ariel alba

A film that contributes to the fight for LGTBIQ+ rights

Over the last 15 years, LGTBIQ+ rights have made a significant leap and we owe a small part of it to cinema and television, increasingly committed to representing more and better gay, lesbian, bisexual, trans people. or non-binary identities. Although this drastic advance (at least, in the audiovisual field) is undoubtedly worth celebrating, it should not make us forget the struggles and sufferings of so many generations that preceded us.
After this preamble, let's get into the matter:
If love is complicated between two people, imagine what it must be like when there are three of them. Imagine also when homophobia, internalized homophobia, harassment and forced coming out of the closet are added to the love triangle.
We have all this in equal parts in Rebel Heart, the 2023 Thai short film, youth romantic genre and LGBTIQ+ theme, written and directed by Zee, which also addresses themes such as love, friendship, personal growth, honesty and the trust.
It strikes me that the three main characters have their names in English and not the typical Thai names that seem very curious because they are strange or out of the ordinary to the Western viewer.
The film, from Iamzee Studios, begins when Lucas, the main character, breaks the fourth wall and comes into direct contact with the audience, looking and speaking directly to the camera, to introduce us to the story. From that moment on, the play hooks us and we feel part of an emotional roller coaster, a challenging journey in which we will find connection and meaning with the two young protagonists: Ben, played by Burdy, and Lucas, played by Bug, while They navigate the ups and downs of their relationship. Throughout the 25 minutes of footage, the characters explore different challenges and emotions.
Lucas has secretly loved Ben for three years, but he has not dared to express his feelings, because he considers that his best friend is heterosexual, in addition to fearing breaking the bond between them. They are both university students and have known each other since the first days of entering university. And now, in the last year of their studies, they will end the beginning of an adventure that will determine their destinies.
At first glance it seems like a very common story, but the dynamic between the two friends changes when Emma (Ami) appears, a college student girl who frequently surrounds Ben with attention, causing internal conflicts between the three young people, such as jealousy, pain and drama, especially in Lucas's character, when he discovers that Ben and Emma are in a relationship. Then external conflicts will arise, which I will explain later.
But this will not be a love triangle motivated as a way to escape, give life to a dying relationship, discover something new, take risks and get out of the comfort zone or other reasons that we have seen previously. Here an element rarely used in BL is introduced that will mark the relationship of three people now: internalized homophobia. However, like any love triangle, it will teach us something important.
At one point, we will discover that Emma, ​​motivated by homophobia, has hired a bully, played by Pomp, to harass and beat Lucas, since she has understood his interest in Ben and suspects the closeness of the two young people. Realizing this, Ben breaks up with Emma and blocks her on the internet.
And it is here that the viewer discovers that Ben was the first to fall in love with Lucas and if they have been friends and shared a bedroom and time together it is because he has encouraged it by approaching Lucas from the first moment. I mean, Ben is not straight. Ben is not bisexual. Ben is a gay boy, a victim of internalized homophobia who chooses to hide his homosexuality by getting involved in romantic relationships with girls. In this way, the viewer can explain why Ben distances himself from Lucas and is dating Emma.
Upon discovering that Emma has planned to harm Lucas, Ben finally accepts himself and, in return, admits his love for the boy with whom he has also been in love for more than three years. It is then that, in addition to facing Emma's betrayal between them, they are ready for a life together, but not before seeking parental approval, something very common in heteronormative and patriarchal societies.
And it is here that the external conflict that the couple experiences is incorporated into the film: the rejection of their son's homosexual relationship by Lucas's father. Thanks to the intervention of the mother (Ajarn Jiab), in charge of pointing out the truth, she made the father realize what is important. With a strong message about how we could act in similar situations, out of love for his son, Mr. Evans overcomes his prejudices and ends up accepting the two children, first as lovers and then as his own children.
Likewise, we will learn that the reason for the father's rejection of his son's homosexuality is motivated by his personal experience, having had a suicidal brother who fought against the pain and suffering of also being a gay person, and how this experience could be reflected in the life of his own son and not wanting him to suffer the same fate as his brother.
While the way Ben breaks up with Emma is wrong, the way Emma outing Lucas to her father is disgusting and totally despicable. I can't explain how he came to receive the loving images of the two boys on his phone (this must have been what the father saw, since it is not shown and is not necessary for its full understanding by the viewer) but rather as an act of retaliation against Ben by Emma.
The film, while I was watching it, made me feel that it had an autobiographical nature. Perhaps the director lived a similar story firsthand, or learned about it from third parties, and captured it in images.
Despite the low budget, a cast made up of amateur actors, a weak script and a short plot, poorly developed characters and events, which affects the general quality of the product, it is surprising for having a Thai-American technical and acting team, the integration of an interracial marriage, the use of Thai and English languages, all unusual in BL productions from this Southeast Asian country, and above all for contributing to equality, visibility, acceptance, recognition and, more importantly, the legality of LGBT+ people, in a nation that still does not recognize same-sex marriage. Also, because the short film addresses the topic outside of stereotypes, caricatures or exaggerated dramas. For this alone the short is worth watching.

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First step in a career in favor of LGBT people

'Boy Meets Boy' is a South Korean short film of romantic, musical, youth and LGBT+ themes, premiered at the 13th Pusan ​​International Film Festival in 2008, and since then it has given a lot to talk about for several reasons: it was the first film work by Kim Jho Kwang-soo, the first collaboration between this filmmaker and the screenwriter Min Yong Keun, and presented for the first time Min Soo and Seok Yi, two characters that he would return to the following year to form the wedding couple of the short 'Just Friend?', also following up Min Soo in Love 100°, another short of his authorship, from 2010.
Since then, the South Korean filmmaker showed signs of taking his time to weave the story with the thoroughness that has always characterized him, working like a craftsman in his eagerness to recreate every detail.
The director of 'The New Employee: The Movie' (2023) has spent almost two decades building an authorial block of unusual quality in the history of South Korean cinema, full of triumphs and very few mistakes. Throughout his work he has not only made important films, series and short films, but through them he has known how to rewrite the history of his country anchored to its most recurrent film themes and objectives: such as sexual awakening, most of age, sexuality, gender identity, being queer in a heteronormative and discriminatory society towards LGBT+ people and activism in favor of the rights of this group to which he himself has acknowledged belonging since 2006.
To film the short, he based it on Min Yong Keun's script of the same name about a love crush, in a festive and magical way. The film, without spoken dialogue, describes the relationship between Min Soo (Kim Hye Sung), a boy who loves photography and is gay, and Seok-Yi (Lee Hyun-jin), who seems a little tough but still manages groom to show your soft side. It also tells us about the indecision when it comes to expressing feelings and the need to be brave and go in search of love when it has arrived at your door.
Despite its short duration and the incorporation of music, dance and a magical fantasy, the viewer manages to maintain the common thread of the story in that elegant background of love at first sight.
At one point in the film, Kim Jho Kwang-soo, wang-soo, who collaborated with director Lee Song Hee Il to produce 2006's 'No Regret,' considered "the first real Korean gay film," and has shot others gay-themed works such as 'Two Weddings and a Funeral' (2012), 'One Night Only' (2014) or 'Made on the Rooftop', and the BL series 'The New Employee', introduces a fantastic character in the form of a fairy which comes to represent Min Soo's thoughts as someone who falls in love for the first time.
Despite not having dialogues, the filmmaker manages to make the audience identify with his characters, in addition to clearly establishing the relationships between them, through looks, gestures, expressions, body language and useful inclusion of the fairy (Yeh Ji-won).
The fairy symbolically represents the thoughts and feelings of the boy who has just discovered love for the first time in his short life: the nascent passion, the sexual awakening, the discovery, the acceptance, the insecurities, the fears, the worries, the fears, excitement, enthusiasm, innocence, naivety, and expectation, all in a mixture that explodes in unison.
With a palette of bright, festive colors, and corny and strident music to identify the fairy, but restrained and romantic to enhance the mood of the characters and set the tone of the film, the director guides us towards the discovery of love and sexuality in a new and unique experience for the character.
Of an autobiographical nature, the director himself stated that he based the story told in 'Boy Meets Boy' on his first love experience.
I liked the chemistry of the two protagonists, palpable from their first meeting on the bus. They are both adorably acting actors whose performances are enough to recommend watching the film.
Also highlight the use of Min Su's film reel as a symbol of love and life, by first representing the union of the two protagonist boys, and then serving as an invisible and conductive thread that, in constant movement, like life itself, unites all the characters.

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The fear of commitment and the secrecy of a clandestine homosexual relationship

'Daybreak' (Tagalog: Bukang-liwayway) is a Filipino independent film of romantic genre and LGBT theme, directed by Adolfo Borinaga Alix, Jr., director of films such as '4 Days', 'Imoral', 'The Affair' and ' Porno', and series like 'Unlocked', among others.
Released in 2008, the cast has only two actors: Coco Martin as JP, a handsome young man in his twenties, with a girlfriend, a boatman and tourist guide in Taal, Batangas, and Paolo Rivero as William, a married doctor, father of a family. , in a supposedly happy heterosexual marriage, who play a couple of men who have had a secret romantic bond for a year. After some time apart, they meet at a family vacation home in Tagaytay, Cavite, to maintain an intense sexual and loving relationship for one night before one of them goes abroad.
Almost two decades after its premiere, and after producing important works of the genre, the film shows fissures in its staging, like a preamble that is too long for a medium-length film, not so solid performances and filling the short time with shots of palm trees and clouds that show a poor resource due to the lack of ideas.
However, it is worth highlighting the use of lighting, especially interior lighting, where chiaroscuro underlines the state of mind of two men confronting their realities.
Personally, I liked the way the lights and cameras were directed towards the bodies of the two protagonists. By highlighting its sensuality, the viewer comes to fully understand that he is witnessing two people who love each other and are suffering from the imminent breakup.
And if on the one hand it may seem somewhat out of tune that it tries to claim a visible, touristy place beyond that, and not marginal, underground, so to speak, for gay relationships, adopting precisely the same forms as an independent romantic melodrama between heterosexuals On the other hand, it can be useful in helping to bring this reality closer to a conservative society, such as the Philippines, which considers homosexual relationships taboo, and which perhaps would otherwise be much more inclined to not accept the image of two men sharing bed, affections, kisses and confidences.
Supported by a script written by Charliebebs Gohetia, the film explores homosexuality and failed relationships, through a relationship with an expiration date.
This is not a work solely aimed at the gay public, as it addresses something as universal as love. But, it also speaks of the emotional undercurrents around the secrecy of an illegal homosexual relationship in the eyes of the family and the heteronormative and patriarchal society. Homosexuality and its representation are not a taboo to overcome, but the film ends up subtly revealing its vindictive nature by pointing the finger at the assumed homophobia in our behavioral protocols.
Always based on the margins of the independent Filipino homosexual film movement, the director, in his third film, shows interest in also investigating with images a frequent theme in homosexual relationships: he is married but in love with the other. The other wants it just for himself.
Both will live their last night as lovers, since William plans to leave for Australia. William wants to let it all go, but he doesn't know how to break the news to JP, who is already emotionally attached to him, even though they didn't actually have an agreement that they are actually a couple.
Various scenes and dialogues lead to the climax when JP is reluctant to accept the breakup. In the midst of conversations about their past, including evoking their happy and unforgettable moments, the evening passes, while they examine the photographs as the only witness of what they have experienced.
With a beautiful night as a backdrop, when their desire for each other dominates their minds and the conversations revolve around truisms and commonplaces, passion explodes and the two men make love as pleasant as ever. At dawn, William remains firm in his decision, leaving for Manila where he will take a plane to Australia, thus ending his relationship with JP.
In a single narrative time, with the intention of voyeurism, the film allows viewers to discover what happens when two men spend the night contemplating whether to break up or continue their relationship.
The essence of 'Daybreak' is not so much in the description of a romance with an expiration date but in the subtlety with which the director makes it emerge from the ellipses. The way it avoids or shows the sex scenes is exemplary. Intimacy begins to boil in the heat of confessions, memories, the risk of being surprised, the clandestine date in a secluded place of two people who face their loneliness, even though they are accompanied in the life that they have allowed others to know, hiding his true desires and passions from everyone.
Compared to the usual clichés of romantic cinema, be it drama or comedy, 'Daybreak' holds some appreciable surprises. Adolfo Borinaga Alix, Jr sculpts without artifice the ephemeral relationship of a love relationship between two young men. There are several sequences between the actors where a credible and deep intimacy is built, which serves to prepare the viewer for the ending announced from the first scenes and leave us, in the process, with a bitter taste in our mouths.
The narrative ellipsis that integrates the film and the ending with the characters, one driving his car on the road, and the other feeling alone, helpless in the middle of the house, still remembering the last night of love lived with the person he loves, puts The end of many homosexual relationships is evident: the fear of one of the two involved of commitment and a society that still discriminates against homosexuals.

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Two soulmates condemned to suffering and oblivion

Imagine that you are completely happy with your partner, that you have built a common past with all the patience and complicity imaginable. Imagine that the myth of the better half has come true, the Japanese legend that assures us that there is someone linked to us by a red thread. Imagine that you finally found someone who was born to complement you.
Imagine that he is the only person on the planet who will understand you like no one has ever understood you, with whom you will merge in a love as deep as it is unimaginable. Imagine that you cannot conceive of a future apart, with a fence only between your house and that of the boy you have loved since adolescence, plans made, mutual friends. All perfect. However, one day a sad family secret that they both are unaware of catches up with them and turns everything upside down. Imagine that two soul mates are condemned to suffering and oblivion.
This is the premise of Regal Entertainment Inc.'s 2020 Filipino boy love (BL) romantic drama 'Ben .
Set in a period marked by the pandemic caused by Covid-19, the series follows the story of neighbors and childhood friends Ben and Jim, who lose contact after Jim moves to another city with his father after her mother's death.
Today, after 8 years, due to the restrictions generated by the new coronavirus, Jim will return to spend quarantine with his grandmother, Elma Magtibay (Christina Simon). In this way, friends reconnect and restart their friendship where they left off.
When two soul mates meet or are reunited, as is the case, a whirlwind of emotions and experiences are generated that serve as a sign of the undeniable connection that exists between them.
During that time, they had both lost contact and it is through his best friend, Flo (Kat Galang), that Ben realizes that Jim is a popular young man on social media. As the two friends reconnect their lives, Ben, the dumb boy who is insecure about himself and life, but more open about his sexuality, reveals to Jim that he is gay.
Jim, the sincere young man with the warm smile, is surprised at first. The strange discomfort between the two is evident. But soon Jim reacts and reassures him: "I'll support you in whatever makes you happy. I'll be there, like a friend."
But what Jim doesn't know is that Ben has been in love with him since his teenage years, and wants to be more than just "best friends."
The first season, told from Ben's point of view, begins with this young man narrating, euphorically, how Jim's return can mean that the two friends restart their friendship at the same point where they left it 8 years ago. From his prism, the series is dedicated to exploring how the relationship blossomed and how it withered.
Just as Ben and Jim begin to enjoy their courtship, the former's mother tells him a secret about his father that could affect Jim's confidence if he knew the truth. At the same time, her abusive ex-boyfriend also returns. Ben decides to break up with Jim without giving him any reason almost at the same time that Jim publicly confesses his love for Ben.
In histrionic terms, not everything is hunky-dory. The group of the most notable performers of the series is joined by Sarah Edwards in the role of Yana, Jim's girlfriend, with a performance lacking depth, and Ben's ex-boyfriend, Leo Portugués, is assumed from the most complete physical extremity. by Johannes Rissler.
Sticking to the rules of romantic drama, we have in 'BXJ' the character archetypes one can expect: the supportive best friend, Flo, and the respective third parties, Yana and Olan (Ronald Martin Angeles), the courier service boy. Their characterizations seem like stuffy formulas that fail to add interesting layers to the main story. The latter two fill the sad "broken people meet" role, and even with her own love life in the second season, Flo ends up stuck in the role of Ben and Jim's third wheel.
Starting from these central characters and situations, without deviating too much from the protagonists, the plot fully complies with some of the canonical rules of television melodrama, and is filled with secrets from the past, violent ex-boyfriends who return, the admirer, health mentality, the family history, the tumultuous relationship between father and son, jealousy, revenge, a layer of machismo and misogyny that in this case barely reaches the thickness of other Filipino series, in addition to other dominant elements, such as the relationship crisis, the fidelity, commitment, uncertainty, the emergence of the most devastating routine, couple experiments, and the challenges that come with being queer in today's world.
It validates the cinematographic staging with insistent and expressive camera movements and intelligent use of scenery and locations.
At this point, I must express my discomfort about the convenience with which Jim confesses his love for Ben in the sense that he goes from being a young heterosexual to being homosexual in an unconvincing and overly convenient way.
Easy Ferrer, director and screenwriter of the series, doesn't even try to put his narrative hero through that harrowing process of discovery and acceptance in slow-burn mode. This "transition" occurs too quickly, as something spontaneous and lacking in organicity.
Nor is it convincing that two such close friends would lose touch in this era of social media. After all, Jim was Ben's first love. How is it possible that they didn't exchange phones or follow each other in the digital world?
On the other hand, the way Ben literally forces Jim to fall in love with him is forced.
Ben's character is presented as someone who simply uses Jim for his own convenience. Ben knows his friend is straight, so making him feel bad about his sexuality is wrong. And similarly, it very conveniently turns out that Jim breaks up with his girlfriend.
The character played by Jerome Ponce can be a little inconsistent at times, especially when it comes to his feelings and emotions: Jim only treats Ben as his best friend, but there are many times where Jim's actions and words towards Ben hint the possibility of something more, such as calling him "wife", the furtive glances he periodically lavishes on him, saying that he will protect him or wanting to hug him and wanting to sleep next to him frequently.
The series revolves on the basis of friends to lovers. However, the story tends to become overly complicated or vary in intensity at times when we lose focus on the main characters. The narrative begins to lose cohesion in the first season due to the incorporation of new characters and conflicts, and the viewer loses sight of the main plot.
This situation is not resolved in the second season. Quite the contrary, it is exacerbated, with the introduction of even more secondary characters and subplots that contribute little or nothing to the main story.
With underdeveloped events, plots, and characters, some stories are also messy or inorganic.

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I prefer to listen to "A Song for Wowie" by Nuna Esguerra.

"A Song for Wowie" by Nuna Esguerra is heard. The cheerful music takes us to an atmosphere of joy and hope. It is the moment when Vince (Patrick Laano), the young ABM student, meets Paolo (Neo García), the HUMSS student, on an elevated bridge that connects their respective faculties, at the University of Manila, the Philippine capital.
Thus begins 'Hanggang Dulo', the 2019 Filipino short film, directed by Trina Indunan, winner of the Best Film Award at the MILk Film Fest 2019, created as a student thesis defense aimed at breaking down stigmas and prejudices surrounding HIV/AIDS, as well as to confront indifference, and meet all those who strive to make it visible.
In its 10 minutes of footage, we follow these two strangers who will soon be best friends and soon friends will also be lovers. Everything seems to be going well between the two, when, suddenly, Paolo discovers that Vince has hidden his HIV from him.
It is then that somber, sad, hopeless music envelops the viewer, and the chords of "Oppressed" by Yan Abelardo are heard.
I thought for a moment that deception and betrayal would be the essential components of the short, but we soon learn that Vince has acquired the disease through perinatal transmission of HIV, that is, by the transfer of HIV from an HIV-positive mother to her child during the pregnancy, childbirth or breastfeeding.
With the purpose of raising awareness, as well as support for people living with the virus, 'Hanggang Dulo' offers us themes related to romance, openness and understanding.
In addition to starring in it, Patrick Laano intervenes as co-director and editor of an audiovisual that has an original script written by Rica Razal and Ross Ramos, whose dramatic basis is made up of the hopelessness, fear and feeling of helplessness that the two young people experience in the face of illness and the fate of their lives.
Instead of walking away for fear of also contracting the disease, of questioning him, of appearing hurt or offended for having been ignorant of what is happening to Vince, Paolo becomes the patient's support. In this way, this film about AIDS is one of the many that have already been made on the subject that could almost be considered something similar to a subgenre.
Vince embodies an apathetic approach to the disease: he does not raise his fists against death and for the will to live, but rather he limits himself to continuing with what he has left or believes he has left of life as if the ominous shadow of his mortality were not It will accompany you everywhere. And she ends up abandoning Paolo to avoid suffering and pain? So as not to be a burden to him? Vince, tired, chooses to give up.
And this is the point where the short film fails. AIDS is not as deadly today as it was decades ago. From the report of the blood test results, we know that Vince goes to the laboratory on June 14, 2017. By then, HIV is no longer considered a fatal disease because survival in patients with HIV is longer by years. It is only fatal if it is not diagnosed and treated in time. This is not the case of the character.
If the person has HIV, they do not have to develop AIDS. Acquired Immune Deficiency Syndrome only occurs when the defenses cannot cope with opportunistic infections and other associated diseases because the defenses are weakened after years of HIV infection.
Despite Vince having developed an opportunistic infection, such as pneumonia diagnosed by his doctor, and having low levels of his defenses, the truth is that there are very good drugs against HIV, so much so that today it is not fatal, but rather a disease. chronicle. In addition to these, he has the prescription with the antibiotics in his hands.
Nothing makes me doubt that the young man does not follow his treatment correctly and take care of his body, so he can live a long and full life with HIV like anyone else.
The ending is open. As the final credits roll, the viewer watches as Vince approaches Paolo and, laughing, hugs him from behind. He is not surprised, and lets him do it. Has he been able to overcome the pneumonia? Is Paolo still waiting for you? Is it just Paolo's imagination? Did Paolo comply with what the doctor ordered, did he have blood tests done and has he also contracted the disease? Have they both died of AIDS and meet again in death to continue their romance?
It all happens on the same elevated bridge where they met, on the way to university, that day of joy and hope, while "A Song for Wowie" by Nuna Esguerra was listening.
There, instead of the wallet, they both stole each other's hearts. This is the final image I would like to take with me.

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Delicacy and subtlety to, from black humor, address taboo topics: transsexuality, violence and death

Just hearing the premise makes one curious. Action films abound, but there can't be too many like 'Man of High Heels,' a moody, moving and violent Korean cop-gangster film written and directed by Jang Jin.
Released in 2014, this South Korean noir film stars Cha Seung Won, who plays a homicide detective who hides a big secret.
Nicknamed Cyborg due to the metal plates on his arms and legs and his ability to make an arrest using only his formidable martial arts skills, even criminals are amazed by his toughness and physical prowess: gangster gang leader Heo -Bol (Song Young-Chang), was singing praises to Yoon Ji-Wook moments before the man appeared to beat him and his henchmen.
Skilled in hand-to-hand combat, Yoon Ji Wook is a tough homicide detective known for his ability to catch violent criminals using his own harsh methods. Revered as a legend among police officers, he is simultaneously feared among the mafia for his brutality in cracking down on crime.
However, beneath that macho and unscrupulous hard man appearance lies a secret that no one can know since the society in which he lives would not view him favorably: apparently the epitome of masculinity, Yoon Ji Wook feels that She is a woman in a man's body.
As much as she tries to suppress this inner desire, she can't fight what she really is: Yoon identifies as transgender.
The film is an intricate film noir story, and woven into the mask of the crime plot is the story of Yoon's decision to live his true life.
Upon finally reaching the point where he resolves to be a woman and decides to take the step of undergoing a sex reassignment operation and thus be able to see his teenage dream come true, he requests discharge from the police force.
This is when the turning point in the film occurs. Before having the opportunity to enter the operating room, unexpected situations begin to happen that interfere with their plans. His numerous enemies think his career change is also a perfect opportunity to take revenge. When some of his close friends are murdered and Jang-mi (Esom), a girl whose brother Yoon loved at school, is kidnapped, he realizes that he can't stand by and follow his dream any longer. How much will revenge cost him?
The members of a gang who had to go through bad times due to the actions of our narrative hero will come for him. Recognizing that it would be difficult for them to take revenge directly, they decide to endanger not only their dream but the people they love.
It is striking that in the history of cinema there has never been a film that deals with the issue of transgenderism in the way that 'Man of High Heels' does. Jang argued that he was inspired to write the script by friends who had encountered prejudice due to their sexual identities, and one of them had been forced to leave the police institution for being gay.
Furthermore, its subversion of classic action movie tropes typifies the irreverent approach of its director, who has built his reputation satirizing Korean society and mischievously modifying cinematic traditions.
With great delicacy and subtlety, the director addresses a topic that is widely carried and brought up by many people who are still full of prejudices who are not careful when it comes to pointing the finger at everything they do not know or do not understand.
'Man of High Heels' manages, with great elegance and good taste, to reflect transsexuality on the screen, and not only in an illustrative way but with a message to all those who dare to judge people who suffer this desire in their flesh.
On the one hand, the protagonist nails his role like very few other actors could have done. Cha Seung Won exudes masculinity from every pore. That is why it surprises many to see him dressed as a woman.
Reading comments from MDL users, one can notice the large number of people who are surprised to learn the premise of the film, and there are those who attack it because "I don't like it" and "I don't understand" or they simply attack it because they consider the way in which transsexuality is approached is crude.
The film is not only about seeing one of Korea's most mature actors transvestite, but also that 'Man of High Heels' debunks the idea, especially in the West, that South Korean cinema goes to the saga of what is produced in the rest of the world. Due to its story, its originality, its staging and, above all, its ability to surprise the viewer, Jang's film speaks for itself about the quality of the cinema of that Asian nation.
This is a film that will keep the most demanding viewer of the action genre in suspense, but seeks other audiences by incorporating the LGBT+ component. This is a violent film with a brutal staging loaded with scenes that will remain fixed in our retinas as a warm memory for life.
This film not only succeeds in the genre but stands out. The opening fight scene is a classic, beautifully choreographed with wit and crazy fun.
'Man of High Heels' begins with a bang that sets the stage for what is to come and introduces the protagonist whose presence is equally explosive and heartbreaking.
The film challenges our perception and reveals discrimination, love and acceptance, as well as tears in our hearts.
If someone believes that everything has been said, add that it is a different film in its history but that manages to combine all the ingredients and resources of an authentic Korean gangster film, with action scenes from the first to the last scene.
This is one of Cha's best performances, one that you can't help but get emotionally invested in.
But there's even more: this is a drama that will make your heart pound and make you feel restless in your seat and you will even want to help the tough homicide detective eliminate the gangsters without suffering a scratch, save his loved ones and until it makes it easier for you to get to the operating room on time.
This is a layered, multidimensional film about a real person, with a real career and reputation, real friends and colleagues.
This is a film that invites the transgender community to be smarter about accepting serious attempts to tell a nuanced transgender story.
'Man of High Heels' manages to dismantle all the concepts regarding what masculinity is supposed to be from the first sequence, without separating the humor from the action – sometimes crazy, but always precise.
A film full of messages and symbolism in every shot under masterful direction, a noir film emerges in all its expressions, an exquisite and suggestive black humor to address taboo topics such as transsexuality, violence and death itself, in a humorous way.

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The struggle of LBGTQ+ people and the representation of stereotypes in Thai cinema (I)

'The Iron Ladies' ('Satree lek' - 2000) is a comedy-drama film written by Visuttchai Boonyakarnjawa and Jira Maligool.
Based on the true story of a Thai men's volleyball team competing in the 1996 national championship with a squad made up primarily of gays and kathoey (transgender people), the award-winning film explores the struggles that are still present in the Thai LGBTQ+ community through through comedy, despite Thailand's international image as a country open to gay and transgender people.
In the greatest of storytelling traditions, Youngyooth Thongkonthun's debut feature is a true fairy tale with a happy ending, and marked a milestone in LGBTQ+ representation in the media, resonating recognition from international film festivals like the Festival Toronto Film International and several others.
Set in 1996, two gay amateur volleyball players, Chai (Jesdaporn Pholdee) and Mon (Sahaphap Tor) seek to participate in a championship despite being discriminated against.
Mon, who becomes the leader of the team, was a very talented player who constantly failed to be selected for various teams because he was gay. Chai, Mon's best friend, also experienced the same treatment but was always optimistic about things.
Their chance comes when Coach Bee is selected to form a winning team and she announces that the team will be open for everyone to try out. But when he selects Chai and Mon to be part of the team, some of the homophobic players quit in protest.
Bee then asks Mon to find some of his friends to join the team. They select Nong, a gay army sergeant; Pia, the transsexual star of a cabaret show; and Wit, whose parents don't know that their only son is gay.
Written by Strand Releasing. 'The Iron Ladies stars Jesdaporn Pholdee, Sahaphap Tor, Ekachai Buranapanit, Giorgio Maiocchi, Chaicharn Nimpulsawasdi, Kokkorn Benjathikoon and Anucha Chatkaew.
Cinematography was handled by Jira Maligool and editing by Sunij Asavinikul.
Most of them are gay and kathoey, except for one cishet (cisgender and straight) man who struggles to be accepted into the team. All of them must find their inner strengths and come together to face these challenges and participate in the national championship.
Through humor, Thongkonthun touches on sensitive topics that would otherwise have been difficult to cover at the end of the last century and the beginning of this one. It was then the era of depicting homosexuals and transgenders in the media under the old-fashioned cliché of the comic friend or villain, which even today persists on Thai television, but The Iron Ladies reveals the depth of these generally superficial characters.
Based on stereotypical representations of homosexuals (very flamboyant, feminine, happy, fearless), the film uses clichés that were common in the 2000s and are still prevalent today, and takes the stereotypes, gives them depth and appropriates them.
The film stands out for reflecting the struggle of LBGTQ+ people: while the team faces various challenges, each member of the team represents, through their own story, a societal problem that the community faces.
The cast does not fail to make their characters relatable and real within their banal and limited representation, as they mimic the tropes surrounding the representation of LGBTQ+ people in the early 2000s.
Through silly or quick comments, the film's dialogue skillfully addresses the struggles and hurtful comments prevalent in society towards LGBTQ+ people. Through absurd but witty scenes, the characters reflect and talk about love interests, being loved as a transgender person, buying items at a market, making friends, participating in sports, and being discriminated against. All this wrapped in a background of comedy and extravagant shots with vibrant electro music.
'The Iron Ladies' manages to generate controversy and reflection among (inter)national audiences about the representation and behavior towards the LGBTQ+ community.
However, the film is a predictable and over-the-top cliché in every way. Is it worth our attention? Absolutely yes, as it is a piece of history and contextualizing it will give you another view of the stereotypical image of Thailand. However, be aware of the large amount of hyper-shouting.

Note: The review of the sequel to 'The Iron Ladies' 2003 can be found, in MDL, on the page dedicated to this film on said platform.

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Great human story, powerful performances and thought-provoking messages.

A large lake in a provincial city. A derailed train car at the bottom of a tunnel where two children, Mugino Minato (Kurokawa Souya) and Hoshikawa Yori (Hiiragi Hinata), play while mentioning the existence of a monster whose brain has been changed into that of a pig. An 11-year-old elementary school student who cannot get over the recent death of his father. A single mother who runs a laundry and loves her son more than anything. A close mother-son relationship. A teacher, Mr. Hori Michitoshi (Nagayama Eita), worried about his students. Childhood innocence at its best. A scandal involving low-life women in which the professor seems to be entangled. Small and large fires here and there. A school principal erratic in her actions and decisions after (causing?) the death of her grandson in a car accident. Professor's colleagues who appear to be hiding something. The teacher's girlfriend who has begun to doubt him...
Although it seemed like a typical fight between children, the residents and the media are dragged into a drama that unfolds when the main parties involved make contradictory statements.
These are the main elements with which the famous filmmaker Koreeda Hirokazu weaves in '怪物' ('Kaibutsu'/Monster'), a virtuoso and labyrinthine drama with the soul of a puzzle, a brilliant film with a great human story, powerful performances and messages that They invite reflection.
When Minato begins to behave strangely, Saori (Ando Sakura), his parent, senses that something is wrong. Discovering that the person responsible for all this is a teacher, he bursts into the school demanding to know what is happening. But as the story unfolds through the eyes of the mother, the teacher and the boy, the truth slowly comes to light.
With the same fluidity, forcefulness and narrative naturalness that characterizes the filmmaker's work, the film is worthy of being enjoyed by the auteur cinema audience, but it could even appeal to a broader audience due to its genre features, its complicated structural dynamics and the shocking message that the story contains.
The film allows us to immediately connect with personal dilemmas, existential conflicts, thematic areas and secondary characters that dance coherently around the protagonists and the main story.
The sound design, the original music (which I will return to at another time), the editing and photography by Ryûto Kondô, round out the script's discourse, making use of very interesting shots and high-flying staging solutions.
The viewer must be attentive, because the film, precise as an atomic clock and, therefore, prodigious in its virtuosity and perfection, has a misleading timeline and the selective revelation of information prevents the audience from knowing where events are heading. , because she hides her true intentions until the end.
With a defined structure, well thought out from its writing, 'Monster' promptly opens the conflicts and develops them throughout the entire plot. If something was adjusted along the way, it was that the two young protagonists did not lose much in the face of such an ensemble film.
The director tries at all times to ensure that his stories, his conflicts, do not diminish their prominence before a cast made up of established actors and actresses. That was perhaps the biggest rectification of the original script, which is not so much, if we take into account that there is too much love, too much knowledge and passion on the part of the screenwriter about the story he wanted to tell from the beginning. And the audiovisual interpretation of said story at the hands of Koreeda Hirokazu is coherent enough not to get lost in complacency or self-censorship.
Ingeniously designed, subtle and flexible, the filmmaker proposes a stimulating game to the viewer: if the truth seems clear at first, we will discover it little by little, through the points of view of the mother, the teacher and Minato, in that order. , that nothing is ever what it seems.
Skillful as always in awakening the public's empathy, Koreeda, back in his native Japan, invites us to a film that lives up to the plot intensity proposed in the script by the talented Yuji Sakamoto ('Soredemo, Ikite Yuku '('Still, Life Goes On').
In this fascinating journey from darkness to light, as it is done through the cracks left in the different points of view, we find narrative traps distributed in a well-balanced way everywhere, throughout the film story, so that In the end, the viewer becomes aware of what has happened before their eyes.
From the mother's perspective, we enter an atmosphere of suspense, fear, doubt and despair that keeps the viewer in suspense, while the filmmaker tells us Saori's concern about the anomalous behavior of her son, a fifth grade student in a local primary school, with evasive responses and no addressing of their concerns.
At the same time, he hears neighborhood gossip from his clients that points to his son's teacher being involved in a sexual scandal.
Alarmed, she searches for the causes of this strange behavior of her son that has plunged her into confusion, distrust and frustration. Masterfully, Koreeda involves us in Minato's strange antics, but at the same time leads us to feel terrified by Saori's helplessness. No matter how much he investigates and demands a convincing explanation from the school directors and teachers of what is happening, the less he understands Minato's problems.
In this interesting way of touching reality, Koreeda addresses, with depth and lucidity, school bullying, to which more and more layers of complexity are added and to which an easy solution is avoided.
The film, rich in hidden feelings, hidden frustrations and current conflicts, such as abuse in schools and previous trials, is told with great detail and care, and the late Ryuichi Sakamoto's gentle score adds an overall air of reflection and empathy, helping with the nuances rather than reloading the inks.
With a well-cared for story, full of hidden twists that are revealed with time and patience, it changes from the teacher's point of view. Mr. Hori has another version of reality. Perhaps because he is worried about his students, perhaps because he is present in every act of Minato and the rest of the students, he sees the protagonist's situation with other eyes and other nuances that are very different from how Saori perceives it.
Although this narrative arc is, in my opinion, less attractive because it tends, at times, to dramatize and moments in which naturalness is lost, its approach adds complexity to the narrative with a story that continues to be intricately crafted and therefore the use of profound comments on the teacher's ethics, the dynamics of power and the influence of the media in the formation of opinion matrices that can manipulate public opinion. Using clever metaphors to convey ideas keeps the audience's interest afloat.
Although in this new narrative strategy permeated with ambiguity, Koreeda has left intentional gaps in the first two revelations, in the third all the pieces fall into place, with a very moving emotional force, which allows, finally, to narrate the truth behind the Minato's behavior, but this only comes to light from the eyes of children, in that natural innocence and friendly complicity, which as a spirit moves the skeleton of the story: once it is detached from all its layers, it shows its true nature. nature and, in the end, it is nothing more than a beautiful story of friendship and teenage love.
It is then that we realize the poetic puzzle about childhood and its secrets, recreated with an exquisite sensitivity that has allowed Koreeda to show how difficult it is to understand the world of adolescents from the perspective of adults. As perspectives converge and conflicts close, a story of disturbing tenderness begins to emerge, about the way friendship, love, shame and rejection often live within ourselves. The way in which the viewer is led towards a deeper understanding of the characters, once again demonstrates the staunch humanism of the director.
Without being a romantic drama, the strongly suggested childhood infatuation attracts the attention of members of the LGBTQ+ community, who have seen the film as a gay drama by showing a danshoku or love between men.
And they do not sin in assuming it this way, because 'Monster' reflects on the pressure of fitting into the world, especially in the family; the doubts and insecurities inherent to self-discovery and acceptance; the anguish of rejecting sexual identity, the mental tension of hiding a secret, typical of homosexuals, especially in societies where there is still discrimination against the people who make up this human group, such as Japan, as it does not have laws that recognize marriage. homosexual. Many homosexuals will see themselves reflected in the struggles, internal and external, that the two young men go through.
This is a suggestive drama of undeniable lucidity, which combines refined ability in the use of cinematographic language with narrative solidity and intelligence when developing emotions. Its director does not skimp on feelings to give us a profound drama focused on self-acceptance, captured lyrically, to astutely examine childhood and its secrets.
The film provides a new combination of social themes and childhood that, although it is not at the level of the filmmaker's masterpieces, such as 'Nobody Knows' or 'Still Walking', does not falter like 'The Truth' or 'Broker'.
Honest, profound and hopeful, 'Monster' is one of the filmmaker's most ambitious works. Its biggest problem is that, in its desire to document the suffering of its characters, it ends up trapping the viewer in a crossfire of shocks that can make the less experienced lose the narrative thread.

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Taboo and controversial topics in a piece of goldsmithing that every lover of good cinema should see

The Korean director Leesong Hee-il writes and directs 'Suddenly Last Summer' ('Jinanyeoreum, gapjagi'), from 2012, a 37-minute medium-length film, second part of the trilogy known as '' One Night and Two Days' (백야) that include the feature film 'Baekya' ('White Night') and the short film 'Namjjokeuro Ganda' ('Going South'), three unconnected stories that began as shorts but later expanded, in the case of the first, to a 75-minute film.
His vast work, like a piece of goldsmithing, armed with the finest craftsmanship, shows a filmmaker always attentive to the details, to the subtle articulations of the adventures, with which he won the applause of critics and spectators who, even after more than one decade since its release, they still look for in it the keys to unusual, totally original cinematography, which make Leesong Hee-il one of the most distinguished exponents of Korean auteur cinema in general, and gay-themed cinema in particular. both from his country and, I would dare to say, from all of Asia and much of the world.
Without forcing anything, the director of 'Suddenly Last Summer' plays with reality, stretches it as moldable material, and we end up accepting, without questioning, his invitation to accompany the protagonists on a journey about their sexuality, their relationship and their place. in society. The viewer must be attentive, since the medium-length film begins right in the middle of the story, so the beginning may seem confusing to some.
In that art of telling small things, small memories, small pleasures, small sensations..., which are not so much because, ultimately, together rejoicing, they give meaning to life itself, Leesong Hee-il, considered "one of the most interesting contemporary gay Asian directors", is a skilled filmmaker capable of captivating the most diverse audiences with the power of words and images, involving the audience, in a charming way, in his films, which are all about his favorite subject , gay stories in one form or another.
Leesong Hee-il once again touches on taboo and controversial topics in any modern society, such as homosexuality, the complexity of human relationships, the problematic situation of one lover who is a minor and the other an adult, or the teacher-student role. , and the feelings between people, which on many occasions can be inappropriate, immoral or even prohibited. However, in its subconscious development, it is not something for which individuals can be directly condemned, but those feelings must be acted upon when they are negative.
Another of the values ​​of 'Suddenly Last Summer' and the other two films that make up the trilogy is that its director places the protagonists at some intermediate point in the story, that is, their characters have begun to realize what what they feel, and now they must decide how to act. In the most difficult moment for those involved, when some will triumph while others will falter, it is the ideal moment for Leesong Hee-il to put on the camera lens and begin to tell the story, achieving, through his raw honesty, commendable and unforgettable stories. .
In the medium-length film, its director once again exposes a constant dichotomy in the relationships of his protagonists: one of his characters hides or completely denies his homosexuality, and the other is not afraid to recognize it and even enjoys shouting to the world about his gay status.
In just 37 minutes, the medium-length film raises several controversial points. It is not only the sexuality of the characters that focuses the attention of the audiovisual. Kyung-hoon hides his sexuality from everyone around him, especially the managers and teachers and students at the school where he works. Keeping his homosexuality a secret, his sexual preferences are discovered by Sang-woo, a student of his, when they both meet in a gay bar some time ago.
In a kind of obsession with his teacher, Sang-woo threatens him to reveal everything if he does not agree to his demands, and shows him some photographs captured clandestinely during the meeting held by the two at the gay club.
Fearing that he will lose his job, Kyung-Hoo agrees to spend the day with him. However, the tension between the characters doesn't seem to be related only to Sang-woo's blackmail tactics. While it is evident that Sang-woo is not motivated by a sexual impulse, since he loves his teacher, the entire film suggests that the teacher has feelings for his student.
Sincere about his sexual orientation and love for his teacher, he will claim that he had revealed to his mother that he liked boys, as well as his love for an older man, but Kyung-Hoo's reactions are ambiguous and not transparent.
There is an uncomfortable polarity within the two characters. Due to his youth, Sang-woo is innocent and love and the freedom to be happy lead him to lose himself in a delirious frenzy that drives him to shout, excited, at the fish from the boat, or to act spontaneously and make Kyung-woo listen. Hoon his favorite music after placing the headphones over his ears. He feels transported to another world in which there is no control from society or discriminatory laws and family censorship and disapproval of their children's homosexuality.
The student believes he is invulnerable to what people will say, precisely in a country as conservative as Korea, with strong patriarchal and heteronormative traditions, where homosexuals have difficulty fitting into society and even in the 21st century, sexual diversity continues to be seen as a perversion and considered taboo. But despite his plenitude, Sang-woo is also immature and seemingly unaware of the implications of what he asks of his master.
This one, for his part, is wiser thanks to his age and experience. Kyuung-Hoon is caught between desire and responsibility, between longing and ethics, between good and evil. He is aware that a relationship of this type is not an option, but the hopelessness and unhappiness that surrounds him is evident. His face reveals deep loneliness. Drinking until you get drunk shows that you have found an escape from your sadness in alcohol. He understands that a romance like the one Sang-woo asks for, and he would like to reciprocate, would not have a good result for him. That's why you make the decision to not just deny your feelings to the person you like. She must hurt him again and again with the intention of taking him away from her forever. But the boy persists in his desire to maintain a loving relationship, not just a sexual one, with the teacher. This dilemma that Hyung-Hoon is struggling with causes him great anguish and regret. Sang-woo will not be able to understand why this man who is not afraid to give him furtive glances with a clear sexual connotation in the middle of the class, surrounded by other students, rejects him. He doesn't understand why that person with whom he spent pleasant moments in a gay club and who, like him, doesn't have a boyfriend that prevents him from formalizing a relationship, seems elusive to him.
The essence of 'Suddenly Last Summer' also lies in the fact that Sang-woo could be precisely the kind of person that Kyung-hoon needs in his life, just as Won-gyu himself needs Tae-jun in 'White Night'.
Although the fact that one is a minor and the other an adult, as well as the teacher/student relationship are socially and ethically problematic, the first problem would be irrelevant (at least if the parties involved considered it so) and would have a solution in a short term, taking into account that Sang-woo has less than twelve months left to reach 19 years of age, and with this, the legal age of sexual consent in South Korea. Leesong Hee-il voluntarily introduces this problem to play subtly and skillfully with the viewer by addressing such a complex issue, while pointing out that it can be overcome. No matter how difficult or incomprehensible their reality may be for others, the terrain where the two protagonists move is not perpetual: within a short time the young man would reach the age of adulthood and with this the hope for what each of them currently wants, but they can't specify.
Regarding his roles as a teacher-student, this problem also has an immediate solution, as we know that, through a phone call to a friend, Kyung-Hoon is desperately trying to find a job at another school.
Within the trilogy, 'Suddenly Last Summer' is the most successful film among the three. Its value also lies in the deeply uncomfortable and highly problematic questions it raises about homosexual relationships and society.
But its reach goes much further. Unlike another 'No Regret' (2006), another film by Leesong Hee-il, the focus of the medium-length film, as well as the other segments of 'One Night and Two Days', focuses exclusively on the characters' feelings, using simple narratives and many fewer twists than Leesong Hee-il's first feature film.

Note: The reviews of the remaining pieces of the trilogy, in MDL, can be found on the page dedicated by the virtual platform to each of them.

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A poorly “parked” relationship on the race track

Cinema and television, like all art that reflects the society in which they develop, have shown the trafficking of children through notable films, documentaries and television series. Numerous films and television programs expose this illegal practice and many of them are based and inspired by real-life cases.
Asian dramas are committed to bringing all genres to the public, including those in which their protagonists have a romantic bond combined with supernatural powers.
Has the fact that Thailand is a point of origin, destination and transit of human trafficking aroused the interest of Nopachai Jayanama (Peter), as director, and Kanokphan Ornrattanasakul and Issaraporn Kuntisuk, as scriptwriters, to tell us in 'Pit Babe' a story that mixes homosexual romance, sport, intrigue, action, human trafficking, fantasy and supernatural powers?
This drama, an adaptation of the web novel by _alittlebitch, winks at Thai reality: the value of child victims of human trafficking does not lie in using them as sexual slaves, in forced labor or to extract their organs for commercialization, but in possessing special powers.
Are we facing a social drama of denunciation of human commerce? I would like this to be its purpose, but consistent with its BL condition, 'Pit Babe' will enhance the romance. This arises between Babe (Naret Promphaophan-Pavel), the king of the racetrack, and Charlie (Krittin Kitjaruwannakul-Pooh), his supporter.
Will the series have a hidden message? How many of Tony's “sons” among the superpowered children are gay men today? Babe, Charlie, Jeff, Kenta, Pete, Way...? That is, the main characters with powers who were raised-educated by the person dedicated to human trafficking ended up being homosexuals. Is there a hidden message in this, simple coincidence or something of “destiny”?
Babe is a very popular racing driver and admired by everyone. His achievements in the sport have led him to be considered number one. Among his followers is Charlie, a young man who wants to be a racing driver like him. However, he does not have the money or the contacts necessary to achieve it. Therefore, he looks for an opportunity to get closer to the leader of X Hunter. When he succeeds, he asks for your help and to lend him a car so he can materialize his aspirations. The only solution he can think of is to reach a strange agreement with Babe. Against logic, he agrees to help Charlie realize his dream.
On this journey, will Babe be able to win Charlie's heart? Will he lose the race he most wants to win this time? Will Charlie be the one interested in captivating the racing driver? Will the relationship that began as a game triumphantly cross the finish line to become a real romance?
The most notable thing about the series is its exciting scenes and the attractiveness of the actors.
There is a secondary couple, made up of Alan and Jeff.
The cast also includes Supanut Lourhaphanich (Nut), as Way; Obrnithi Leelavetchabutr (Ping), as Pete; Natthapong Pathong (Benz), as Kim; Asre Wattanayakul (Lee), as Dean; Hemmawich Khwanamphaiphan (Sailub), as Alan; Thanapon Aiemkumchai (Pon), as Jeff; Michael Kiettisak (Michael), as North; Pataraphol Wanlopsiri (Pop), as Winner; Pantach Kankham (Garfield), as Kenta; Supakorn Saokhor (TopTen), as Sonic; and Vorarit Vaijairanai (S), as Tony
The chemistry between the protagonists and the bed scenes fail to lift a series whose characters are unrealistic and undeveloped. Pavel and Pooh have charisma and are attractive, but the script does not help their relationship connect with the viewer.
I must clarify that it is not that I find being 'passive' degrading. It's not that I assume that, in a relationship between two men, there is a "superiority" on the part of the one who is 'active' compared to the other who is 'passive', but the abrupt change in Babe's personality seems inconceivable to me. . This transformation comes at the same time as the loss of his powers, at the hands of Charlie.
Babe abandons his well-crafted playboy image for years. In all his previous relationships he played the role of seme or asset. In the words of the BL series themselves, he was, of the two, “the one on top.” He began his relationship with Charle by assuming this role in bed. Suddenly, without a convincing explanation, Babe becomes Charlie's uke. Babe swaps to play the role of the “bottom.” So, you would have to ask yourself: Did the loss of his precious powers lead him to be the passive one in their relationship? Didn't this move cause a loss in his character's potential?
Despite being in front of the cameras practically all the time, the actor who plays Charlie fails to connect with me emotionally. They are not facilitating emotions, but hindering emotions that are transmitted to me by a character who fails to sensitize me. By not feeling or understanding Charlie's emotions and feelings, I cannot essentially grasp whether it is love or just sex that drives him. Only his acting stands out in the sex scenes. Note that I do not say “when making love.”
The transformation of the character played by Nut, already in the final moments, is not logical either. About an obvious thing, the incurable remorse that must have accompanied Way throughout much of his life for betraying Babe for years, causing the rift between him and the man he loves, as well as many, if not all, of the problems that have hit to the positive characters by being infiltrated into their ranks, Way's evolution from evil to purity, from darkness to light is narratively constructed, sustained by the effort to achieve the viewer's identification with the traitor. It is necessary to save it, the creators thought.
Way drinks with Pete because “he wants to make the situation better.” He doesn't know “what to do next.” He does not know if “what I have always believed is the right thing.” He asks Pete why he decided to leave Dad, and Pete tells him, “Because the truth is not what I thought… I decided to leave to end the vicious cycle that Dad had created.” And he tells her that she still has the chance to choose what she wants to do. Way has been asked to show the despondency caused by guilt. Way has had the option all his life to choose the right path, but he has decided to be by Tony's side, even knowing what this means. But suddenly, some words from Pete whispered in his ear between sips of liquor and a few pats on the back invite him to “do the right thing.” And this would not be a problem if they had gotten rid of the rampant schematism in the character design and the all-too-evident desire to redeem him.
A story that fails to convince, clumsily designed characters, characters lacking development and therefore generating empathy, limitations in the explanation of the characters' decision making, poverty in the development of events and irregularities regarding changes of personality, are several of the main characteristics of the drama.
Peter throws together a few tropes and too many clichés. With fewer ambitions and fewer plot holes, perhaps the series would have become a full-throttle, full-speed car swallowing up the race track.

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The romantic comedy of two neighbors in conflict

Who doesn't like a romantic comedy, even knowing its dependence on many clichés and narrative schemes already seen? Raise your hand if you don't enjoy the kissing scenes in the rain, the happy endings, the music that surrounds the lovers at full volume, the typical corniness and such unrealistic situations, despite knowing in advance that they are sufficiently illusory. Who hasn't dreamed of a love story larger than life itself?
Can you guarantee that you would reject your "prince charming" singing to you in front of the school and making a fool of yourself for you, and surprising you with a guitar (or drums) playing your favorite song? Who doesn't like to see a series of this genre capable of offering us a ray of hope, a good dose of faith in the healing power of love and the guarantee of a "happily ever after"?
'Monster Next Door' is the Thai romantic comedy series that frames a love story with university overtones, and that draws attention not only for its warmth and humor, but also for its ability to immerse the viewer in a narrative that combines relationship between neighbors, the value of friendship, family, love for pets and the unexpected turns of love.
Based on the novel "Godzilla Next Door" (พี่เขาบุกโลกของผม) by Jiwinil, 'Monster Next Door' tells the story of Diew, a reserved and introverted first-year college student who likes to live in his ultra world private, hiding in his apartment. His best friends are a turtle named Khun Shy and his classmate Game.
But what Diew didn't count on is that his dorm life would include his neighbor, God, an attractive, kind, and outgoing senior from another college, who with his sweet lips has just moved into the next room.
Night after night, God and his friends either keep him from going to bed at his usual time or drag him out of bed with their loud parties. However, when he begins to interact with his neighbor, who is separated by a wall the width of a cigarette paper, Diew's perfect and harmonious world is turned upside down. They both fall in love: they stumble upon the shyness and wonder of first love.
And while the meet-cute, that is, when the two characters meet by chance in an adorable way in the first scenes and that becomes the beginning of their love story, serendipity does not stop uniting them in cafes, libraries and other spaces of the university or in their respective bedrooms, although there is a wall in between and without one having seen the other's face.
The supporting roles, played by Krismon Thanawat Sutthijaroen, Kade Tanapon Hathaidachadusadee, Ole Thanakorn Sangwan, Proud Urucha Sirichaiwongsakul, Pik Supawit Vichitrananda, Mhing Thatsaphon Ruengkitrattanakun, among others, bring to the story a rich tapestry of characters that enrich the main plot. Through these characters, the series manages to convey its light humor, emotional drama and, ultimately, a feeling of satisfaction and warmth to the viewer.
When a comedy of this type starts you know that at most it will entertain you. Although that will not be enough guarantee for you to stay since at any moment something may arise that will make you get up from the couch, caring very little about the story they were trying to tell us. However, in 'Monster Next Door' there is a factor that makes you want to continue in front of the screen until the final closing; and that detail for which you spend minutes after minutes and jump from one chapter to the next is none other than seeing its two protagonists.
That is to say, a key factor of the series is the performance of Big Thanakorn Kuljarassombat, an actor who plays God, who with his mix of attractiveness, generosity, humor and passion for playing music on the drums, manages to capture the essence of the romantic journey and transformation of his character. The relationship between him and Diew, played by Park Anantadej Sodsee, stands out for the depth of feelings they develop, creating a bond that captivates the audience.
Here Big Thanakorn Kuljarassombat proves himself again as an actor, after his debut in 2015 in the film 'Love Love You' and BL series such as 'Enchantment', 'Gen Y', 'My Mate Match', 'Big Dragon', among others.
What power of protagonism!, without ignoring that he was the star in his role as Ruy in 'My Mate Match', or as Suea in 'Love Songs Love Series X Years After: Our Promise… My Friend'. If anyone thinks that being a protagonist was trivial, this series proves them wrong. Big has been there in many series that we have all enjoyed, but always as the disposable character, as the third wheel, as the intruder who arrives to bother the other person and endanger the romance of the protagonist couple, so we have discarded and not taken into account. How lucky for us to be able to see him taking on this role!
On the other hand, it is the second acting job in front of the cameras that we see of Park Anantadej Sodseea, after getting into the shoes of Wayo, one of the leading characters in '2 Moons: The Ambassador'.
Perhaps the strongest point of the series is the way it is told. It is also notable how the characters are framed and described.
In this sense, the cosmopolitan university seems like a liberal queer space with some of its professors, librarians and food stall vendors presumably belonging to the LGBT+ community, and where secondary characters also support their partner establishing a romantic relationship with another person of their same gender, while others look for a partner of their own sex, since an interest is expressed among several friends of Diew and Good, but I will not say more to avoid spoilers.
As in any romantic comedy, 'Monster Next Door' makes one thing lead to another and both protagonists fall at the feet of the god Eros. Through a simple, direct premise, and a staging without much complexity, everything very effective, in my opinion, the series will make us laugh, entertain and also reflect.
Being in settings as close as the same university or with a wall in the middle, there are several opportunities for both boys to meet. However, God will respect Diew's request not to meet in person until he considers he is ready to look each other in the eyes. In this way, a beautiful friendly and romantic relationship is forged.
The series presents the usual topics of the romantic genre, giving them a different approach by having the protagonists separated by a thin wall. An easy and direct premise that, however, serves as a starting point for endless controversies that the main characters face in order to live together, while love grows between the two.
In the series, the result in the field of direction, by Kungfu Nitivat Cholvanichsiri, works thanks to that theatrical tone that is constantly represented through the simple interaction of its protagonists and the basic environments.
In summary, 'Monster Next Door' is emerging as an ideal option for those looking for a happy, tender and moving story that celebrates love and the beauty of simplicity. Although the plot does not escape certain clichés of the genre, this characteristic does not detract from its charm, but rather underlines the ability of its creators to tell universal stories with a new approach.
'Monster Next Door' is located within the large branch of love comedies for young people produced around the world, especially Hollywood, Bollywood, television in European and Latin American nations, and other latitudes. Its fun touches and carefree plot plus the use of a pleasant and pleasant rhythm manage to make the viewer watch the series without expecting anything other than what it suggests.
I am not going to say that it is a major work of television and if I analyze the different fields there is nothing that stands out. Soundtrack, script and actors simply acceptable.
However, it is a captivating story, perhaps it is the way it is told to us or the values ​​they present to us such as love, friendship, family and tenderness.
It made me smile and daydream from start to finish in the first three episodes aired and on which I based this review, and if that's not the goal of romantic comedies, then nothing is.

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Being a virgin at 30 has rewards: the fairy tale with magical gay romance that will steal your heart

Since Jean Cocteau put on the screen the load of imagination, surrealism and magic, bringing romance even to the gothicism of horror films with the premiere of 'Beauty and the Beast' (La belle et la bête), based on the 1757 story de Beaumont, the film productions in which fantasy and love come together continue to amaze.
If in that 1946 film a portrait of the Beast was achieved as a terrifying, erotic and sensitive creature, capable of making Beauty fall in love, since then the cinematographic narrative has diversified, making fantasy, magic and romance go hand in hand. hand.
On that path we have films like 'Somewhere in Time', from 1980; 'Starman' (1984), by John Carpenter; 'Ladyhawke,1985; 'The Purple Rose of the Cairo', 1985), by Woody Allen; 'The Princess Bride', 1987; 'Edward Scissorhands', 1990, by Tim Burton; 'Ghost,' (1990; 'Groundhog Day', 1993; 'Ghostbusters', 1984; 'Mortal Zombie' (Return of the living dead 3, 1993; 'What Dreams May Come', 1998.
Spells to attract love, spells to captivate the perfect lover, witches on their broom throwing magic dust into the air, frogs transforming themselves into princes, mysteries, rituals, spells and magic potions capable of transforming love lives have been used in audiovisual productions whose thread Common among all of them is the imagination in their plot, unaware of limits, an exploration of the impossible that helps - and a lot - to entertain.
BL series also show stories where magical powers are mixed with interdimensional love, musical crystal balls, candies with special powers, travel through time, zombies and ghosts, mutant beings, cats and dogs that become humans and vice versa. In this way, magical visions of love have managed to cross the boundaries of genre to talk about the only thing that truly matters.
'Be My Favorite', 'My Lucky Cat', 'Absolute Zero', '30-sai made Dotei Da to Mahotsukai ni Nareru rashii', 'First Love for the Third Time'; 'I Feel You Linger In The Air', 'Tinted With You', 'Love between fairy and devil', 'Cang lan jue', 'Sound candy', 'See you in my 19th life', 'Revenant', and Heartbeat are some of them.
Based on a 2020 Japanese drama, in turn adapted from a 2018 manga series written by Yuu Toyota, 'Cherry Magic' is a tender and fun Thai BL that tells an office romance with a quirky fantasy touch, starring New Thitipoom Techa-apaikhun, as Achi and Tay Tawan Vihokratana, as Karam. The actors bring a natural warmth and authentic ease to their performances. With a relentlessly positive tone, the series achieves the perfect fusion of sensitive humor and touching sentimentality.
It has numerous truly funny moments. Contrary to the opinion of detractors of the genre, there is nothing wrong with a romantic comedy with a hit of solid and sincere fantasy, which is exactly what this series is.
Its director, X Nuttapong Mongkolsawas (who has dramas such as Our Skyy 2, Viceversa and Theory of Love, among many others), achieves one of the best series of the genre. Featuring a charismatic couple, you'll smile every episode as their fairytale romance unfolds. This fun BL drama has a lot of charm, humor, positivity and imagination within it.
This romantic comedy with a creative story, a cute couple and a joyful love relationship dynamic, tells how Achi, a shy and modest man with an office job, acquires a special power that makes him know love.
The protagonist has never had sex. In fact, he is not looking to establish a romantic relationship because he is afraid of love. He, who lived an ordinary existence and on the eve of turning 30, never thought that his life would become magical, nor that an unexpected love would be closer than he imagined.
Our hero admires Karam (Tay Tawan Vihokratana), the handsome, cool and talented office colleague at the Toyokawa company, the epitome of a being who exudes kindness and beauty at every step. In his eyes, Karam is a demigod while he is an inferior being next to him. Considered the company's best salesperson for 7 consecutive years, Karam exudes the image of being popular among women and a successful man both at work and in his personal life due to his immaculate perfection in dressing and his gentleness.
While surfing the Internet with Rock (Sing Harit Cheewagaroon), his new office colleague, he reads that there is a belief that arriving a virgin in his thirties can obtain "magical power." He doesn't think this is possible... but if it's true, how would this kind of magic choose him?
Achi will discover to her amazement that she has suddenly developed a magical power that allows her to read other people's minds every time they touch each other. This new skill completely changes your life and will bring you fun and exciting surprises. Although at first he refuses to have that ability, everything becomes complicated when she reveals to him that Karam is in love with him!
In world cinematography, possessing the ability to read minds is pursued by evil forces to take over and cause evil. Achi, who rarely exploits his powers, only uses them to help others when they have a work problem and they don't know what is happening or how to act in that case, especially Karam, and to read the thoughts of his friends. co-workers and the man she loves. Most of the time you will know what others think accidentally. He is easily afraid of having these powers.
His powers will also bring him misunderstandings, such as initially believing that Pai (Jan Ployshompoo Supasap), his co-worker, is in love with him, only to later discover that she has actually realized the secret and budding love bond between Achi and Karam and supports that relationship.
As in a fairy tale, you develop a magical ability that helps you read the minds of others, only to discover that the most attractive young man in the company, whom you always secretly admired, also has a secret that concerns you: he is crazy in love with you.
The demigod who always seemed unattainable to you because he was light years away from you, is a prince charming who dreams of spending his life by your side. It is you who are truly the prince charming of her dreams. In reality, it is you who have been unattainable for him, since he has wanted to confess his love to you for years and has not dared, and if you know it, it is all thanks to the newly acquired skills. This is the definition of a self-gratifying fantasy like perhaps none other before it.
The fairy tale is not over yet. Imagine that you are a person who undervalues ​​yourself and is full of insecurities and fears in all aspects of life, including love, but by knowing you are loved you will begin an empowering journey of self-discovery and personal growth. Imagine that you will help your loved one to let down his guard, to calm him down without the constant need to be perfect. This is what Achi will experience. On this journey, Karam takes him by the hand and they travel together.
And from the point of view of the person you love, he is willing to be for you the perfect lover, gentle and chivalrous, faithful companion, friend for life. He has silently wanted it since he met you at the company when they started working on the same day, 7 years ago. He will see in you how good you are, even when you don't trust yourself.
In every fairy tale there is a perfect couple. This is because they are kind, empathetic, sensitive and positive with each other. The two complement each other, motivate, encourage and support each other. They are the example of a happy and healthy BL couple.
As a viewer, Achi and Karam immerse me in their pure and tender romance. Perfectly, I visualize how their relationship develops from co-workers to boyfriends.
Although at first glance Karam seems superficial and distant, thanks to the power of Achi we will soon learn that he is in love with his co-worker and has the noblest feelings towards him.
Manow Waneepan Ounphoklang, PingPong Suwanun Pohgudsai and Mook Jarinee Thanomyat are in charge of writing a drama that every BL fan must see, representing characters who are not afraid to express their feelings and for moments full of innocent romantic interactions. On the other hand, it has an extremely fun secondary couple and something that is not seen much in series of this theme: there is no toxicity.
Achi confides in Jinta, her friend from college, that she has magical powers. Jinta, a romance writer with an eccentric personality, doesn't believe Achi at first, but ends up developing the same ability when he reaches his thirties, weeks later. In this way, she will be able to read the mind of Min, a young courier who makes deliveries to her apartment, and begins to fall in love with him.
For complete understanding, I like to divide the series into two parts. The first half focuses on Achi discovering his magical powers, learning with surprise that he is loved, and the rapprochement between him and Karam as she develops feelings for him. Achi will find the self-confidence to open himself to love.
The second half follows Achi and Karam as a couple, how they get along and are happy with each other. Only towards the end will some tension arise that will test the love of the two, when Achi's magical powers become a burden on their relationship and may end it.
You can appreciate his unlimited imagination in 'Cherry Magic'. The original, unique premise allows many fun scenarios to develop. Every time the two protagonists touch each other, Achi can hear Karam's thoughts about his secret crush. These scenes are handled delicately, making them fun rather than invasive.
You will run the risk of ending up liking Karam more because his inner thoughts are so pure and innocent.
In the original Japanese series, the main couple never kisses on the lips. Will they kiss in the Thai version? Will the couple's physical intimacy be left to the imagination? Like in the country of the Rising Sun, in this drama we will only have kisses on the forehead? I confess something: kisses like the ones given by Karam to Achi on the forehead will have a new meaning in our lives after watching this drama. We will long for them. We will dream of them. We will want to receive a kiss with that passion from our loved one. What's more, kisses on the lips will not be necessary as a sign of pure and true love.
Since I read the premise of 'Cherry Magic', several questions arise: Will the shy Achi be able to demonstrate his love to Karam confidently and openly? Will they be able to resolve the conflict that is already occurring in the final moments? Will they be able to reconcile their differences and have a happy ending? Will Achi know how to say goodbye to his magical powers after losing his virginity or will he cling to them so they don't abandon him? Is possessing magical power or love more important? Even though she no longer has the magical ability, will she still love Karam? Will she be able to know what her boyfriend is thinking, even without the magic power?

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The gong/seme strives to recover his shou/uke by repenting of his mistakes
What is reincarnation? According to its definition, reincarnation is the belief that the individual essence of people begins a new life in a different body or physical form after biological death. That is, it is the belief that, after dying, each of us will begin a new life in a new body.
Of course, in both film and television, this idea, this belief, has been explored from all angles: horror, comedy, suspense and also romance.
When we talk about reincarnation, this possibility of living a new life in a new body after death, is presented to the stuntman named Joe (Poom Phuripan Sapsangsawat - 'Bake Me Please', 2023; 'Saneha Stories Season 4: Saiyai Saneha', 2022), who, after a fatal accident, in a trick of fate, suddenly comes back to life but in the body of another person of the same name who had suffered an accident on the same day.
The LGBT+ themed romantic drama 'My Stand-In' (ตัวนาย ตัวแทน/Tua Nai Tua Thaen) revolves around Joe's new life after his reincarnation. When he wakes up, Joe finds himself immersed in what seems to be the same world he has just left, with the same people around him and the same destiny as before, since both his professional career and personal life remain identical: he is the substitute by the young and famous actor Tong (Mek Jirakit Thawornwong - 'Star and Sky: Sky in Your Heart', 'Star and Sky: Star in My Mind', both 2022; 'Kiss Me Again, 2018').
With the possibility of accessing the memories and knowledge of his past life, Joe meets Ming again (Up Poompat Iam-samang - 'Lovely Writer', 2021; 'Club Sapan Fine Season 2', 2022), with whom he had a relationship. deep relationship in the afterlife. Joe will remember that his death is the result of an accident during filming that took place after discovering that Ming has always considered him as his second choice. After learning this painful truth, Joe is forced to work on a film set abroad where tragedy occurs.
However, in this life, Ming wants Joe to return to his side like before and Joe doesn't know why, because the relationship they both had was always toxic and suffocating. Ming, who has retained all his memories of old Joe, tries to find the truth about his new life to finally offer him the explanation he was never able to give him.
Now, in a new existence full of uncertainties, Joe will have the opportunity to reflect on himself and his place in the world, which has never been free of the shadow of being a stuntman.
Will Joe escape his tragic destiny as a substitute? Will Ming manage to rekindle the love between the two through a plan as crazy as it is imaginative? Can Ming redeem himself for the suffering caused to Joe in the afterlife through repentance and rectification? Will the relationship between the two have, like Joe with his reincarnation, a second chance?
From directors Khom Kongkiat Khomsiri ('KinnPorsche', 2022, 'The Promise', 2023) and Pepzi Banchorn Vorasataree ('Dark Blue Kiss', 2019, 'KinnPorsche'), the series 'My Stand-In' is the Thai adaptation from the popular novel "Professional Body Double" (职业替身), by Chinese writer Shui Qian Cheng.
If someone asked me: what is so special about the series?, I would answer:
- The captivating story of romance, fantasy, mystery and the power of love throughout lives.
- The idea of twists of fate and the possibility of second chances.
- Revitalizing the theme of reincarnation not only in the concept that the protagonist reincarnates, but also that he can access the memories and knowledge of his past lives. This helps in character and story development.
- Reincarnation as a concept or idea that, after death, we can return and get a second chance, takes the vertigo away from the finitude of human life.
- Addressing an attractive and complex topic such as reincarnation, which oscillates between the fun suggestions of the fantastic imagination and the sacredness of Eastern religions.
- Be adapted from a novel of the danmei genre which in turn is based on the "scum gong/crematorium" dynamic, in which gong is a term used to identify the seme, and crematorium means "crying for the lover who is gone ". In this perspective, when the gong/seme realizes his mistakes too late and has to make an effort to recover the person he loves, that is, his shou/uke, at any cost.
The series is just beginning. We will have to closely follow Joe, Ming and Tong, characters who have captured all our attention.

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I want to see them star in something much more substantial than a skin cream commercial

Cats are natural hunters, and many of their pranks are a manifestation of their hunting and exploratory instincts. Their antics, though sometimes frustrating, are an integral part of their natural behavior.
In 'Cat Man,' the main protagonist of the story is an adorable cat whom all viewers grow fond of and only wish to see him truly transform into a human being and develop a loving relationship with his owner.
Bathed in a dreamy domestic atmosphere, it's a story of games and romps with plenty of cuddles and displays of affection. Narrated at times from the perspective of an intelligent and cynical white cat with huge black eyes, matted fur, and hoop earrings dangling from his ears, and at other times from that of his owner, a tall, handsome, intuitive, and kind man, the audience gets the impression that a cat has transformed into a peculiar young man to get his owner's attention. Under a sense of constant play and fun, the line between kitty and human blurs, while one causes trouble and the other also hopes to get away with it.
I'd like to say here that I love the way one of the characters wears earrings, something rarely seen in BL dramas. From a psychological perspective, men who choose to wear earrings do so as a way to assert their identity and differentiate themselves. While some still associate this practice with femininity, for many it represents an act of self-definition, challenging traditional gender expectations.
In this vertically filmed Thai web miniseries, which follows the premise that cat owners see their pets as people, for the character played by Pentaii Natthanit Praditthan ('My Cherie Amour', 2024), her cat Shelby is much more than that.
In just over 10 minutes, the viewer witnesses not only the human protagonist's quest to provide a nurturing environment for his pet.
You will also discover Gap Jakarin Puribhat ('The Sign', 2024), subtly and skillfully showing on screen the personality of cats, their playful, fearful, anxious, territorial, curious and cheeky nature, due to the boredom they easily suffer and the craving for attention that these domestic animals experience.
It's hard for the owner not to get angry every time he discovers Shelby destroying the furniture, repeatedly kneading and pressing his paws on a soft surface, throwing flowerpots and vases to the floor, climbing shelves and heights, chasing shiny objects that roll on the floor, waking him up when he tries to rest, showing his attraction to houseplants or boxes in search of comfort and safety in closed spaces, or causing accidents that force him to use skin cream. But instead of scolding him, he looks for the alternative of distracting him, paying a lot of attention to him and playing with him, with an additional element: one challenges the other, and vice versa.
And who can resist that serene and distant facade, which in reality hides a mischievous, curious, and playful being capable of some of the most unexpected and fun pranks? Although I would have liked to see Shelby in other feline facets, such as the cats' love of playing with water, playing with shadows and moving lights, or showing the mischievous behavior of felines during the night, when they take advantage of humans' sleeping hours to explore and play, it is commendable to recognize that the two characters convince while they overcome their differences and face everyday situations for anyone who has a cat as a pet.
On a creative level, since there's no dialogue, we hear the human voice and the thoughts of the two characters. In addition, the music and the sounds of the cat purring or meowing, or the sounds that arise as a result of its mischief, provide the audiovisual rhythm. The emotional and cheerful music, one of my favorite parts, manages to express how the characters feel.
Regarding the shots, the camera simply follows the characters and gets very close to them. It may begin with a close-up, but then cuts to a long shot and back again, creating a very complicated choreography with the characters and the camera.
This isn't the first time Gap and Pentaii have worked together. They both played a supporting couple in the 2024 GL series "The Secret of Us."
I'd like to see these two star in something much more substantial than a commercial collaboration or a skin cream ad.

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About coming of age and to raise awareness about coming out and social problems

If contemporary audiovisuals have taken one function seriously, it has been to raise awareness about social problems that harm certain people or groups. Among the themes that fiction increasingly explores is pedophilia and violence against minors.
Many times, the stories that the viewer sees in front of the screen are not a mere result of narrative creation, but of real faces and names that suffer daily from the actions of sexual predators.
Although there has been a worldwide tendency to address these issues through fiction, especially that directed at girls, there is still an interest in making such attacks visible also on children and, as a society, reflecting on it.
That is precisely what 'Hidden' is about, the third short film and also the graduation production, by Taiwanese director, screenwriter, editor and producer Hsuan-Chi Kuo.
From the first frames, the creative and aesthetic seal of the director who graduated from the National University of the Arts in Taipei, known for focusing his films on the problems of growing up and sexual aggression of homosexual teenagers, is evident.
In just under 30 minutes, the film addresses a story about coming of age, self-discovery, first crushes and gay dating apps, through which Xiao-Wei (You-Lun Lin, known for his role in 'Wo men yu e de ju li', 2019), the young protagonist of only thirteen years old, must grow up, although to do so he must face childhood sexual abuse, this type of traumatic experience that can interfere with the proper development of the attacked, as well as having a negative impact on both the physical and psychological state of the person who suffers its consequences.
It is not the first time that the experienced director approaches the universe of childhood and adolescence, since his name has become a reference in terms of gender perspective, exploration of sexuality, gay identity, sexual curiosity and the perplexity of growing up.
Hsuan-Chi Kuo knows well the themes addressed in his filmography, with their evident complexity, when it comes to bringing them to the screen; but also with a beauty achieved from the visual and a particular workmanship that immediately reveals its authorship.
The name behind 'A Boy's Mind' and 'Fly' turns on this occasion to tell a story about a young boy who little by little has been understanding his sexuality and has begun to use dating applications to explore the sensual world, but in his case with a crude setting as a backdrop.
Xiao-Wei, who hides his true self in real life, has complicated and indescribable emotions for his best friend Pin Rui (Chih-Hsuan Wu, known for his role in 'No Strings Attached' (2023), 'Shiba San and Meow Chan' (2018). When Pin Rui confessed to his friend that he has a girlfriend, the friendly relationship between the two gradually drifted apart and made Xiao Wei feel distressed and depressed.
Will the protagonist, who musters the courage to meet netizens in search of solace, get answers, or will he become even more confused?
Presented at the Frameline San Francisco International LGBTQ Film Festival, the International LGBTQ Film Festival, nominated for student narrative short films at the Golden Harvest Awards for Outstanding Short Films, and the Taiwan International Queer Film Festival, all in 2021, and at Wicked Queer Boston's LGBTQ Film Festival, 2022, this short film offers good camera focuses and very excellent cinematography.
As a man highly committed to reality, Hsuan-Chi Kuo sought a thoughtful treatment that would connect with the recipients. With a marked and conscious distinction between explicit and suggestive scenes, the film constitutes, among other things, a call to denounce a clinical, legal and social problem called pedophilia, to destroy the myth of good or bad victims, to understand that child sexual abuse is a type of abuse that has no face or specific social stratum, to internalize that it continues to be a taboo subject that is not talked about enough and, above all, to recognize all forms and not remain silent.

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