in that country and abroad, turning his works into a cultural phenomenon with a lasting legacy.
With low budgets, another of the characteristics of this subgenre, Hisayasu Satô's films were filmed in times of social and political turbulence, and they challenged conventional norms and became a form of expression for filmmakers who sought to break creative barriers and explore new narrative territories.
Scripted by Yumeno Shiro, 'Bondage Ectasy', a Pinku Eiga film with a gay theme, is characterized by its bold use of color, visual composition and symbolism, using the image in a provocative way to convey subversive messages and explore themes such as desire, repression, obsession and alienation.
Themes of loneliness, power and existentialism are mixed with the typical pinku themes of sex and violence in a way that only Hisayasu Satô could achieve.
The film follows an anonymous man, played by Shotaro Sawada, a young man who sees his sexual life altered after the physical and mental torture and humiliation he receives from his boss and co-workers in an office.
But this will not be the only reason for her unhappiness: her boyfriend, played by Osamu Fukuda, does not have much time to dedicate to him due to his absence both for work reasons and because he is always accompanied by his lover, a young woman, played by actress Setsuhiko Kobayashi. The three soon find themselves involved in a kind of love triangle based on sadomasochism.
After receiving a beating from his boss and having an unexpected sexual encounter with his absent boyfriend and former fencing partner, something reawakens in our young office worker. While reading Metamorphoses by Franz Kafka, the main character has recurring dreams of turning into an insect in a dream sequence and sees her boyfriend and their mutual lover as they really are. On the other hand, he observes various sexual acts of captive men with the presence of sadomasochism.
Coupled with an unsatisfying sexual event with the woman with whom he lives the love triangle, we don't have to look far to find meaning in his world of dreams and fantasies.
The exploitation that forms obsession is a manifestation that is present in the deepest internal fantasies of our protagonist.
Turned into an insect, the character also realizes that he can control those who ingest him while occupying his new body. While all of this may seem complicated and strange, Satô is able to weave the story in a way that distinguishes the film not only from his preceding work, but from the Pinku Eiga aesthetic as a whole.
The synopsis will make many believe that it is simply a pink movie with a touch of Kafka's novel. However, Satô seems to be more interested in the work of someone like De Sade.
The sleaze in 'Bondage Ecstasy' is evident from the first to the last scenes of the film. Graphic and rough sex, sadomasochism and voyeurism are present in virtually every frame of the film and create an often uncomfortable viewing experience.
While the film does not rely on effects at all, the effects present, properly adjusted to the tone and purpose of the feature film, are also very well done and much better than one would expect considering its low budget.
Another technical section to highlight is the music. The soundtrack never takes center stage, but rather reflects the tone of the film.
'Bondage Ecstasy' manages to generate reactions of disgust in some viewers, and admiration in many others. However, no one can deny the power of the film and Satô's legacy. This film is essential for all Pinku Eiga fans and for anyone interested in seeing how sexual exploitation and cinema belonging to this aesthetic can touch the sky.
Despite being filmed on video, like most of Satô's film work, the cinematography and direction demonstrate the maturity and consolidation of the Japanese director. This is evident during the segments in which the protagonist is an insect.
Towards the end of the film, 'Bondage Ecstasy' takes a turn and what initially feels claustrophobic opens up as the viewer literally becomes a fly on the wall as they see the lives of Sawada's acquaintances, those people who torture him and humiliate.
It is incredible how from a grainy VHS quality film with an extreme emphasis on aesthetics over characters and plot there is so much luminosity. Sato's work in photographing male bodies is magnificent, in an erotic way, without feeling disgusting, everything is vaguely uncomfortable but above all intimate and exciting. The Japanese filmmaker films the best combination of philosophy and softcore porn that I can imagine and at least have seen.
Each sexual gesture is strangely erotic, full of transgression, violent and pleasurable, establishing a hierarchy between a boss and his subordinate, who like to enjoy the pleasures and dangers of sadomasochism.
On the other hand, the chemistry between the two main actors goes beyond the physical sphere, but is emotional, psychological and fully satisfying.
The film portrays sexual domination that metamorphoses (becomes an insect) into the condition of society (specifically workers) and capitalism in Japan.
However, the viewer cannot classify 'Bondage Ecstasy' as a mere sexual film. The segments where Sawada's character transforms into an insect are powerful in a strange way. A man trampled by the members of the society of which he is a part has the opportunity to witness how the people who have humiliated, tormented and tortured him physically and mentally live, to discover that they are not very different from him and also struggle with your own personal hell.
From this new position, the character played by Sawada can take revenge by controlling them for brief moments. In this way, the protagonist receives a new vision of his life and, in a way, gains power.
While this power initially appears to be a positive thing, it soon begins to erode his soul until he comes to the conclusion that he is no better than his tormentors.
The film, which culminates in a graphic scene of violence, leaves the viewer with a disturbing feeling that is difficult to overcome. 'Bondage Ecstasy' is haunting, depressing and at the same time beautiful, and the emotions it evokes in the viewer never seem artificial.

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After having played Toyama Kintaro and Sadaharu Inui in 'The Prince of Tennis', the film directed by Abe Yuichi in 2006, Wada Toyama and Hirofumi Araki gave life to Amamiya Hokuto and Tatsumi Shinichirou, in that order, in the Japanese romantic drama 'Asymmetry', made in 2008 by debut filmmaker Sato Tetsuya.
With a script by Erika Seki, a prolific writer of films and television series, the feature film tells how the relationship between Hokuto, a generous and kind-hearted young man who dreams of traveling the world as a professional cameraman, and Shinichiro, the doctor of his hospitalized girlfriend, an old high school classmate, also a lover of photography and with whom he became estranged after an accident that caused the friendship between the two to be broken.
Meeting his old friend again will awaken dormant passions in both of them.
The audience is faced with a very sad film, but uplifting in its own way. Hokuto is worried about the pain of Tatsumi, who clearly loves his friend, but Hokuto can't do anything about it.

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