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He is unaware that South Korean soldiers are forced to hide their sexual orientation
In 1896, the cinema was still a fairground attraction about which not much was known. So when inventor and photographer William Heise captured a brief sequence showing a couple kissing, it caused fury and horror. Not only to surprise the moralistic North American society of the time, but to demonstrate, at the same time, something seemingly simple: Love could also be captured on camera. Or at least, be part of the flourishing film world and its stories. Occupying, without a doubt, an important place in the way in which the newly born seventh art conceived of itself.A century and a little later, romance has fulfilled that promise to become one of the most popular genres in the world of cinema and television productions. From great stories that conquer several generations, to small gems that meditate on heartbreak, anguish, separation and the passage of time.
Produced by Strongberry in two short episodes lasting about fifteen minutes in total, 'A First Love Story' (Peoseuteureobeuseuseurori) sensitively and beautifully celebrates the way love can express the best of being human, seen through the eyes of two very close friends since childhood: Min Kyu (Jung Jae Woon) and Jae Sung (Kim Hyeong Won).
The two are forced to distance themselves when Jae Sung announces the unexpected news that he must enlist in the army. Although I would have liked greater development in the romantic relationship, it is true that it is notable how the only two actors on screen at all times allow us as viewers to be able to take the pulse of their emotions and mutual feelings; feel the anguish that overcomes them when they know that they will have to be separated for two years, the confession of being in love with each other, the reunion after a few months apart, the possibility of going beyond words to express love...
Although I found it a beautiful story of friends to lovers with actors constantly showing good chemistry that transcends the screen, an undeniable tenderness in their interactions, simple but profound dialogues, the transmission of feelings and emotions through gestures and body language, my main concern lies in the fact that the miniseries tends to ignore a reality present in the South Korean Army: South Korean soldiers are forced to hide their sexual orientation or gender identity for fear that someone would make it public and harassed them.
This is due to the Army's refusal to accept the presence of homosexuals in its ranks. Both homosexual soldiers and even those suspected of being so are exposed to triple humiliation: suffering a criminal sentence, expulsion from the army for unworthiness and forced confession to their parents and the rest of society, which describes itself as a conservative and devout Christian, under article 92.6 of the Military Penal Code of said nation.
The miniseries ignores that by criminalizing sexual relations between men in the armed forces, the South Korean government violates a wide range of human rights, including the right to privacy, freedom of expression, and equality and non-discrimination. Likewise, it is unaware that the military code not only legislates against specific sexual acts, but also institutionalizes discrimination, and could even incite or justify violence against LGBTI people within the army and in society in general, since in South Korea all men are obliged to serve in the military for a minimum of 21 months.
The miniseries lacks the courage and commitment to fighting for the rights of the LGBT+ community that, for example, 'Just Friends?' (친구사이? / Chingu sai?), the short film written and directed by Kim Jho Gwang-soo, which subtly denounces institutionalized homophobia in the army, through the sequence of images in which we see Seok Yi (Lee Je-Hoon) on his first visit to the military base in Cheorwon where his boyfriend Min Soo (Yeon Woo-jin) is serving his mandatory military service.
Upon arrival, the young university student has to fill out a contact form in which they must state, among other details, what relationship they have with the person they are visiting.
Elated to be able to see Min Soo after a while, when answering this question in the official document he writes the word "lover". Realizing the risks that his mistake entails for both him and his boyfriend, he tries to obtain a new form to write "friend" and thus circumvent any suspicion about the type of relationship that both have, but when he does not obtain it, he is forced to carefully cross out what he wrote and in its place write the other word.
I do not believe that 'A First Love Story' tells us about a dream world, in which South Korean soldiers and soldiers belonging to the LGBT+ community are free from the persecution and discrimination that exists against them in the Army, because then it should have presented a greater number of images with the two young people, one of them a soldier, the other a civilian, expressing their love freely in the streets and other public spaces. That is to say, the miniseries would have had a greater impact if it had had the intention of showing the desired future world for the professional soldiers of the Army, now free from the sad and cruel reality they live today.
In short, the miniseries ignores that the South Korean Army is a place where in order to fit in, the homosexual soldier or officer without distinction of rank or time in service has to stop being who he is, has to erase himself and pretend to be the person he is not.
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'Star Appeal': much more than intergalactic love
The innovative Chinese filmmaker, film scholar, screenwriter, novelist, activist and gay academic Cui Zi En, known worldwide for his films 'Zhi tongzhi' (2009), 'Jiu yue' (2001), 'Feeding Boys, Ayaya' (2003 ), 'Chou jue deng chang' ('Enter the Clowns'), 2001, 'Nannan nünü - Nan Nan Nü Nü' ('Men and Women'), 1999, 'Queer China, Comrade China' (2008), among others, he creates with 'Star Appeal' (Xingxing xiangxi xi', 2004), the first completely gay Chinese science fiction film, with this fantastical story of a lonely alien, nicknamed "ET", who learns a tender lesson in earthly love after being taken in by Xiao Bo, a curious bisexual.The first time I saw the film, about 10 years ago, it made me discover a new meaning to love. It made me see that love knows no boundaries. It led me to understand that love, that feeling we experience towards another person, to whom we wish all the best and towards whom we feel a special connection, breaks walls, shortens distances, overcomes difficulties and moves forward in harmony. Love, healthy and intelligent, nourishes, allows us to grow and goes beyond distances.
'Star Appeal' tells a story in which love plays a great role, together with a desire to improve, to know the world around us, to find oneself. This is the case of "ET", a being who claims to be from Mars and who has been sent to Earth to learn everything possible about the physical interaction between the inhabitants of our planet.
The first thing that comes to mind when reviewing this film is a phrase from the science fiction film 'Interstellar', directed and written by brothers Christopher and Jonathan Nolan, in 2014: "Love knows no limits of time and space." Well, this beautiful and symbolic film tells us about that, about love in its various forms where two people from distant worlds can come to love each other.
To demonstrate that in the same way that love does not understand age, trauma, gender, race, nor borders or any other obstacle, Cu Zi En, recognized as a pioneering figure of the so-called New Chinese Queer Cinema, summoned Yu Bo (not to be confused with the actor of the same name whose alias Apolio Yu), to star in the film released in China in 2004 and shown four years later in the United States, in which he proposes an endearing love story of two beings from different planets, since one is an Earthling and the other claims to be from Mars.
On this occasion, Cui Zi En's fetish actor is once again named Xiao Bo, as happened previously in three of the Chinese filmmaker's films: 'Men and Women' (1999), 'The Old Testament', 2001, and 'Enter the Clowns' (2002).
The first act of the film introduces us to the life of Xiao Bo and his encounter with the interstellar visitor. In this way we will learn that Xiao Bo coincidentally meets a strange, naked being on a deserted road who claims to be a Martian. Showing himself to be a lost man, Xiao Bo decides to protect him and takes him home to teach him a thing or two about life on Earth.
"ET" (role played by Guifeng Wang), as the stranger will soon be called by his human hosts, soon reveals that he has been sent to this planet to learn about the lives of Earthlings and their way of relating to each other.
We discover that the bisexual Xiao Bo has a girlfriend named Wenwen (Xiwen Zhang) and a boyfriend named Xiao Jian (Jian Hou), but neither of them is particularly excited that Xiao Bo has brought home such an enigmatic visitor.
While Wenwen doesn't believe that "ET" is an alien at all, Xiao Jian also has doubts. For his part, Xiao Bo is the only one who firmly believes in the identity of the stranger, so he promises to protect him and do everything possible to take him to see Earth. To do this, he is responsible for teaching him several languages, mathematics, geography, world history, art and natural sciences.
The two become closer and closer and eventually fall in love. For their part, Xiao Bo's boyfriend and girlfriend also develop feelings for the visitor.
One of the "great sins" of the film may be the dialogue between some characters, especially when trying to understand and approach the strange visitor and learn about his space journey, but let's be honest, if they didn't do it this way, there would be very little People would understand what is happening, which is why I see it as a point in their favor, since even with this detail many people continue to wonder what they just saw.
It is then that the cinematographic experience becomes something magical again in the middle act, when the viewer discovers that a jealous Wenwen tries to win back Xiao Bo's love, but when her plans to win back fail, she conceives revenge on her boyfriend by seducing the alien to have a son with him. While trying to seduce "ET", he falls into a deep coma. Upon learning of the situation, Xiao Bo comes to the rescue and accidentally says "I love you", a phrase also used by Martians. Hearing "ET" these words, he wakes up.
Even so, it is the third act of 'Star Appeal' that gives value to everything we see in the film, leaving an echo resounding in our heads long after having seen the film: Xiao Bo teaching an alien of which has fallen in love with various aspects of life on Earth, the true meaning of Earthly Love and what the physical limitations of humans are, before "ET" undertakes the journey back to his home planet to take with him the exciting discoveries.
But "ET" is not far behind in "being reciprocal and giving back lessons" and, on the eve of his return to Mars, he uses the same supreme human way of expressing love and makes love to Xiao Bo. Through this, dedicates his Martian love to Xiao Bo.
Already in the epilogue, not long after "ET" has left Earth, Xiao Bo, who was "infected" by a certain Martian quality while making love, returns to the place where they met and discovers the way to Mars.
The film shows us real and raw feelings (although not in the most subtle way or perhaps if we compare it with much more recent cinema) wrapped in a space epic. The 86 minutes of footage are enough to establish the idea that love can be understood as a love that remains, even though the person you love is somewhere else, as a mature love capable of facing the difficulties that arise are presented or how, if desired, one can travel to the other side of the Universe to reunite with the loved one.
Both Xiao Bo and "ET" are capable of learning to cope with what happens that they cannot control, in addition to doing everything they can to ensure that the circumstances that occur do not prevent love.
Focusing a lot on plot details (such as Wenwen trying to win back Xiao Bo's love by seducing "ET" to have a child with him, or how she pretends to be from Jupiter and even thinks she speaks his language to approach the visitor, space travel...) is not seeing what is behind everything that Cu Zi En presents to us and it would be not fully enjoying the wonderful and exciting experience of seeing the film for the first time, or watching it again, as is my case .
In a few words, I want to say that although it seems that this is a gray film and that its low budget has condemned it to oblivion (judging by the comments and the low rating on MDL and other virtual platforms), 'Star Appeal' is a film full of hope that bets on the value of the human spirit and the strength of love, no matter how cheesy this may sound.
Despite encountering the odd radio romance here and there, I loved the ending, where the negative turns Earth into an alien planet.
This painfully romantic and charmingly reflective film leaves us trapped looking into outer space..., or rather, traveling along a deserted road, waiting to see if one day we will encounter a strange being, equally naked, solitary, claiming to come from another planet... a being who without a doubt, if we have an encounter with him, we will nickname "ET", to whom by expressing earthly love we will learn about Martian love.
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This review may contain spoilers
Relatable teenagers discovering sexuality in a fairy tale with LGBT+ characters
With a police investigation for the possible murder of a "Rose Garden College" student, 'Hit Bite Love' introduces the viewer to a story that follows six teenagers who decide to break all the taboos and learn the real truth about love, pain and growth.Directed by Jakkaphong Pachara (Yuan), the daring series adorned with sexual scenes revolves around three couples with Shokun (Woraphon Charoensuk - Bigboss) as the protagonist and main narrator.
The plot of the Thai romantic school drama comedy could be described as a modern, youthful fairy tale with LGBT+ characters, although in this case, the prince has been replaced by an attractive student council president of a high society high school named Matteo (Alan Campana), who likes to enjoy the pleasures and dangers of BDSM, and Cinderella is played by a music-loving boy who has just broken up with his partner, because he wants to have a romantic relationship that is not secret, like the one you have experienced until now.
After experiencing a tumultuous romance with Ken (Napolpong Sooksombut – Pure), a star player on the basketball team, Shokun decides to put an end to the toxic relationship because he does not feel satisfied: Ken is afraid to publicly acknowledge his sexuality and has condemned him to only having sex secret and hot in the locker room, while appearing to be heterosexual.
Shokun will be captivated by the attractive, seductive and also very intimidating Matteo, a young man with a strong narcissistic personality, who will take advantage of Shokun's innocence, candor, broken heart and desire to be part of the music club, to force him to participate. with him in his erotic games or else he would expose his sexual encounters in the showers.
The scriptwriter Orachat Brahmasreni (Poy) has created a narrative text that, in addition to faithfully portraying the concerns of adolescents in any current society, with their fears, their dreams and their lack of experience with life, also represents some of the elements of the usual love fables, but with an impressive change: it proposes a world that is more than a story, but a nightmare, with regard to the affectivity and sexuality of its protagonists.
The image of the attractive and lucky prince will soon crack when we learn, at the same time as Shokun, about Matteo's sexual tendencies, dominated by sadism, submission and violence (controlled, of course) and his inability to maintain a "normal" relationship with other people. All of this is enhanced by Shokun's doubts and insecurities, who has not yet maintained a full loving relationship, despite having had sex with another boy, which makes the difference between the two more extreme.
Obviously there is attraction between the two, but Matteo has a secret that Shokun is not prepared for: he wants Shokun to be his submissive, while he would be his dominant.
Shokun's innocent and infatuated world will be shattered when he discovers that he is blackmailed by someone who hides a dark and shadowy face, sexual inclinations dominated by sadism and submission. Matteo will try to introduce Shokun to his sexual and emotional reality, while Shokun, surprised by Matteo's peculiar erotic practices, will seek to find out the reason for his tastes and his way of being. But what they both don't know is that the descent into hell that involves immersing themselves in rough and sadistic sex will make love emerge.
The story of Shokun and Matteo could be considered a "sui generis" homosexual urban fable in which some of its most sordid elements are enhanced. But don't be scared..., in addition to whips, handcuffs and other instruments of domination-submission typical of BDSM, 'Hit Bite Love' demonstrates how love can change people by making them grow spiritually.
As he develops feelings for Shokun, Matteo will not hesitate to stop being dominant and become submissive, fearing that Shokun is not ready. And Shokun agrees to be subdued by Matteo because he prefers pain and even humiliation before leaving his world. Until finally, Matteo chooses to give up BDSM, because all he wants is to be Shokun's boyfriend and have him forever by his side. Don't you think this is a beautiful declaration of love?
The series also manages to narrate some scenes that undoubtedly trigger the lividity of the person who watches its six episodes.
That the script is not perfect, that the performances are not perfect. It is true, but the series aims to explore various concepts associated with teenage dramas, such as sexual diversity, sex, the power of friendship, forgiveness, understanding, personal growth and the transition to the adult world.
And not from the perspective of millionaires and heterosexual college girls in liberal and cold Manhattan, as 'Fifty Shades of Grey' proposes, but from the perspective of homosexual teenagers from a country where homosexuality is considered taboo and the marriage between people of the same sex.
With a plot thread similar to that of the Spanish series Élite, created by Carlos Montero Castiñeira and Darío Madrona, 'Hit Bite Love' shows other important elements, such as betrayals, revenge, double standards, family violence, gender violence, homophobia, internalized homophobia, toxic relationships, teenage sex, feelings of guilt, attempted suicide, seeking refuge in social networks or the interest in exposing people's privacy to public ridicule, among others. Is any of this foreign to today's teenagers?
The other couple is King, Shogun's friend and president of the drama club, and Burger (Vasin Traiprakhong – Jur), a transfer student at the school, who will find themselves immersed in a tender and fun relationship based on a misunderstanding.
And finally, we have the couple made up of Saint (Natthapat Meesuk - Tae), Matteo's friend and vice president of the student council, and Hida (Vittawin Panichtamrong - Vic), who have become brothers not related by blood, when the former's mother gets married. with the second's father. They will both be united by a relationship that goes beyond these family ties.
The breakup of Shokun and Ken, the arrival at Burger's school as a transfer student or the strengthening of the bond between the stepbrothers Hida and Saint will end up causing a series of events that, with a police investigation as a backdrop, will shake everyone's lives those involved.
Another element to highlight is the music. The cast itself is the one who sings the songs that make up the soundtrack of the series. In this way, we will enjoy Jur, Tae, Newyear, Pure, Bigboss, Vic and Alan, who perform "Hit Me Bite Me", a song composed by Alan Campana, and Vic and Tae singing "Oxigen", a song written and scored by Vic Vittawin Panichtamrong.
The photography, by Suchart Makhawimarn, helps make the three romantic stories believable. For its part, Suriya Kaewkrong's editing achieves a fast and quite adequate narrative.
Sympathizing with Shogun is easy. Wanting to protect and love him would be anyone's wish. I found Matteo attractive and the most interesting character. He is a seducer and that is transmitted beyond the series itself. There are many points in your way of thinking that I do not share. but that has not been an obstacle for me to identify with him. Alan Campana manages to show two faces with his character, a more tender and romantic one that manages to win our affection, and another more cynical one, in which his dark secret is revealed, but he achieves a sincere and complete transformation when he falls in love.
The rest of the secondary characters appear poorly developed, their only function is to help the development of the plot but they are not important and in that sense I would also have liked them to be given a little more relevance or to delve deeper into the parallel stories, especially in the case of the three girls in love, one with Ken, one with Burger and one with Saint.
It is regrettable that, seeking to visualize diversity on screens, the series portrays queer characters in a stereotypical way, due to their continuous shouting, arrogant and uneducational acts, and mood swings. I am referring, obviously, to the character played by Bookko Thanatchaphan. At https://kisskh.at/756465-firstly-like-you I publish a review of 'Firstly Like You', a film that addresses the romance of Burger and King, and in which I expand on the topic discussed in this paragraph.
I suppose this is a matter of taste, but from my point of view the erotic scenes are treated very well, they are explicit and descriptive, and they leave little to the public's imagination, but the creators do it in a wise and restrained way, and They do not use indiscreet, foul-mouthed or ordinary gestures, actions or words that may be unpleasant and annoying.
The limits to which Shokun accesses in Matteo's sexual games are at a low level and this results in the scenes not being very strong within what they could have been, which on the other hand the viewer can appreciate if he does not share this point of view.
This is a series that you either love or hate. In my case, I love it, because I consider that 'Hit Bite Love' is an addictive fiction, full of life, rhythm and color, that fulfills its central objective: to entertain in a big way while making us reflect. The Thai drama neither has nor understands taboos. Novel and transgressive, in its frames you can find sex, nudity, very crazy scenes, a truly explosive level, but nothing is gratuitous or obscene.
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Can love be born from hate?
The term Enemies-to-Lovers describes a narrative arc in which protagonists begin as sworn enemies or adversaries, only to gradually discover a deeper connection that transcends the initial animosity.A common pretext in romantic movies and series is the enmity between the protagonists to end up together in an enviable love story.
Although it is a cliché, some dramatized have become classics of film and television for showing that there is only one step from hate to love.
'Big Dragon' is one of those stories in which the protagonists appear to be polar opposites and end up attracted by a chemistry produced throughout the series.
This 2022 LGBTIQ+ themed Thai romantic comedy-drama is directed by Puwadon Naosopa in his debut as a drama director and writer after directing the special 'Secret Theory of Kissing' two years earlier, who co-wrote the script with Boy Mitpracha Outtaros. Both acknowledge that the decision to explore homosexual romance comes in response to what fans wanted. They wanted to "redress the balance" and write a typical romantic comedy, but with young gay people.
The creators bring to life a romantic story, in which everything happens in a more realistic way. It is a story about the search for human connections, about discovery, about acceptance, about the difficulty of discovering one's identity and finding a place in the world, and someone to share it all with. In short, it is about young people who want to be something more and who embark on a clear transformative journey.
However, what began as a natural dislike between the two gradually turns into romance, which is complicated due to Mangkorn's father's wishes for his son to marry his childhood friend's daughter and the pressure Yai has a family relationship with a dead mother and an absent father and now in a new relationship that Yai opposes for the wrong reasons.
What makes romantic comedies so irresistible? Is it the certainty that its structure, already quite well known, gives to the viewer? Or is it the joy we get from seeing two people we know are made for each other fall in love on screen? For whatever reason, through romcoms we have been shown many of the dynamics of falling in love and romance, which is why it is appreciated that in more recent years their stories are about more diverse groups than the typical heterosexual white couple.
'Big Dragon' is an example of this: a beautiful romance between two young adults separated by their social contexts.
It is beautiful how they live, separately and in different ways, the process of accepting homosexuality, denying that they like a person of the same sex, stating that what happened between them was motivated by alcohol and drugs, asking friends for guidance, looking for women as a way to confirm heterosexuality, or even getting into fist fights.
Based on the best-selling Thai PG-18 novel of the same name by Aiden N Vivienne, the series stars Mos Panuwat Sopradit and Bank Mondop Heamtan, as Mangkorn, and Yai, respectively.
Mangkorn is a fifth-year architecture student, attractive and confident. Yai is a rich, self-centered and spoiled student at the same university, but majoring in Business Administration. Both have the power to cast a spell on the public with just a look.
Yai believes that Mangkorn is his romantic rival, imagining that he is also in love with the girl he likes. So he seeks to make him look ridiculous. One night, at his father's newly inherited pub, Yai and Mangkorn drink together. His nefarious plans fail due to the mistake of his bodyguards, whom he had ordered to mix something in Mangkorn's drink. This is how he and Mangkorn end up spending a night of wild sex together.
When he wakes up, he discovers that Mangkorn has taken the images of the hot sexual encounter between the two. Realizing that he has been outwitted and now his prestige is in the hands of Mangkorn, who could do the same thing he planned to publish the video to take revenge, Yai vents his anger in the pub.
He hopes to forget what happened between them. So, he requests the services of an architecture company to carry out renovations to the premises with the intention of erasing the memories of the sinful night, but he soon discovers that one of the members of the team of hired designers is the person he wants to forget.
The new frictions that arise from having to see each other frequently lead them to start a romance and discover their sexuality together. What they did not expect is that feelings stronger than hatred would arise between them. The classic romantic trope of "enemies to lovers" becomes relevant when two presumably heterosexual young people are involved.
Just like the dragon and the tiger, the two couldn't be more at odds with each other. But their destinies become inseparably intertwined, leaving resentments behind and managing to turn their hostility into love.
The tumultuous relationship will cause both boys to find love for the first time in their lives, in addition to growing as human beings.
'Big Dragon' sounds like fan fiction and looks like it too. However, as in any worthwhile romance, the director gets us to support the transition from cheeky couple of rivals to boyfriends, before becoming bed partners. Puwadon Naosopa is supported, and convincingly so, by the cinematographer, who portrays the protagonists with such adoration, that you almost expect them, between kisses and sensual moans in the frequent sexual encounters, to turn towards the camera and promote a bottle of perfume.
Queer romantic narratives have found a solid place in BL series and this drama is positioned as a testament to this advancement.
There is a bit of a twist in everything, since the situation is somewhat complicated for the two protagonists, but in the end it is one of those stories that leave you with a good taste in your mouth, and lifts your spirits, in addition to the strong chemistry of the two boys and the solid performances of a debutant Mos and Bank in his first leading role, for the brilliant visual effects, its majestic soundtrack and the greatness of the cinematographic skill.
It is truly an irresistible couple between Thai actor Mos Panuwat Sopradit and Thai-American singer ISBANKY, who also lends his voice to sing "Dancing with the Devil", the main theme of the series, and "Just Smile".
In the technical section, the weight falls almost entirely on the development of the relationship and charisma of its stars, who are surrounded by a luxurious and aspirational dreamlike environment.
The series is also packed with enough romantic tropes to bring together that fuzzy, familiar feeling of any formulaic on-screen love story. There are 'enemies to lovers', 'opposites attract', 'forbidden romance', 'he fell in love first, but he fell in love harder' and in the endings a 'pen pals/lovers' interlude.
The main strength of 'Big Dragon' is Mondop Heamtan, whose charming performance is helped by the fact that he has most of the best lines and manages to border on being arrogant without becoming conceited.
The sincere but impetuous Mangkorn is a more difficult role, but Mos Panuwat Sopradit manages to give the role enough gravitas to achieve dialogue like "I want to stay here with you. And one more thing: I've wanted to fix things with my family. No I can run away from the problem forever."
The story embraces and demonstrates that the growth of queer young adult fiction reflects a generational shift toward a more open and inclusive attitude toward gender diversity and sexual orientation.
Historically in romance, queer characters have been unhappy, or even killed off. However, in 'Big Dragon', homosexuality leads to happiness.
Mangkorn and Yai not only have the possibility of beginning a journey that will lead them to experience a true individual transformation by falling in love: they give voice to the desires of queer and diverse young people who want to see a "happily ever after" represented on screen that resembles them.
Puwadon Naosopa understands that the key to success for any romantic comedy-drama is the chemistry between its protagonists, something that Mondop Heamtan ISBANKY and Panuwat Sopradit have plenty of. Although they are both very attractive, this is not enough when it comes to presenting a successful on-screen romance: we have had countless examples of unconvincing gorgeous couples in film and television. However, that is not the case here, since both prove to be good romantic interests and this work has been the first in which they have been able to exploit their gifts as romantic protagonists, and which have subsequently been able to give them new dimensions in other dramas, such as ' SunsetxVibes' and 'Y Journey: Stay Like a Local'
Despite social pressures, jealousy, the presence of a new love interest who will try to come between the two, the need to separate for student reasons, the relationship between the two develops organically and gradually: the romance is credible and you melts the heart.
The social context also adds a credible burden of difficulties while helping to develop their characters beyond the romantic relationship. Although the conventions of the romantic comedy are followed to the letter (something very typical of the genre), its characters and situations move away from clichés. There is also an honest approach to homosexual desire, the interactions in sex between two men and the conflicts of expressing their love in an environment guided by appearances and heteronormativity.
Thanks to the charisma, tenderness and attractiveness of its protagonists, its social context and irresistible romantic plot, 'Big Dragon is a charming love series made for fans of this type of content. It doesn't break much of the mold in terms of its structure, but its characters and situations are unique enough to avoid falling into stereotypes. As far as modern romantic comedy-drama goes, it has my vote.
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Build the path to freedom, inclusion and empowerment with empathy
Let's get used to his name, JP Habac, because this Filipino filmmaker is going to provoke lively controversies, raise dormant consciences and enliven an independent film scene, in need of exponents like him.After pleasantly surprising us with the critically and popularly acclaimed 'Like in the Movies', in 2020, or other dramas and films, such as 'Meet Me Outside', 'Drag You & Me', or the short film 'I'm Drunk, I Love You', from 2017, now returns with the series 'Marahuyo Project'.
In its 8 episodes, about 35 minutes long, we will meet King.
You either love King or hate him. There is no middle ground, and everything will depend on the person you are.
As punishment for his irreverence in the face of power and homophobia, the principal of his high school gets rid of the progressive student and sends him to finish his studies in Marahuyo, his place of origin, where he returns after leaving in his childhood.
And there we, the viewers, join their journey, which began long before the first scene.
Ricardo Matayog, his real name, is similar to many other activists for the rights of gays, lesbians, transsexuals and bisexuals, for being a dreamer, empathetic, a lover of justice, but also for his deep ideological positions: his anti-imperialism, anti-totalitarianism, anticolonialism, antifascism, anticlericalism..., inherited from his grandmother and his own experience of fighting homophobia.
If the world were fair, instead of presidents of nations with a long history of invasions in order to plunder natural resources behind supposed "humanitarian interventions" or imposing sanctions on third parties for not bowing to their hegemony, people like King would be recognized with the Nobel Peace Prize.
Better, if the world were fair, people like King would not exist, since homophobia would only exist in school textbooks as something of the past.
King's story is much more than the story of a human being faced with violence, discrimination, homophobic persecution, and the violation of the Human Rights of LGBTIQA+ people. King is the essence of a country with joys, sorrows and a lot of faith to rise up every time logical and illogical setbacks bring it to its knees.
King is Philippines. King has the essence of any Filipino. He is a person who has been through a lot, but still clings to the fact that things can get better, because he has great energy and faith.
King is a natural leader. He is chosen by the group for his actions. He is capable of leading at any level of the organization he is creating and meets the needs of those who, due to their prejudices and fears, hide their homosexuality to comply with what a conservative country with strong patriarchal and heteronormative traditions demands of them.
King calls, in each episode, and many times masterfully breaking the fourth wall, to reflect on everyday life, common events (or not), social representations inherited from patriarchal hegemony, the world with its lights and shadows. …
Like many others, King fights for the acceptance of the LGBTIQA+ community in Philippine society, to accelerate policy reforms and to establish programs to ensure the inclusion of its members in the political, social and economic life of the country.
That is why he immediately points towards the Church, because he perfectly recognizes that it has faithful followers in the Philippine political sphere, who have blocked any bill that tries to prohibit discrimination based on sexual orientation or identity, as well as prevent already existing conquests in other places in the world, such as two people of the same sex being able to marry, carry out a joint adoption, or have the right to have their sex change reflected in the Civil Registry.
Likewise, understand that political institutions easily give in to the influences of the Catholic Church when it comes to limiting the rights of gays, lesbians, transsexuals and bisexuals.
King will always be valid, as long as there is a discriminated person in the world, for whatever reason.
Regardless of the topic that the audiovisual deals with (the life and adventures of an activist for the rights of LGBTIQA+ people dedicated to making a difference in his community of origin through the creation of the first organization that brings together the members of said group in its campus, the defense of human rights, community empowerment and much more, and that is where a very important conflict begins), is a pretext to address many things that are happening in that country.
But there is also the King who loves, the one who falls in love, and in this aspect he is also faithful and committed. Since his return to the island, he has been attracted to Ino (Neo France Garcia, in his acting debut), the heir to a legacy of conservatism and heteronormativity, who will play a fundamental role in the fight to achieve the young activist's plans since his position of president of the Student Council.
Their lives intersect precisely upon King's arrival at the Marahuyo dock, when he accidentally bumps into Ino, like a parable about the unpredictability and irony of destiny.
The great merit of 'Marahuyo Project', the first Filipino queer series presented by Anima Studios, directed by JP Habac, based on the creative idea of the director himself and Benson Logronio and Fatrick Tabada, is the social denunciation against the violation of Human Rights of Filipino LGBTIQA+ people.
Another of his achievements is stealing the audience's ovation despite having a patriarchal society as a setting. Art is followed by the masses, what it legitimizes almost becomes law, often in a stronger way than what the country's legislators could say, refusing to approve measures that protect the members of this human community against discrimination.
It works in favor of the series that the script intelligently discovers the psychological profile of the main character and correctly recreates everything that happens in his private life, elements that tend to humanize 'Marahuyo Project'.
King is played by Adrian Lindayag, a young actor known for his role as Dominic Cruz in the 2020 film 'The Boy Foretold by the Stars', and as Dominic Benjamin Fuentes Cruz in the series 'Love Beneath the Stars', 2021, with a high range of records that knows how to do its thing well and projects an overflowing sympathy that encourages the viewer, because its maximum interest and priority is to advocate for freedom and for people to be happy in the way they want.
The actor is an activist for the rights of the LGBTIQA+ community, a challenge that he always succeeds in, as his character Dominic in the aforementioned series also takes a similar position: denouncing homophobes and their laws that discriminate against homosexuals. And he achieves it, with the maturity of an actor who grows on stage in accordance with King's own rhythm, a resilient human being, with shocking energies.
'Marahuyo Project' is also a kind of contemporary "Odyssey": returning to the origins, letting ourselves fall into the arms of the sirens that ask us when we pass by and accepting the temptations or maintaining the commitment to yourself to move forward.
Magnificent and complicated like life itself and necessary, like the fact of discovering that a future promise of cinema, JP Habac, has become an author of the present and we will have to count on him from now on.
YA
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Based on the novel of the same name by British writer Aidan Chambers, the central hero of the film tries to clarify his memories, after having experienced a fantasy caused by a teenage crush.
Scripted and edited by Terrence Hu himself, the film aims to explore the tortuous search for oneself, as well as the depressing idea of inevitable death that is very closely related to the transgressions of adolescence.
Starring Hu Kaixiang and Tingkai Huang, 'Dance on My Grave' had its world premiere at the Beijing Queer Film Festival 2022, and presents us with death manifested in a metaphorical way.
The protagonist's interest in death is more than an adolescent preoccupation. It is natural that someone on the verge of adulthood, experiencing sexual pleasure and the joy of autonomy, youth and beauty for the first time, would be alarmed by the transience of everything they have just discovered.
Autobiographical in nature, the title of the short film is in itself challenging and surprising, since human beings inescapably associate dance with celebration. On the contrary, we perceive death as something we have to deal with, as a sad and bitter reminder of our mortality. Dancing at a mourning moment would be considered inappropriate at best, more likely offensive and disrespectful.
The viewer is forced to confront the question of death subjectively through the protagonist's concern for "death itself" which he constantly evokes, and also metaphorically through the death of the self in the characters themselves.
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'If I Love a Boy' and the exercise of looking at each other
'If I Love a Boy', the Thai youth romantic anthology with LGBTIQ themes, explores sexual awakening in adolescence through the telling of five short stories of innocent love, whose protagonists are high school students.Broadcast between August 24 and November 9, 2019 on LINE TV, One 31, these film stories, by Thai director Andy Rachyd Kusolkulsiri, delve into characters whose lives are marked by sexuality, the development of secondary sexual characteristics , mature thinking and also the awakening of sexual behavior that is, when the adolescent transforms into a sexual being.
In this sense, 'Mom, Please Do Not Disturb (starring Son and Pluggy)', 'You Never Eat Alone (Folk & Petch)', 'Hand On Me (Kia & Taro)', 'Everybody Run (Ball & Poori) )' and 'Night Before Everything (Chokun & Nut)', the five stories that make up the anthology, take us into characters immersed in a stage in which the rise of romantic fantasies occurs and social relationships take place outside the environment family, especially with friends.
In the shorts, with slight contacts with each other, the unity of visual poetics is perceived, although sometimes a certain lack of rhythm is felt in the progression. After seeing them, we remember obvious truths that characterize adolescence, such as the young person who has not yet fully developed abstract thinking and sometimes finds it difficult to think about the consequences of his actions, as well as the use of the senses to express his feelings. emotions, since he has not yet fully developed adult thinking.
In 'If I Love a Boy' they are the high school student secretly in love with his classmate, the teenager who sees the possibility of maintaining the romance with the boy he loves slipping away because he has not dared to come out of the closet, the young man who fills with courage and confesses his love to his best heterosexual friend, the love triangle and the first disappointment in love, and the young man unable to accept that his best friend is gay, but at the same time he feels upset at the risk of losing him .
In the films, which reflect the creative consciousness that the director carries within him, we see novice actors in their first steps into the world of acting.
Son Korbboon Garun and Pluggy Tharakorn Khamsing are the protagonists of the first film. Folk Touch Inthirat and Pech Sirin Siripanich take part in the second. While Nokia Chinnawat Phattharathanachot and Taro Watcharathon Passorndiloklert participate in the third short film.
For their part, Ball Saranwut Chatjaratsaeng, Poori Siphrai and Art Thathep Phritiman are the actors who tell the events and conflicts of the fourth film, and Nut Nathanon Metharathip and Chokun Watcharaphon Suwanrueang lead the cast of the fifth film, in which we can also see acting Folk.
All of these young actors would star in 2019 'Thank God It's Friday', the youth romantic drama directed by Andy Rachyd Kusolkulsiri and written by Kwang Latika Chumpoo.
Of them, only Folk, Nokia and Ball have continued to develop their acting careers, within the BL, with the first appearing in several series, such as 'Brothers', from 2021, the second in 'Knock Knock, Boys!', from 2024, among others, and the third in 'Until We Meet Again', from 2020, 'Unforgotten Night', from 2022, and 'Y Demand', scheduled for release in 2024.
If we take into account that sexuality at this stage of the human life cycle represents the generation of desires, feelings, fantasies and emotions, that is, the development of a sexual identity, 'If I Love a Boy' constitutes a suggestive (and tender, It could also be said) a self-gaze exercise, which is worth submitting to, since all human beings have experienced, are living or will live the sexual awakening and the biological, psychological and social changes inherent to adolescence.
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A story of love, discovery, acceptance and second chances
With the speed of survival we have insisted on forgetting the pandemic, focused on the new challenges that life imposes, day by day.And there is the art to bear witness to how Covid-19 changed the world as we knew it until then, and among these changes stands out the way in which human beings manage to communicate and establish diverse relationships, including romantic ones, amid limitations of not being able to interact face to face with others.
'In a Relationship', the romantic series with an LGBTIQ+ theme, directed and produced by Napat Worakitpunya, allows us to appreciate the emergence of a love relationship between two teenagers, against the backdrop of social networks and the period of incidence of the pandemic in our lives.
This is one of the BL series produced by Jinloe Media Work, the studio that has also made 'Hit Bite Love' (2023), 'What the Duck' (2018) and its sequel 'What the Duck 2: Final Call' (2019 ).
Starring Nine Trin Summasub, as Tono, and Pea Pearanut Athicomnanta, in the role of Boss, the 2022 Thai drama takes us into characters whose existences are affected by the circumstances of a pandemic that disrupts everything in its path. However, in an indistinct manner, but at the same time in close union, each of them manages to recognize in the sad event the possibility of loving each other, growing as people, the power of forgiveness and second chances.
With a script by Chim Sedthawut Inboon, Tono, a teenager with a growing reputation among online video game players, is presented as the central axis of the plot. One day, while he is live streaming and recording one of his videos, a user he later identifies as Boss criticizes his gaming skills in a chat room. Annoyed, Tono confronts him and they both agree to participate in a video game competition to see who is the best.
After losing the game, Tono must fulfill the winner's three demands: The last request is that Tono become her boyfriend! Reluctant to comply with this demand, Tono will be forced to listen to the constant flirting of the person who claims to have been in love with him for some time.
Will Boss manage to change his social media status to "in a relationship"? Will love arise between these two teenagers? Will they manage to nurture a loving bond beyond any screen? Will they be aware that the true essence of a relationship lies in the mutual understanding, support and love that is built day by day, surpassing virtual scenarios?
The truth is that this is how Boss and Tono begin a relationship, friendly first, romantic later, thanks to cultivating meaningful conversations every day, like those of any teenager of our days, building memories and strengthening emotional bonds.
Boss is a well-defined character. For some time now he has been aware of his sexual identity, and he finds himself caught between the desire to be honest with himself and with the boy he loves, as he fears suffering a new love rejection for having his face marked by youthful acne. That is why he has communicated through a filter and hides his true identity from Tono.
But despite this dark side, the character created by Pea Pearanut Athicomnanta turns out to be more than the simple playboy he can seem every time he flirts. He understands when Tono needs space and backs away, but he still shows his love and sends constant signals of support to the teenager in difficult times, such as during Tono's illness, or when he is upset because his friend Jade has decided not to play with him.
Knowing and loving Tono will make him grow as a person and trust in himself.
For his part, Tono is a boy without major conflicts in his life. Busy with video games and virtual classes due to the pandemic, he has only suffered from his parents' divorce. His character goes through several very different moments throughout the series. She experiences intense feelings when Boss confesses his love for her, and emotional stress when she suspects that the young man she loves has been playing with her feelings.
Tono shows maturity when he forgives Boss and by encouraging him to be himself and grow as a person. Through her relationship with Boss, Tono will discover not only her sexual identity, but also her true feelings and first love.
At first, I find his performance a little uncomfortable, but as the episodes progress, we can see an actor who takes on the role of a typical teenager of our days, giving it his own interpretation and meaning, as he focuses on his goal and fight for what he wants.
Isolated from everything and everyone, even his family members, who are never shown on screen nor are there any references to them, Tono navigates between doubts and insecurities, while trying to understand his own feelings. Can a boy fall in love with another boy?
Although sometimes a certain lack of rhythm is felt in the progression, the best moments of 'In a Relationship' are reserved for the final episodes, when the story gains in maturity and complexity by deepening the plot in the themes addressed, managing to enrich the dynamics of the love relationship and add a fascinating growing tension between the characters.
Intimately and emotionally, 'In a Relationship' addresses universal themes such as the search for authenticity, discovery, personal acceptance, second chances, identity, friendship and love, with a refreshing and sensitive narrative. Along the way, both young people discover much more about themselves and what love and friendship really mean.
The two boys will begin a journey that will change their lives forever. During it, Boss and Tono develop an unexpected and deep connection as they share their personal stories, fears, preferences and dreams.
The music of TheMoonwillalwaysbewithme, Foam and Boxx Music Team helps capture the beauty of first love and self-discovery in adolescence, with totally recognizable boys, but at the same time with the pain of lying.
With evocative cinematography limited by the pandemic scenario, the series immerses us in a crucial moment in the lives of its protagonists where emotions are on the surface.
The series explores many of the challenges that we can encounter every day on social networks and messaging applications, such as the possibility of someone lying or hiding their true identity because they feel ashamed of their own life or body, the prospect of closing distances with people who are far from us; the way to understand, approach and expose our personal life and our relationships, or suffer from the FOMO (Fear Of Missing Out) syndrome caused by dependence on social networks.
Likewise, 'In a Relationship' portrays other of the daily challenges faced by people on social networks, who may feel that they are constantly in contact, but the quality and depth of their conversations may decrease. Or what is related to the emotional tone, which is often misinterpreted in texts and messages, which can generate unnecessary conflicts, due to the lack of eye contact and body language, essential for effective communication.
That is the reason why Tono frequently demands the need to complement digital communication through real, in-person connection. That is, being able to see yourself outside of virtual spaces, to be able to openly communicate your feelings, concerns, doubts and insecurities... in short, give free rein to love.
For this reason, I applaud that final scene in which the empty chairs that have always been occupied by our two protagonists prevail, because finally both, after the dangers of the pandemic have disappeared, have met outside the screens of their digital devices.
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Love overcomes misunderstandings, rivalries, differences and ghosts
A love that overcomes misunderstandings, rivalries, personality differences and ghosts'Stay by My Side' begins with an unexpected and involuntary collision between Gu Bu Xia, the Anthropology student and owner of a sports scholarship as he is one of the best players on the university basketball team, and Jiang Chi, the future lawyer and son from a famous family of doctors who has just been transferred to Yong Yu University.
After several setbacks, these two young people, soon declared enemies, begin to live in the bedroom occupied by Bu Xia, since Jiang Chi has been forced to make a living by his own means after defying his parents, who want the boy to continue his steps in the career of Medicine.
Starring Isaac Yang as Jiang Chi, and Hong Wei Zhe as Bu Xia, the romantic and supernatural comedy with an LGBTIQ+ theme revolves around the unlikely romance between these two young college students with major personality differences, marked by paranormal ability of one of the protagonists, which provides a pleasant and fun novelty to the audiovisual product.
Soon the tender, light and happy series will introduce us to the lives of both characters. While Jiang Chi is an excellent basketball player, he does not seem interested in joining the varsity team, not wanting anything to distract him from his studies. Additionally, he works several part-time jobs to avoid being financially dependent on his parents.
For his part, the orphan Bu Xia has been raised by his grandfather, a spiritual medium, in a temple run by his sister Gu Bu Tao (Jin Cheng). After the death of the old man, the shy and insecure Bu Xia hears ghost voices murmuring in his ears, a circumstance that will worsen just as the new roommate enters his life.
Bu Xia, who has lived alone in his bedroom until Jiang Chi's arrival, will soon come to a conclusion: being close to the boy who now sleeps a few meters from his bed brings him peace, as the ghosts feel self-conscious and flee before him. Your presence. The more he interacts with Jiang Chi, the less he hears the voice of those who "pull the chain." That is why he will try to always have him around him..., but he hides the reason from him.
For his part, the law student mistakes Bu Xia's camaraderie as if the boy was flirting with him. "Could it be that Bu Xia has fallen in love with me?" he will ask himself. Jiang Chi comes to think that he is the object of his dormmate's love interest.
As a result, the supernatural element spices up a series with greater originality than the classic college romances, while the relationship between the two boys takes us on a journey surrounded by mystery and intrigue and in which love can overcome misunderstandings, differences in personalities and even outwit the ghost chase.
Likewise, the series will allow us to appreciate how two rivals can come to love each other with such madness and passion, to the point of one of them accepting the transfer of the uncomfortable ability to hear ghost voices that the other suffers.
Vidol, the Taiwanese streaming platform that makes BL series such as 'VIP Only' (2023), 'Anti-Reset' (2024) and 'You Are Mine' (2023), commissions Cai Fei Qiao, known for being the screenwriter of the acclaimed drama 'Unknown', 2024, the executive producer of another classic of the genre: 'We Best Love: No. 1 For You' and 'We Best Love: Fighting Mr. 2nd', and for playing Mrs. Yao, Shun Yu's mother, in 'You Are Mine Special', released in May 2024.
Lovers of the genre will be pleased with 'Stay by Me Side' for its strong BL content, for the tender and constant romantic interaction of the protagonists, for portraying two college sweethearts living the fullness of romantic happiness, for exploring the bond of the physical, emotional and spiritual couple, for their happy ending.
Likewise, fans of BL series will like the complicity of Bu Xia's sister and Jiang Chi, both interested in the young man's well-being and happiness.
I like the character played by Hong Wei Zhe: a boy who shows traits of insecurity and cowardice in the face of paranormal phenomena, who doesn't? But he leaves us with a memorable memory, especially when he discovers that he has fallen in love with another boy, and there he acts not infrequently in a childish and insecure way as well. What sometimes overreacts? His contagious laugh, his innocent eyes, his angelic face redeem him from excesses.
The mysterious and reserved character played by Isaac Yang is equally convincing, especially when he seeks to protect Bu Xia from ghosts and everything that could affect him. He is a lover who gives himself completely to the loved one.
I would have liked the series to delve deeper into the denunciation of possible homophobia (the reasons are not clear), perceived when Bu Xia and Jiang Chi's relationship becomes gossip among the other university students, who will try to obtain invasive photos of the loving couple, or make annoying comments in physical and virtual settings.
Isn't Taiwan the only Asian territory where Equal Marriage or Homosexual Marriage has been approved? Is sexual diversity not widely accepted by the Taiwanese population? Are same-sex sexual relations not legal? Why then consider the fact that two boys holding hands and attracting each other on a university campus or on the street in Taipei a public spectacle?
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A love that surpasses the arc of time and the lives of the two lovers
Liu Li is a BL-themed novelist who wants to love vehemently, so that he can then express his thoughts in writing. Under the pseudonym Morris, he has published two best-selling novels based on his real-life experiences, but today, after the rejection of his platonic love, he suffers from writer's block and cannot find inspiration to write the third book, which he has already demands his editor.Seeking inspiration, he sits at the same table every day at Old House, his favorite meat noodle and hot sauce shop, located in the lower part of the building where he rents an apartment, and where he makes blue origami birds for hours, while waiting for the arrival of the muse.
Gu Jin, or Boss Gu, as his employees call him, who was a successful advertising executive until his resignation, caused by a scandal involving his despotic mother, decides not to give up in the face of adversity and takes advantage of his culinary vocation to set up his own restaurant. business as chef and owner of Old House, where he will meet Liu Li.
Starring Stan Huang as Gu Jing, and Chen Xuan Yu as Liu Li, 'VIP Only' (保留席位 / Pao Liu Hsi Wei (Bao Liu Xi Wei), the Taiwanese LGBTIQ+-themed romantic comedy-drama spins in around the love relationship between the handsome and attractive chef who owns the creative and retro restaurant, and the shy boy with a vocation as a novelist who, although he has never been in a relationship, recognizes that as a writer he has many ideas about what it means to be in love.
Director another dreams of continuing to promote his career as a writer.
Based on the script written by Cai Fei Qiao, Xiao Yi Wei and Chen Liang Ci, 'VIP Only' is a tender and delicious story of love and improvement marked by literature and cooking, a relationship that arises between stoves and tables restaurant; a chef with high culinary skills and a regular customer.
Vidol is the Taiwanese streaming platform that makes this and other BL series such as 'Stay by My Side' (2023), 'Anti-Reset' (2024) and 'You Are Mine' (2023).
Like many of the dishes prepared by the chef, the love between the two young people simmers. It all begins when Gu asks Liu Li to go on dates with him to stimulate his imagination and inspire him to continue his work as a writer.
This is how in the middle of a role-play in which they both date each other and pretend to be in love, love surprises them.
Between plates of food, Gu reading Liu Li's novels, hearing about each other's lives while folding origami, or the novelist's determination to learn to cook because Gu is very passionate about the culinary art, both boys will leave getting to know each other and becoming closer, until they discover that they have much more in common than they think, since they were friends in childhood.
Liu Da Ren (Tim Cheng) and Lai Dai Yi / "Lai Tsai" (Kurt Huang), Gu's employee at the restaurant the first and Liu Li's friend the second, will help the two boys in their romance. However, their love will be put to the test when Wu Shin (Kevin Chang), the boy the writer was in love with, returns and tries to win him over.
The cast is completed with the performances of Hsiao Hung as Yao Shun Yu, and Parker Mao in the role of Xia Shang Zhou, protagonists of the Taiwanese BL drama 'You Are Mine', in which they embody these same characters.
The chef will also hallucinate with joy/madness when he discovers that Liu Li thanks Wu Shin for having inspired him to write two best-selling novels, and for teaching him to be brave and confess his love to the person he loves, and chooses him.
The love that unites Liu Li and Gu will surpass the arc of their lives and time, through the book written by the former and inspired by the latter and the romance they live.
Almost everything in 'VIP Only' could be on the verge of crossing the thin line of cheesy, or vulgar melodrama, but it is redeemed by the tenderness of its story, the truth of characters who support each other and manage to overcome difficulties while experiencing personal growth, the chemistry between the two protagonists and the interpretive flexibility of Stan Huang and Chen Xuan Yu.
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Relatable teenagers discovering sexuality in a fairy tale with LGBT+ characters
With a police investigation for the possible murder of a "Rose Garden College" student, 'Hit Bite Love' introduces the viewer to a story that follows six teenagers who decide to break all the taboos and learn the real truth about love, pain and growth.Directed by Jakkaphong Pachara (Yuan), the daring series adorned with sexual scenes revolves around three couples with Shokun (Woraphon Charoensuk - Bigboss) as the protagonist and main narrator.
The plot of the Thai romantic school drama comedy could be described as a modern, youthful fairy tale with LGBT+ characters, although in this case, the prince has been replaced by an attractive student council president of a high society high school named Matteo (Alan Campana), who likes to enjoy the pleasures and dangers of BDSM, and Cinderella is played by a music-loving boy who has just broken up with his partner, because he wants to have a romantic relationship that is not secret, like the one you have experienced until now.
After experiencing a tumultuous romance with Ken (Napolpong Sooksombut – Pure), a star player on the basketball team, Shokun decides to put an end to the toxic relationship because he does not feel satisfied: Ken is afraid to publicly acknowledge his sexuality and has condemned him to only having sex secret and hot in the locker room, while appearing to be heterosexual.
Shokun will be captivated by the attractive, seductive and also very intimidating Matteo, a young man with a strong narcissistic personality, who will take advantage of Shokun's innocence, candor, broken heart and desire to be part of the music club, to force him to participate. with him in his erotic games or else he would expose his sexual encounters in the showers.
The scriptwriter Orachat Brahmasreni (Poy) has created a narrative text that, in addition to faithfully portraying the concerns of adolescents in any current society, with their fears, their dreams and their lack of experience with life, also represents some of the elements of the usual love fables, but with an impressive change: it proposes a world that is more than a story, but a nightmare, with regard to the affectivity and sexuality of its protagonists.
The image of the attractive and lucky prince will soon crack when we learn, at the same time as Shokun, about Matteo's sexual tendencies, dominated by sadism, submission and violence (controlled, of course) and his inability to maintain a "normal" relationship with other people. All of this is enhanced by Shokun's doubts and insecurities, who has not yet maintained a full loving relationship, despite having had sex with another boy, which makes the difference between the two more extreme.
Obviously there is attraction between the two, but Matteo has a secret that Shokun is not prepared for: he wants Shokun to be his submissive, while he would be his dominant.
Shokun's innocent and infatuated world will be shattered when he discovers that he is blackmailed by someone who hides a dark and shadowy face, sexual inclinations dominated by sadism and submission. Matteo will try to introduce Shokun to his sexual and emotional reality, while Shokun, surprised by Matteo's peculiar erotic practices, will seek to find out the reason for his tastes and his way of being. But what they both don't know is that the descent into hell that involves immersing themselves in rough and sadistic sex will make love emerge.
The story of Shokun and Matteo could be considered a "sui generis" homosexual urban fable in which some of its most sordid elements are enhanced. But don't be scared..., in addition to whips, handcuffs and other instruments of domination-submission typical of BDSM, 'Hit Bite Love' demonstrates how love can change people by making them grow spiritually.
As he develops feelings for Shokun, Matteo will not hesitate to stop being dominant and become submissive, fearing that Shokun is not ready. And Shokun agrees to be subdued by Matteo because he prefers pain and even humiliation before leaving his world. Until finally, Matteo chooses to give up BDSM, because all he wants is to be Shokun's boyfriend and have him forever by his side. Don't you think this is a beautiful declaration of love?
The series also manages to narrate some scenes that undoubtedly trigger the lividity of the person who watches its six episodes.
That the script is not perfect, that the performances are not perfect. It is true, but the series aims to explore various concepts associated with teenage dramas, such as sexual diversity, sex, the power of friendship, forgiveness, understanding, personal growth and the transition to the adult world.
And not from the perspective of millionaires and heterosexual college girls in liberal and cold Manhattan, as 'Fifty Shades of Grey' proposes, but from the perspective of homosexual teenagers from a country where homosexuality is considered taboo and the marriage between people of the same sex.
With a plot thread similar to that of the Spanish series Élite, created by Carlos Montero Castiñeira and Darío Madrona, 'Hit Bite Love' shows other important elements, such as betrayals, revenge, double standards, family violence, gender violence, homophobia, internalized homophobia, toxic relationships, teenage sex, feelings of guilt, attempted suicide, seeking refuge in social networks or the interest in exposing people's privacy to public ridicule, among others. Is any of this foreign to today's teenagers?
The other couple is King, Shogun's friend and president of the drama club, and Burger (Vasin Traiprakhong – Jur), a transfer student at the school, who will find themselves immersed in a tender and fun relationship based on a misunderstanding.
And finally, we have the couple made up of Saint (Natthapat Meesuk - Tae), Matteo's friend and vice president of the student council, and Hida (Vittawin Panichtamrong - Vic), who have become brothers not related by blood, when the former's mother gets married. with the second's father. They will both be united by a relationship that goes beyond these family ties.
The breakup of Shokun and Ken, the arrival at Burger's school as a transfer student or the strengthening of the bond between the stepbrothers Hida and Saint will end up causing a series of events that, with a police investigation as a backdrop, will shake everyone's lives those involved.
Another element to highlight is the music. The cast itself is the one who sings the songs that make up the soundtrack of the series. In this way, we will enjoy Jur, Tae, Newyear, Pure, Bigboss, Vic and Alan, who perform "Hit Me Bite Me", a song composed by Alan Campana, and Vic and Tae singing "Oxigen", a song written and scored by Vic Vittawin Panichtamrong.
The photography, by Suchart Makhawimarn, helps make the three romantic stories believable. For its part, Suriya Kaewkrong's editing achieves a fast and quite adequate narrative.
Sympathizing with Shogun is easy. Wanting to protect and love him would be anyone's wish. I found Matteo attractive and the most interesting character. He is a seducer and that is transmitted beyond the series itself. There are many points in your way of thinking that I do not share. but that has not been an obstacle for me to identify with him. Alan Campana manages to show two faces with his character, a more tender and romantic one that manages to win our affection, and another more cynical one, in which his dark secret is revealed, but he achieves a sincere and complete transformation when he falls in love.
The rest of the secondary characters appear poorly developed, their only function is to help the development of the plot but they are not important and in that sense I would also have liked them to be given a little more relevance or to delve deeper into the parallel stories, especially in the case of the three girls in love, one with Ken, one with Burger and one with Saint.
It is regrettable that, seeking to visualize diversity on screens, the series portrays queer characters in a stereotypical way, due to their continuous shouting, arrogant and uneducational acts, and mood swings. I am referring, obviously, to the character played by Bookko Thanatchaphan. At https://kisskh.at/756465-firstly-like-you I publish a review of 'Firstly Like You', a film that addresses the romance of Burger and King, and in which I expand on the topic discussed in this paragraph.
I suppose this is a matter of taste, but from my point of view the erotic scenes are treated very well, they are explicit and descriptive, and they leave little to the public's imagination, but the creators do it in a wise and restrained way, and They do not use indiscreet, foul-mouthed or ordinary gestures, actions or words that may be unpleasant and annoying.
The limits to which Shokun accesses in Matteo's sexual games are at a low level and this results in the scenes not being very strong within what they could have been, which on the other hand the viewer can appreciate if he does not share this point of view.
This is a series that you either love or hate. In my case, I love it, because I consider that 'Hit Bite Love' is an addictive fiction, full of life, rhythm and color, that fulfills its central objective: to entertain in a big way while making us reflect. The Thai drama neither has nor understands taboos. Novel and transgressive, in its frames you can find sex, nudity, very crazy scenes, a truly explosive level, but nothing is gratuitous or obscene.
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Drama Special Season 14: TV Cinema - Joseon Chefs
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A deep connection that transcends the social differences and prejudices of an era
'Suunjapbang', whose official title is 'KBS Drama Special 2023: TV Cinema: Suunjapbang / Joseon Chefs (KBS 드라마 스페셜 2023 - TV시네마 - 수운잡방 | KBS Deurama Seupesyeol 2023 - TV Sinema - Suunjapbang)' tells the story of the noble Kim Yoo (Yoon San Ha), a scholar belonging to the nobility who during the Joseon Dynasty writes the ancient manuscript of traditional recipes "Suunjapbang", a text passed down as a family heirloom by the noble and exalted family of the Andong Gwangsan Kim clan, which contains culinary secrets ranging from exquisite liquors to gastronomic delights.Known for directing 'Drama Special Season 12: Between' and 'Drama Special Season 12: Oddinary Goods', as well as the series 'Into the Ring' and 'Bad Prosecutor', filmmaker Choi Yeon Soo brings us a story that recreates how it comes about. This legendary recipe book, which with 121 types of foods and drinks is not only a culinary gem, but also a Korean national treasure that has stood the test of centuries.
To bring the story to life in images, the South Korean director has a script written by Jo Soo Yeong ('Drama Special Season 3: My Wife Natree's First Love') and Kim Ik Hyun in his debut as a screenwriter.
In this way, we will follow in the footsteps of the noble Kim Yoo, whose only ambition is to keep alive the family tradition of passing the national civil service examination. However, his path takes an unexpected turn when he crosses paths with those of Gye Am (Kim Kang Min), a passionate chef who calls himself the best cook in all of Joseon. This charismatic and energetic character will challenge the deepest convictions of Kim Yoo, who at the risk of his own life will not be afraid to confront his brother or the emperor himself when he has to protect his Master in the kitchen.
Initially surprised to learn that the cook at the memorial service at Amchungsa Temple where he arrives to concentrate on his studies is none other than Gye Am, soon Kim Yoo begins to search for the life he truly wants as he immerses himself in the world of gastronomy.
'Suunjapbang' (by its romanized name) explores how the passion for culinary art can transform lives and awaken forgotten dreams. The bond that develops between the noble family's second son and the wandering food enthusiast in charge of the Buddhist temple kitchen unfolds amid the culinary intrigue and challenges of a traditional society.
As the two young people immerse themselves in the search for exquisite flavors and innovative dishes, they also discover a deep connection that transcends social differences and the prejudices of an era.
Set in the majestic Joseon dynasty, this historical drama transports audiences to a world where gastronomy and love are surprisingly intertwined.
'Suunjapbang', which adds ingenious imagination to historical events, wins the Best Film award at the 13th Gyeongsangbuk-do Video Content Scenario Competition. The film is also intended to mark the grand finale of KBS' film project 'Drama Special 2023-TV Cinema'.
Kim Kang Min, who I absolutely admire after meeting him in both seasons of the LGBT+-themed romantic drama 'To My Star' and their respective films, adds dramatic fun to the film as a lower-class person with a passion for cooking.
For his part, thanks to the special appearance as Kim Yeon, Kim Yoo's older brother, actor Baek Sung Hyun, with a soft but strong charisma, brings depth to the team of actors while unleashing a series of events that will test the family ties.
I like how the film hints at a possible romantic relationship between Kim Yoo and Gye Am. From the very beginning of the film, the viewer is able to understand that the character played by San Ha is different from the others. Since childhood, Kim Yoo prefers to enter the kitchen of her parents' home before engaging in age-appropriate games.
Likewise, the discussions with his father and, above all, with his older brother, give the audience room to perceive how homosexuality in the young man can be very real. Kim Yoo has always been seen as "the weak link", the "fragile child" who had to "accept your defects", reproducing many of the stereotypes and prejudices wrongly assigned to homosexuals throughout the history of Humanity.
On the other hand, the relationship between the two protagonists, their meetings in the temple kitchen late at night, their night walks near the river, their tender and suspicious interactions, give rise to comments among the other young people residing in the temple. buddhist. For everyone else, Kim Yoo "is in love with a man."
I understand the alarm and concern among the other characters, if we take into account that the Goryeo Dynasty, of Buddhist tradition, focused more on the glorification of the individual, and there are many records that recognize that members of Buddhist orders, nobility and even royalty expressed their attraction to people of the same sex.
An example of the above can be found in King Mokjong (980-1009) and King Gongmin (1325-1374), who had male lovers called chajewhi at their service. The latter, after the death of his wife, created a state body dedicated to recruiting young boys from all over the country to serve in his court.
However, with the establishment of the Joseon Dynasty, the situation of homosexuality changes. This dynasty adopted Neo-Confucianism, a much more conservative tradition, which exalted the importance of family and community, so homosexuality, as today, was considered taboo, especially among the nobility. In the historical aspect, it is worth highlighting the fundamental ideological points of Confucianism in terms of gender, which still has an important weight in Korean society. These are gender hierarchy, marked sexual roles and sex segregation.
It would be healthy to point out that during the Joseon era in rural areas homosexuality existed. This is recognized by historical documents that record, for example, how popular music and show companies, known by the word namsadang, were made up exclusively of young men, even minors, who toured the towns, markets and special festivals to put on shows. full of acrobatics, juggling, tightrope walking, masked dance theater, music and other circus games.
Because artists such as singers or actors were often looked down upon at that time, namsadang troupes recruited their members from orphans, children of poor farmers, and sometimes even through kidnapping. Since they were not well paid and were often offered only food and lodging, and a small amount of money, these boys and young men, on many occasions, had to earn a living through male prostitution.
In short, the troupe of young actors, musicians and puppeteers could have functioned as a homosexual community, with each member taking the role of Sutdongmo, "tomboy", or Yodongmo, "queen", as Stephen O. Murray recognizes in "Homosexualities" , published in 2000 by the University of Chicago Press.
Although with other objectives, 'The King and the Clown', by Lee Joon Ik and filmed in 2005, portrays the relationship between two popular street clowns: the boisterous and manly Jang Seng (Kam Woo-sung) and the calm and feminine Gong Gil (Lee Joon-gi), and how jealousy and anger well up in the king's mistress, the palace ministers, and Jang Seng himself when the famously hedonistic emperor of the Joseon dynasty turns his full attention to Gong Gil.
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The profound loneliness that homosexuals experience in heteronormative societies
'Sad Temptation' (슬픈 유혹 / Seulpeun Yuhok) reflects on the deep loneliness that homosexuals experience in conservative and heteronormative societies, through the extreme disconnection with another society, the homosexual one, and seeks to find a way to communicate beyond that disconnection. Likewise, it explores the breakdown of communication.Its plot takes us to South Korea in 1999 and follows a middle-aged man named Jung Moon Gi (Kim Gab Soo), who has distanced himself from Suh Jung Hye (Kim Mi Sook), his wife, and meets a young man. homosexual employee, Shin Joon Young (Joo Jin Mo), with whom he falls in love. Both are victims of the lack of understanding of their families and the violent and discriminatory society that excludes homosexuals. Although the two men try to take refuge in their own world, They inevitably end up falling in love with each other.
Aware that film and television content reproduces the socially and culturally idealized sexual and gender approach and that these are aimed at the consumption of the heterosexual community, Pyo Min Soo, the director, seeks with 'Sad Temptation' to make a society in need reflect. to advance against heteropatriarchal logic.
To film the first South Korean public television drama that profoundly depicted love between men, the filmmaker relied on the script by Noh Hee Kyung, a television scriptwriter and essayist, who has earned a solid reputation for his realistic, visceral portraits. and profound insights into the lives and relationships of ordinary people, captured in many family dramas and urban melodramas that have received critical acclaim and won many awards for Best Screenplay and Best Drama Writer, such as the Baeksang Arts Awards, Korean Drama Awards, MBC and KBS Drama Awards.
From the KBS network, and the third time in which the director and screenwriter work together, the audiovisual breaks with the patriarchal approach of society that still today permeates the scripts of the majority of films, series and television programs, aimed at the consumption of the heterosexual community and, in which LGBT+ people remain in the background, and are generally stigmatized and stereotyped.
Its protagonists are three people who live in solitude. The loneliness of Jung Moon Gi, a precarious man in his 40s who worked to achieve success all his life but has now been expelled from the company's management, comes from the fact that he will never be able to tell his family that he is homosexual and has to carry this burden alone.
Shin Joon Young, a man in his 20s who seems confident and ambitious in the eyes of everyone, feels the loneliness that comes with living as a homosexual in a society dominated by heterosexuals and suffering from the lack of understanding from everyone, even his family. Joon Young was hurt by all the men he loved, but they didn't love him just because he was a man.
His loneliness is contained in these heartbreaking words, addressed to Jung Moon Gi: "Coward! Men like you have no right to love or be comforted! Do you know what love is? If you feel alone, say that you are alone , and if you are going through a difficult time, say that you are having a hard time! Love is trusting and hugging each other! Like you, like my brother, suffering alone, not talking, separating from everything is not love. I wanted to touch you! I didn't ask you to have sex! I just wanted to love you! To comfort each other when we feel alone! I wanted to comfort you. If I could, I wanted to help you. live in this difficult world?"
For her part, Suh Jung Hye is the wife who, despite being a professional and with a university degree, which would give her economic independence, has been forced to spend 20 years of her life in a failed marriage watching her husband's back. . That is why he will ask you: "We are one as a couple. Isn't it true that we are separated as husband and wife?"
Why is the connection established between the man who little by little is losing his place in the world after a business failure and estrangement from his wife, and the young man who dances and drinks in bars, and in the street shouts without paying attention? pay attention to the glances of passers-by? What are the reasons for the connection between the somewhat elderly manager whom Jung Yong calls frustrated, and the free-spirited worker?
Moon Gi can see himself in his youth while looking at Jung Young, and Jung Young discovers in Moon Gi the lonely support of his older brother who, like Moon Gi, is selfish and only thinks of himself, even in the moment. of his death, or of Moon Gi's dismissal after his failure at work, which in this case would be the same, since he does not tell his wife what happened.
Jun Yuong, who enters Moon Gi's empty, routine and disconnected life with an irresistible attraction, and whether out of love or pity, falls in love with him. Moon Gi also has feelings that he cannot admit to himself, but one day he discovers himself when he sees Jun Yuong's naked torso, drunk, on his bed, and reacts by fleeing from his presence. But he is surprised when, without stopping thinking about the young man, he finds himself, the next day, wandering in front of his house.
And how does Jeong Hye come into this equation? She is curious about the worker who frequently, in her presence, names her husband, who is not interested in anything but the company. When Jun Yuong visits the couple's house and drinks tea with her, in the absence of Moon Gi, the wife discovers in the handsome young man an image of her husband of two decades.
The simple writing, but with a strong and direct tone, and the delicate and calm direction, are a perfect combination to tell the internal struggle that the two men are experiencing and the relationship between them.
In the one-act play, Moon Gi asks Jun Young, "Why did you become homosexual?" and Jun Young responds, "Why did you become heterosexual?" He then explains, "It's a question I can't answer, any more than you can answer it."
In a society that at the end of the 20th century was as homophobic and intolerant as it continues to be today, the phrase that contains the essence of the film is: "Did you marry your wife because she was a woman? It's not that I loved a man. It's just that the person I loved was a man."
With a photograph marked with dark tones that tries to demonstrate the state of mind of young homosexual love in times of so many conflicts and denials, a pertinent use of the camera and movements that accompany its intensity, make this drama a must-see for story lovers. deep and heartbreaking.
For years before, the idea of filming 'Sad Temptation' had been in the minds of Noh Hee-kyung and Pyo Min-soo. After finishing 'Lies', putting the project into action gained momentum, but they encountered numerous obstacles in translating the text on such a transgressive and unconventional topic into images. From homophobic attacks with hate speech in digital chats and messaging groups, mostly directed at the two male protagonists; Calls for censorship and non-commercialization of the audiovisual product by conservative elements of the South Korean Catholic Church, refusals by cultural institutions to grant monetary funds for the process of writing, filming, post-production and exhibition, marked the work from its beginning.
It was even difficult for the casting, as it was not easy for the actors to accept the emotions of the script, which includes a kiss between Moon Gi and Jun Young.
Pyo Min-soo later acknowledged that in particular, "the entire staff had to take a short break before filming the kiss scene. However, the actors, who were worried before filming, thinking: "Can't the kiss be given a little on the forehead or cheeks?", when the signal was given, they were caught up in the emotion and acted naturally. . Furthermore, the effort put into preparing in a short period of time is evident throughout the work.
The pressures and obstacles could not prevent the viewer from enjoying one of the most tormented passions between two men, nor could they prevent the yellow ginkgo leaves from decorating the path of the Seosamneung stud farm, where Moon Gi and Jun Young, while they walk hand in hand, they give us, at the end of the film, one of the most beautiful romantic breakups in the history of film and television.
In addition to the bittersweet taste, 'Sad Temptation' leaves us with hope, as the creators emphasize throughout the entire film that instead of suffering alone, human beings must work together to overcome loneliness, sweeping away everything that promotes it, thus denouncing to heteronormative, patriarchal and conservative societies. Not turning our backs and fleeing by withdrawing into ourselves, but defending the right to live in accordance with our dreams and passions, the sexual and loving among them, as long as they do not harm others.
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Takumi-kun Series: The Dawn of the Long Tales
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The beginning of the beautiful love story of Takumi and Gii
'Takumi-kun Series: Nagai Nagai Monogatari no Hajimari no Asa' portrays the sparkling love story of Takumi and Gii, in a real-time adaptation of 'Takumi-kun Series', the well-known manga series of light novels of the shōnen genre. ai, written by Shinobu Gotoh, and published by the Kadokawa Shōten publishing house.Kenji Yokoi and Hiroko Kanasugi, the same duo from the previous film, are back together to, the first as director and the second as screenwriter, add to their filmography this romantic, school, youth and Japanese BL drama, released in 2023, which tells the original story of the first installment of the 'Takumi-kun Series' and the beginning of the romance between these two boys, and to do so it combines three titles from the Kanzen-ban 1 (omnibus edition) of the original novels: 'Akatsuki wo Matsumade' (Until I Wait for Dawn), 'Soshite Harukaze ni Sasayaite' (And Then, I Whisper in the Spring Breeze) and 'Nagai Nagai Monogatari no Hajimari no Asa' (The Morning of the Beginning of a Long, Long Story).
Without a doubt, it will surprise the public that, 17 years after the first film adaptation in 2007, the popular series is producing a film that travels back to its beginnings to recreate this famous romance with a new cast and story.
The film has taken the viewer by surprise, who never thought one of the classic Japanese live-action adaptations that were made at a time when today's popular BLs were hardly produced would ever be revisited. However, nostalgia, curiosity and intrigue have summoned his followers of yesteryear, while making those who have never seen the previous titles rear their heads: 'Takumi-kun Series: Soshite, Harukaze ni Sasayaite' (2007), 'Takumi -kun Series: Nijiiro no Garasu' (2009), Takumi-kun Series: Bibo no Detail (2010), 'Takumi-kun Series: Pure' (2010) and 'Takumi-kun Series: Ano, Hareta Aozora' (2011) .
With this, six live-action films have been made based on the series. Actors Tomo Yanagishita and Keisuke Katō played Takumi and Gii, respectively, in the first film. In subsequent adaptations of the franchise, both actors were replaced by Kyōsuke Hamao and Daisuke Watanabe in their respective roles of Takumi and Gii. Yukihiro Takiguchi, who played Akaike, was the only actor to appear in every film. Here Takahashi Rio is responsible for assuming the role.
Plot
Far away from the city and deep in the mountains, lies Shidō Academy, an all-male high school. In years past the school housed only the children of the country's elite families, but recently it has opened its doors to everyone in its historic classrooms. Takumi Hayama, a boy of humble origins, prepares to enter the prestigious institution.
The story begins precisely on the day of the entrance exercise. Giichi Saki, or just Gii, played by Kato Daigo in his acting debut, a popular boy who has returned from the United States, passes Takumi Hayama (Morishita Shion) in the hallway.
Fascinated by his striking presence, strong magnetism, and Gii's exotic, non-Japanese beauty, Takumi follows him with his eyes. Gii stops walking and they look at each other, with a mischievous smile on the latter's lips.
Now a high school student, Takumi is treated like a weirdo by his classmates due to his haphephobia, that is, phobia of human contact, the product of a psychological trauma from the past. It is for this same reason that he avoids socializing with others and everyone at school sees him as unemotional and unsociable. However, his aversion to touching and being touched by others begins to disappear thanks to Gii and his relationship with him.
Furthermore, Takumi is discriminated against for having a humble origin. The only person interested in forming a sincere friendship with Takumi is Toshihisa Katakura (Yusuke Noguchi), his dormmate.
Spring arrives and, at the beginning of the second year, the students are relocated and Takumi begins to occupy a dormitory with Gii, unaware that his own withdrawn and distant personality has caught the attention of his new partner. Gii is the only person who doesn't see Takumi as a stranger and the two become friends. The distance between them shortens while the bond strengthens. As Takumi learns more about Gii, he must also learn to overcome his past and the rivals who threaten to break up their budding relationship. The days of peace for Takumi will soon be altered.
Romance takes time to develop. Faithful to the original, the bond between the two young people is cemented from silence and distance. When the characters finally realize that they are meant to be, all the waiting is worth it. Having seen the previous films allows the viewer to understand that the relationship is simmering, and that at the least expected moment the love interests will finally come together.
The public must understand that their characters are completely opposite and have led a very different life because they come from two worlds facing each other: that of capital, on the one hand, and that of work, on the other. That is, that of luxury and waste, and that of poverty and deprivation.
The relationship is unintentionally helped by third-year student Kei Aso (Nagashima Ryunosuke) by asking Takumi to participate with him in the campus "shrine quest" event. Gii's jealousy does not take long to appear, realizing that other boys are also interested in Takumi.
On the other hand, Gii is more determined every day to get closer to the boy to protect him from harassment and accompany him in his loneliness. Paying attention to what Takumi's other students say drives him to relate insistently. The united glances and close encounters eventually lead to a closer bond.
Against everything desired, Izumi Takabayashi (Nakayama Satsuki) is the essential key for Gii to finally confess his love. Takabayashi is the first to realize that his beloved Gii not only does not pay him the required attention, but is also interested in Takumi. And while jealousy consumes him, he plans an attack against him, and summons the students who idolize him.
However, Gii realizes Takabayashi's plot and tries to save Takumi. While they are kidnapped, Gii takes the opportunity to confess his love. This truth disturbs Takumi, however, he realizes the true sensitivity of Gii's personality.
And so begins the long, long, brilliant story of Takumi and Gii. I doubt I will end the saga with this film. He himself left the door open to continue the romance.
Through the eyes of Takumi, the narrator, the viewer will be able to enjoy the birth of romance between two people who are a priori incompatible and who, however, enter into a loving relationship, marked by trauma and jealousy.
With a modern approach to differentiate itself from the previous films, Kato Daigo, the actor who plays Gii, has a strong presence on the screen and those scenes of walks around the school or simply being in his bedroom, near Takumi or talking to Other characters can make the audience delirious.
Morishita Shion shows the fragility and vulnerability of her character, and also how she comes to understand that Gii was the piece she needed for her life to turn around and begin to be happy.
There are no kissing scenes, but the interaction, physical and emotional, and the chemistry between the protagonists are manifested in so many other moments of intimacy, such as a friendly conversation.
I value in the film that it joins other dramatized films to address issues related to sexuality and gender identity. In conservative societies with strong patriarchal and heteronormative traditions, such as Japan, where discrimination against LGBT+ people persists and relationships between people of the same sex are not recognized, and where stigma and repression of sexual diversity prevail, conscious or unconsciously, the population has a deep-rooted prejudice that separating, even a little, from "normality" causes unhappiness.
Although some change is beginning to be seen, even young people instinctively discriminate when they pity homosexuals and think that they deserve support because they are not normal people. Perhaps, through works like this, people, especially new and future generations, will realize that homosexuals also enjoy "normal happiness" and a daily life that is not far from their own, thus allowing society changes.
By showing relationships between people of the same sex, without a doubt the image of the homosexual man in society changes. In this film, the character of Gii, an educated, high-society, athletic and attractive young man, who falls in love with a humble and broken boy, with a trauma that consumes him, and together they share a romance, which also has a transformative capacity, It can be the remedy to free young people from the image they harbor of masculinity.
I celebrate in boys' love their efforts to portray the diversity of human relationships with delicacy, dismantling the prevailing stereotypes regarding what is "normal." I applaud that efforts like this contribute to gradually changing society, bridging the gap between fiction and reality. Step by step, Japanese boys' love infiltrates the collective consciousness, and could usher in a new era in which homosexuals are not discriminated against.
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Loss and acceptance of it, themes of the series
Imagine that you have a dog and a cat as pets that have accompanied you since you were a child. Suppose that one day they return to the world of the living, in human forms, after having died, along with your parents, in an accident, with the purpose of giving you company and making you happy. Imagine that you only have a hundred days to spend with them before they must leave again. Suppose that during that period you fall in love with your human-dog. Represent yourself that you will surely have to wait two years for a new reunion, due to the difficulty of traveling between the afterlife and the world of the living.From this premise, Ahn Ji Hee, the South Korean film director, creates, in 'Choco Milk Shake', the miniseries of 11 episodes of about 15 minutes each, a magical story with a dreamlike aura that creates a moving and pleasant visual experience.
It all begins when a cat and a dog cross the Rainbow Bridge and return to the world of the living in human forms. They go in search of Jung Woo (Go Ho Jung), their owner, a young bachelor who lives alone. When he was twenty years old, a fatal accident took away everything he loved: he lost not only his parents, but also his dog and cat, Choco (Lee Jae Bin) and Milk (Kim Seong Hyuk), respectively.
One night, after returning home from a long day of work at her uncle's (Park Seung Bin) cafe, two handsome strangers knock on her door. To your disbelief, they claim to be Choco and Milk! He doesn't believe them, but Choco and Milk prove their identities by sharing memories that only Jung Woo can know as the pets' owner. This is how Jung Woo realizes that the strange visitors are indeed his two beloved companions from childhood and youth, reincarnated in human form.
A question arises in the viewer from the moment they understand what the series is about: Will Choco and Milk manage to develop human feelings and emotions?
With the cute and clingy dog-human Choco and the more restrained cat-human Milk settled comfortably in Jung Woo's house, the three will once again enjoy the warmth and affection that united them in the past. However, the clash between these four beings will bring new dimensions to the resumption of their life together and surprising discoveries in the areas of friendship and love.
Despite his surprise and confusion, Jung Woo quickly and easily adapts to a warm and cozy lifestyle with his inseparable friends. They bond, create memories and happy moments, and in the process develop feelings that go beyond friendship.
I will answer the question: The story will take legitimately dramatic turns when love and friendship take center stage. The series makes the most of the affection and affection established from the beginning, to legitimize the emotional and romantic twists that appear later.
Choco will be for Jung Woo and Milk for Uncle, the perfect couples, achieving vibrant chemistry between them. Don't forget: The adorable characters and their endearing personalities are the strong points of Choco Milk Shake.
Although the events, romances and stories (for example, how pets become humans or Jung Woo's past), are not developed in depth, this fantasy drama surprises because it is much more than it appears. What begins as a light, fun and adorable story becomes an emotional love letter to pets, their role in our lives and, above all, the importance of saying goodbye in order to continue.
Had the details been developed, 'Choco Milk Shake' would be a more finished, polished series, with a more convincing story.
Rather than focusing on the romantic aspect, 'Choco Milk Shake' deals with the topic of loss and acceptance of the same in a warm way.
With a cast possessing individual charms and wonderful chemistry, the direction, cinematography and writing transport the viewer to a dream and fairy tale universe. The narrative, hinting at the continuation of the series in the future, maintains a good rhythm that enhances the emotionally bittersweet closure, due to the new separation, but the hope of a new reunion.
Jung Woo, the sensitive, soft-spoken boy with a kind heart, who after the tragedy has lost the joy of living, regains his joy and happiness after his reunion with Choco and Milk. But soon his heart will tremble again when he discovers that they both have a limited time on earth. But this will only serve as an excuse for a second season.
And it is there, in the moments of transition from happiness to sadness in the face of the imminent new loss due to the inevitable separation, piercing the most sensitive fiber, when 'Choco Milk Shake' shows its strength and the beauty of the work, thanks to the performances.
STRONGBERRY's first fantasy romance web drama series BL web drama won several awards at the first K-Web Drama Award (KWDA) in Dangjin. At the event, which seeks to celebrate the excellence of Korean web dramas and highlight the unique storytelling and creativity of each creator, director Ann Ji Hee won the Culture of Odyssey award, and production company Matchbox was selected as a of the 12 best winners of the Spotlight selection. For their part, the lead actors also won an acting award.
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