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Declaration of love in times of pandemic
Cinema has always managed to create wonderful worlds, fantastic scenes and perfect dialogues where feelings and words combine in an ideal way to express the very essence of love.Each couple in their personal history has a movie, a scene or a soundtrack that is part of their memory, moves them or makes them exchange knowing glances because it evokes special and unique memories.
There is nothing more powerful than a good love story brought to film or television, and a script full of witty and emotional phrases that support it. Whether they are spontaneous gestures, proposals for a hand, or cathartic moments that change everything, declarations of love are the best way to consolidate a romance on the big or small screen, and to bring the audience to the brink of tears.
Written and directed by Jose Jeffrey Camañag, the Filipino short film 'Taguan, A Quickie Musical' presents us with a declaration of love between two boys in the midst of the pandemic caused by Covid-19.
Also known as 'Taguan, Secrets Kept' and released on May 30, 2020, the audiovisual, of the Romance, Yaoi, Comedy and Musical genre, shows us the telephone communication between the two best friends Tristan (Jayson Santos) and Chris ( Vince Conrad) who, forced into social isolation or home quarantine, are locked in the confines of their homes.
Between drinks of alcohol and tears, Tristan calls his best friend by video call to confess a secret that he has kept deep in his being for years. This is how the musical narrates that very special online video chat of two teenagers who, during quarantine, realized that they wanted to end their friendship... to be more than just friends.
The protagonists perform three songs in the almost 15 minutes of their magical transition from friendship to something deeper. The songs are "Ganito Pala", "Munting Ala-ala" and the title song of the short film: "Taguan".
With spoken lines and Filipino music in the voices of the two protagonists, 'Taguan, A Quickie Musical' was created through a novel program from the Artist Playground company, called Artist Playground Theatrix, a new form of visual and auditory performance art that uses the latest in technology that combines musical theater and film in its final production.
The team behind the audiovisual is made up of award-winning creatives and entertainment industry experts. The narrative, script and lyrics of the songs were created by José Jeffrey Camañag, filmmaker who won the Live Entertainment Awards and festivals as Best Director.
The music is by multi-award-winning maestro Jesse Lucas, while the editing is by Carl Santos, the artistic direction is by Roeder Camañag and the project director is Paul Jake Paule.
In the midst of such a long pause that led to the cancellation of premieres and filming and the confinement of actors and film production experts to preserve their lives, short films like this came to experience new concepts and executions never before made.
Challenging themselves to do something new, they managed to create and produce virtually so that the cast and crew could stay healthy and safe amid the pandemic. The writer and director never physically met the rest of the creators and artists during the filming process. Camañag managed the talent remotely. The two protagonists not only act, but are also filmed at home.
In this way, the project is one of the highest-profile cases of a filmmaker seeking to adapt production to the demands of the global health crisis. While hundreds, perhaps thousands of films and television shows in the Philippines and around the world saw production halted to protect actors and crew during the pandemic, Camañag produced and gave us 'Taguan, A Quickie Musical', a play simple, but with an intelligent and timely dialogue, marked by the circumstances that humanity was experiencing at that time.
Jayson Santos and Vince Conrad are a revelation, two incredible actors and singers that I hope to see again on other shows.
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Loneliness in love
Among the various contradictory situations that human beings experience throughout their lives, the relationships they establish with their peers are one of the most enigmatic. On the one hand, we are beings who naturally seek company and, in fact, it was thanks to our ability to socialize and live in groups that we survived and evolved as a species.However, at the same time, building relationships comes with some difficulties. For various reasons, loneliness, isolation or some other form of these conflicts prevails over the natural inclination to company, preventing connection with others and even with the world around us.
Throughout their history, film and television have explored these setbacks from different perspectives. In some cases, having as a premise that loneliness is a symptom of complex emotional states, in others as an effect of the social alienation fostered by the world-system in which we live, and on other occasions seeing loneliness that is experienced as a transition necessary towards something more.
'Lonely Connections', by Joselito Altarejos, addresses the deeply human and existentialist theme of loneliness in love. Does feeling alone, despite being accompanied, mean having to give up love? On the contrary, the person who feels lonely in a relationship wants love, but at the same time is very aware of the type of relationship they need and what they expect from their partner. Perhaps it is precisely because of this awareness that finding the right person is not easy.
The viewer is faced with a reflection on how human beings face, in an intimate way, the search for happiness and their own identity. Loneliness may not be the best theme for a series or a film, since it does not need to be dramatic, energetic and, of course, happy or romantic. But it is a fundamental part of our human nature and a feeling that we have all felt at least once in our lives.
The famous Filipino filmmaker starts from this reality to tell us a story that shows that having a relationship with another person is no guarantee of feeling loved and accompanied. Feeling loneliness, indifference and emptiness on the part of the other person should make us reflect on the health of the relationship itself. When these events occur it is because there is real wear and tear, and decision-making is needed.
The characters of the series find themselves in a gray atmosphere, full of monotony, tedium, and depersonalized beings. They are solitudes that come together, recognizing new faces and new voices from the crowd. In six episodes lasting about 15 minutes on average, 'Lonely Connections' fills its footage with small gestures while they, the actors, without shyness or modesty, have hard and hot sex, while exposing their erect penises in front of the computer screen , showing themselves to whoever is on the other side of it, knowing in what is nothing more than a fleeting moment within their lives.
As an example of Altarejo's stylistic mastery, which makes every scene overflow with beauty and excess, the series reflects on maturity, heartbreak, the search for happiness, the need to feel connected to someone and the feeling of wanting to escape and live. at that moment. It deals with the loneliness of the individual in the couple since, despite having someone by their side, the characters are characterized by a deep loneliness framed by unhappiness.
But the series adds a new ingredient: it takes advantage of the quarantine and social isolation caused by the Covid-19 pandemic, to make loneliness more palpable and raw.
With dark photography and a sad, melancholic soundtrack, the series explores heartbreak and loneliness, but also invites us to reflect on the relevance of being with a person who loves you and loves you just as you are, rather than surrounding yourself with people. with which you will never feel accompanied and happy. The same thing happens in relationships. You can establish a relationship with another person, and share your life with them, but you come to feel alone. It is loneliness in love.
We see in the miniseries people fully accompanied, but still feeling alone. They have sex, kiss, smile, feed their cats and watch vintage videos. There are betrayals, casual relationships, but also dissatisfaction, fear of coming out, breakups, and a constant search for love and happiness.
And from the point of view of the person who has stopped being loved: heartbreak opens up, something we must accept. Maybe the person we love stops loving us. And we must accept it. We can't force anyone to love us, and no matter how much it hurts us, we have to let them go their way. What is really important is that this breakup is as healthy as possible. If the person stops loving another, they must have enough courage and maturity to know how to end the relationship, without the other person suffering excessively from their indifference and emptiness.
One of the most heartbreaking moments, and most notable for its visual intensity, is a pure reflection of the loneliness shown through one of the protagonists, after having hot and explicit sex with his partner and another boy whom they invited to join in a threesome. . Four minutes of fixed camera on Sandino Martin, dancing alone to the beat of a melancholic melody, which defines the character's mood, on the record player, while he silently suffers his loneliness and drowns his sorrow in a solo dance, while moving the head repeatedly as a sign of boredom, dissatisfaction, sadness, lack of love and frustration. In the next room lies his lover, on the bed still burning from the heat of the naked bodies, who is deciding to abandon him so that he can be with the person he loves, who could very well be the person who formed the group a few moments ago. sexual theme.
The entire scene is being "observed", as a witness, by the poster for 'Unfried', a film directed by Joselito Altarejos himself in 2014, which also talks about the loneliness, anguish and obsession of a 15-year-old gay teenager. with social networks and how the viewer is taken on a nightmarish journey with the film's hero, David (Sandino Martin himself), whom Jonathan, his lover, abandoned just before Christmas, and turns to the screens of his cell phone, iPad and computer in a desperate attempt to prolong her connection, also lonely, with the boy she loves.
Joaquín, as the character is called, has seen how his love for the boy who sleeps next to him has withered. We don't know the reason, but one of the parties has lost interest in the other person, and is emotionally distancing themselves from them, making their counterpart notice the emptiness and loneliness. It is at that moment when the paths of both fork and go in opposite directions.
Through monologues rather than dialogues, we can see how often a person's own emotional wounds are the reason why they can isolate themselves from others, as well as the fact that there is nothing so painful to experience. how the loved person distances himself from us, and thus we experience his total indifference. Loving and not being loved is one of the most terrible life experiences. Loneliness in love generates very deep wounds in the soul.
In addition to the cinematographic style, the film also stands out for its soundtrack. In short, one of the most interesting series about loneliness in love in recent years and that defines the behaviors and situations of many people today.
What can be learned from this story? A heartbreaking image is shown of young people who, in reality, only want stability, but circumstances have gone against their wishes and, in this way, they find themselves in a state of loneliness that, combined with sadness and pain from the loss of love, make 'Lonely Connections' a visually captivating story.
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This review may contain spoilers
A series that leaves more questions than answers
'Bro and Me' (家教哥哥來我家) is a Taiwanese BL and LGBT+ themed miniseries of 8 episodes each lasting about 5 minutes on average. Starring in its main roles JN Yu as Jie En and Xie Yi Hong as Ye Hong, the plot shows the romantic relationship that arises between two heterosexual boys, one a high school student and the other, his tutor, whose lives will be altered once begin to live together under the same roof and in the same bed, after the second is hired by the first's mother. Filmed in 2019, in locations in Taipei, the series, of the comedy, romance and yaoi genre, was broadcast between September and December 2019 on Vidol TV, obtaining a notable commercial impact.Argument
This sweet story of love and friendship introduces us to Jie En, who since he was a child dreamed of being as cool as Ye Hong, the boy 5 years older who lives next door. Immersed in his own routine, Ye Hong pays attention to Jie En just to have fun by teasing him from time to time.
As he grows up, the innocent and sweet-tempered Jie En sees in the cheeky and daring young man everything he has always wanted to be and secretly admires his neighbor as if he were his older brother.
In this romantic drama directed by Chen Mengwei we see how after Ye Hong leaves to study abroad, Jie En is devastated. He has lost the person who served as a reference in his life. However, you will soon have other reasons to occupy your thoughts: the pressure of getting into a good university forces you to focus solely on your studies.
Wanting only for her son to be able to study for a career, Jie En's mother, now 17 years old, announces that she has hired a tutor who, after graduating abroad, has returned and will move in with him to dedicate all his time. time and effort to ensure that his disciple obtains a good result in the exams.
If at first Jie En was insecure and even upset at having to share his house with a stranger, he will soon be furious when he realizes that the tutor is none other than the boy who has always made fun of him. However, both will live pleasant and happy moments under the same roof.
Living with Ye Hong brings joy to Jie En, at least until he discovers that Jing Han, the girl he has befriended in Ye Hong's absence, is actually Ye Hong's first love.
When Ye Hong's bed breaks, Jie En is forced to share his own with his tutor. One night, while the student is dreaming about Jing Han, he caresses Ye Hong's face, who, confused, believes that the boy has feelings for him. From this moment on, he changes his attitude towards Jie En and instead of mocking him, he will show unexpected affection.
This is how, suddenly, Jie En's life is altered again, now involved in a tangle of complicated relationships, misunderstandings and confusing emotions. Will the world make sense to him again?
Jing Han, who has understood the feelings between the two boys, acts like a fujoshi determined to match friends, and, to top it all off, adds a third to the already hectic dynamic between Jie En and Ye Hong, after proposing that they receive each other. his handsome friend, Xu Shaoyu, who has nowhere to sleep as his apartment is being renovated.
Will he come with the intention of breaking up the relationship in the event that Jie En falls in love with him?
From Jie En's perspective, will the unexpected visit be used to make Ye Hong jealous so that he decides to declare his love for her? Why does she accept the new guy's flirtation? Doesn't he seem to be very happy in Xu Shaoyu's presence?
That night the three boys must share the same bed. Waking up in the early morning, He Yong pulls back the covers and sees Jie En hugging Xu Shaoyu. Has he dreamed about Jing Han again and that's why he hugs him like he caressed him some time ago? Has he lost the affection of the young student? Have you ever loved him? Has it all been a product of your imagination?
The next day, after the visitor leaves, He Yong tries to talk to Jie En, but at the last minute he stops the impulse and remains silent. In the morning, Jie En discovers that the tutor has abandoned him.
In a series that leaves more questions than answers, it concludes as it begins, with the arrival of someone at Jie En's house and he, on the threshold, smiles and asks with disbelief, but marked surprise and undeniable joy: "So... you're the new tutor my mom mentioned?"
Although it is true that it is not shown who the tutor is, everything seems to indicate that it is none other than Ye Hong, who returns after abandoning Jie En. The long, thin, bony fingers are the same ones that ring the doorbell in the first episode. Furthermore, the newcomer drags the suitcase, as Ye Hong did upon his arrival, and not the backpack hanging on his back in which Xu Shaoyu usually carries his belongings.
The story is solid and the protagonists play their roles well and have the potential to act in BL series, as can be verified in their respective filmographies. With well-developed characters and events, a good boy love series could be achieved.
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This review may contain spoilers
A couple that conquers and falls in love
Food, pranks, love play, sexual tension, music and love are the ingredients of 'Ingredients', the Thai BL series starring Jeff Satur as Marwin (Win) and Gameplay Garnpaphon Laolerkiat as Tops, two college students who are also roommates. From the first moment, we see them already living together under the same roof. And yes, you may think at the beginning that there is already a romance between them, but no... this one is on the way. And you will witness it firsthand.Win is a charming and confident young man, romantic and playful. He loves music and dreams of becoming a world-class musician. Away from his family and immersed in the world of concerts and tours, but suspended for the moment due to the Covid-19 pandemic, he has not taken good care of himself until he comes to live with Tops.
Gentle and sensitive, Tops has been fascinated by cooking since he was little. An aspiring chef, he finds happiness in cooking delicious, tasty food and giving it to Win to try. When the difference between the two becomes the perfect match, chaos ensues, and the two find themselves deciding between their dreams and each other.
While Marwin writes and sings his own songs and plays the guitar beautifully, Tops, the Food Science student, dreams of opening his own restaurant one day and creates many dishes that have Win as his taster par excellence. He, amazed, will help him with the ingredients and in the kitchen itself, in addition to creating a vlog for Tops to promote his elaborate recipes.
There's no drama. There is no complex and elaborate language. There are no dramatic twists. And is this a problem? In another series, I would surely demand it... and I would even complain about the tropes and the toxicity and the jealous boyfriend and the homewrecker that I have questioned on other occasions, but no, it will not be necessary..., the same with the guys from 'Ingredients' and what happens before your eyes, they will steal your heart and conquer you, well shhhh, total silence, you haven't realized yet that you will only need two people who are happy to be in each other's presence.
Other of its peculiarities lie in the fact that the series has as its background the cruel stage of Covid-19, and with only two or three outdoor scenes, all the action takes place inside the home shared by the protagonists. It is therefore striking how they promote health and safety in times of pandemic, as well as the interest in raising awareness about the necessary hygiene habits.
This drama, which highlights the many cute interactions between the couple as they go about their daily lives, doesn't have a big budget or a complex narrative. With two charismatic protagonists, a cozy atmosphere, simple but honest dialogues, and a romance that is based on the platonic and the playful, 'Ingredients' shows that a love story can be created, even between two people with different personalities, but They have a close relationship and complement each other well.
In a kind of sitcom, although its objective is not to provoke laughter itself, with independent episodes that address a given situation that finds its conclusion in it, but slightly connected by brief references to previous chapters, Win and Tops invite the viewer to penetrate in the privacy of your home so that we can discover your daily life. Between songs, plates of food, jokes, games, looks, silences and small everyday actions, such as calling each other to dinner, playing with a cat, insisting to each other that they stink and have to go take a shower, or decorating the Christmas tree, The friends look at each other and are silent about the love they have for each other.
It is evident that the characters are in their own world and it is the audience, an accomplice, who, already inside the home, bursts into the lives of Win and Tops to witness how one character will take a small step to get closer to the other, and how the other will be happy to take his step forward as well.
The director masterfully directs a visually striking and emotionally charged series that captures the essence of the complexities of human connection, self-discovery, acceptance and personal, spiritual and professional improvement, and challenges conventional notions of love and intimacy, thanks to meticulous attention to every detail.
The camera does not leave the faces of the two young people, and scans the attractive surroundings, especially the living room, the kitchen and the bedroom, now from one, now from the other, as if it wanted to appropriate it. This is how the house becomes another character in the work. In this way, the viewer is guided by the creators through the always beautiful, emotional and at the same time complicated process of falling in love.
As the 21 episodes of an average length of 10-15 minutes progress, the series captures the intimate moments of the two characters. Through conversation, games, music, the preparation of food dishes or their tasting, but without forgetting the silence, abstract soundscapes and textured cuts, the intimacy between Win and Tops is transmitted in a visually shocking.
The absence, at times, of a traditional script, letting the character act, allowing the character to flow freely and spontaneously, allows for improvisation, which results in genuine and authentic performances that resonate with the audience.
The series explores the idea that true intimacy can be found in the simplicity of sleeping next to someone, sitting at the table or on the couch to share one of the delicious but easy-to-make dishes, or being a part of the friendly chat while strumming the guitar, transcending the physical act of sex.
With its unique narrative approach and powerful performances, we can't forget the chemistry between Jeff Satur and Gameplay. Simply put, one feels very comfortable with the other. Since 'He She It', both shared leading roles and this allows them to establish very good vibes. The looks they give each other, especially the first to the second, convey happiness and affection. They are both happy, and excited to be in the other person's presence.
For most of the series, Marwin and Tops play the role of a cute couple of platonic friends, but their relationship almost feels like that of a couple of lovers. In those moments, a solid foundation for their future love relationship is built, while Jeff's voice lets us hear his song 'Moment', which will accompany us throughout the series.
Already at the end, the drama introduces more romance and, if it were not for the kisses, although there are not many, in truth, the viewer practically does not perceive that a natural transition from friends to lovers has occurred.
In addition to the moments in which they already act as boyfriend and girlfriend, it attracts moments such as the tension when Win's family comes to visit to ask him to abandon his dreams and dedicate himself to the family business, the way in which Tops will calm him down in this and in others occasions, the obvious jealousy in Jeff when the neighbor interacts with Tops, the aspiring musician's concern about the thesis that the chef must present to graduate...
Don't turn off the television thinking that it is a simple story, that its episodes are short, that it serves as an advertisement for a supermarket chain (hence the name of one of the characters) or that it will not keep your interest. Don't make the same mistake when for the first, second and even third time I tried to view 'Ingredient' and left it thinking it wasn't worth it. Precisely, there is the hook to seduce you, to conquer you. Don't underestimate the series for these or other reasons.
Tops and Marwin have the power to conquer you as a couple. Jeff and Gameplay are two charismatic actors who make you want to share the fate of their characters. The initial dynamic of the relationship will stop being cordial, brotherly, with large doses of sexual tension here and hints of affection there, until it becomes a true romance in which, as I said, you are an accomplice par excellence.
And yes... why won't I tell you about the ending? Do you want him happy? Do you want the couple to live locked in that house, as if the new coronavirus lurked forever on the outskirts? No, at some point, the doors will open, the masks will be forgotten, those who are no longer with us will be remembered, but life goes on.
At those times, Tops and Win will continue with their careers. The two couples will leave to restart their professional lives where they were stranded after the arrival of the deadly disease. One will invite the other to follow him, but... why do long-distance relationships exist? Can't they stay connected by video calls? Is it not possible to succeed in your respective fields while waiting to meet again? They are not boyfriends? Don't you love each other? Who says that all is lost, that love has an expiration date?
As the final credits roll, I am convinced that always, always, Tops will hear Win's voice, and Win will continue trying Tops' delicious dishes, because love persists, and the hope of reunion also beats.
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To My Star Season 2: Our Untold Stories
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This review may contain spoilers
Singing an out of tune 'Beautiful'
There are relationships that are not worth fighting for. There are others whose members may not have said goodbye forever. But there are other broken relationships that still have a solution.Sometimes you do everything right in a relationship, and yet love can abandon you, leaving only paralyzing pain and a ton of questions behind. Among these the "why?" It will drag you to the bottom of the abyss.
In this case, when he (or she) is gone, you can follow him or her. You can still convince him that you love each other, that you are perfect for each other, sing him an out-of-tune 'Beautiful', by Baekhyun, and make sure he doesn't get on the plane at the last minute and leave forever. You can also crash their wedding just before they say their final "I do", so that they run away with you to the astonishment of each other's family, while mutual friends scream with joy. Or get into your car with a trailer caravan where you will live you don't know how many days, months or years, travel the distance that separates you from your loved one, stand conveniently under his window, a few meters from his bed, waiting for him to At some point I will allow you to enter it.
Or in the face of a cold and disconsolate response, you could very well be a regular at their restaurant with a name that hurts the insides and you, because you are clueless, because you don't know the reason why they abandoned you, you don't know its meaning.
What if you decided to collaborate in making the menu of said restaurant, become friends with the villagers, help clear up misunderstandings that involve your loved one's family, which is why he is not popular among the locals and why his humble business is going down the drain, and, between filming sessions and road trips, will you adapt and integrate into the quiet and simple life of the person you want to win back?
I would suggest that after reading the vague goodbye note and discovering that your lover has packed his bags and left the apartment you have shared, you put strong pressure on your agency, and tell your representative and his subordinate that you will jump out of the car in leave if they don't locate him.
Or when you can't explain to yourself what you did wrong and you can't find answers to the cause of the breakup, you choose to win the affection of the best friend of the person who has put your life in check and her small and precocious daughter, knowing that every step In this sense, it will allow you to create new opportunities to reconnect with your ex.
Precisely the latter was what Seo Joon (Son Woo Hyun) did when Ji Woo (Kim Kang Min) broke his heart in the second season of 'To My Star 2: Our Untold Stories'. Yes, I am referring to those two young people, one of them a famous celebrity and the other an ordinary chef, from two different worlds, with little in common, whose lives were shaken when they met and fell in love.
Well, it seemed like both boys would be together forever, but fate had other plans. After giving us some of the most romantic moments in Korean BL, they also filled us with sadness. But there the actor goes in search of his chef to continue enjoying, among other things, his delicious food.
And Hwang Da Seul, the director, took very seriously that no one is saved from death and a broken heart and that we must all face, throughout our lives, several different types of goodbyes. Knowing that every breakup has its reasons, its consequences and its bitter, and sometimes bloody, extensions, that life is not always laughter, love and joy, he summoned screenwriter Park Young to take up the story and develop a second season to imitate , very well filmically speaking, the breakdown of the relationship of that couple so beloved by fans of the genre, and then reconciling them, because otherwise it could not be, since, otherwise, as an audience, we would not forgive them.
I imagine Da Seul digging through the films and television series of yesteryear and today to revisit those that deal with breakups and narratives that address every cliché about love and its components, always with a similar structure and, above all, with a happy ending, a sung ending, that is, "from a movie". And all in order to promote significant topics, such as the couple's commitment and communication.
And it does so with incredible bravery, taking the flaws of the first season, especially that of a pleasant but substanceless original story, to make a sequel with greater development of the characters, expanding the dynamics of their relationships and amplifying the emotions.
While it is true that it suffers from a saturated melodrama at times, with artificial conflicts that could have been polished or not incorporated, what is also real is the achievement of the elegant arcs of the characters, which highlight growth, maturity and redemption .
I know that many BL fans will not like what is related to the breakup and the subsequent suffering of the members of their favorite ships, but a work that shows deep conflicts and characters with greater psychological complexities is appreciated.
Without giving any type of spoiler, I will ask you the same question that comes into play during the first minutes of the story: what is the reason for Jin Woo and Seo Joon's breakup?
With this fuse that is lit at the beginning of the series, the characters develop in a narrative with which they will manage to improve the original series, with richer backstories, more character development and complex relationship dynamics, allowing 'To My Star matures, comes of age and becomes a sophisticated BL drama that unfolds in a fascinating journey, seeking and fulfilling the objectives of unraveling a failed relationship, while the protagonists and the audience wonder if they would have a second one. opportunity to reconnect and be happy.
What BL lover wouldn't be surprised by the breakup of their idealized perfect lovers? Seo Joon experiences the same anxiety when faced with Ji Woo's inexplicable departure after leaving a vague message containing a single word: "Let's leave him."
So, the series is aimed at exploring why the breakup and, as I said, reconciliation. But now everything will happen far from the big city, as the cameras will focus on a small town several hours from Seoul, in Ji Woo's hometown and where he went after the breakup, and while he struggles to move his business forward in an Italian restaurant, Seo Joo continues to face problems in his acting career.
And if the proposal alone still doesn't catch your attention, I'll give you another colorful fact: through the experience of the two protagonists, the sequel explores the moving breakup of a couple with intrigue, intimacy and intense emotions. But it doesn't do so by adding a dramatic twist behind the breakup or an infamous evil destroyer of loves and homes.
No, the creators will pleasantly surprise us by letting us know that the reason for the discord is much more personal, simple but complex at the same time: Ji Woo has always preferred to repress his feelings and alienate those who care about him. Yes, it is not easy to live with him, and the series, through flashbacks, will make us understand why he is the way he is. In his case, he is not the typical individual that we see in other audiovisuals that explain his misunderstood actions, such as abandoning a person he loves and from whom he receives love, using the handy excuse of "suffering from childhood trauma." Ji Woo doesn't do anything wrong, he just stays away from Seo Joon and other people in his life to avoid being hurt.
Woo Hyun continues to show the same charm as his persistent Seo Joon. He continually and without hesitation expresses his feelings, says what he thinks and leaves no room for misunderstandings. He goes for it.
For his part, Kang Min continues to play his role as the grumpy but cute Ji Woo, but towards the end you will see him grow wings, all thanks to the persistence and love of Seo Joon.
If many BL sequels have disappointed for various reasons, 'To My Star 2' does the opposite, transforming a simple love story, but without much substance, into a moving saga of breakup and reconciliation. The maturity in the team, both acting and technical, is evident to deliver an ambitious product, the result of hard work and experience.
At this point in the note, you can already imagine what happens with Ji Woo and Seo Joon... But in case you weren't paying much attention, I can confirm that yes, they fight! However, in this case, new characters and new conflicts are added to the dynamic. With longer chapters, with diversification of filming settings and an increased supporting cast, with their plots, traumas and life stories, complex events and characters were developed that will enrich the main story through a compelling narrative.
And I leave for last, precisely because of its importance, an issue that is striking to me: it seems very light that in a country as conservative as South Korea where discrimination against members of the LGBT+ community still persists, marriage between people of the same sex, and homosexuals have difficulty fitting into society, since coming out is not welcomed in most families who consider homosexuality as something similar to a crime, show a rural community, generally defenders of patriarchal and heteronormative traditions, without its inhabitants ever questioning the "friendship" of the two protagonists when the type of relationship they maintain is evident and even trying to influence it so that it is fostered.
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Given the confusion created in Kyoichi, Imagase promises not to reveal his infidelities in exchange for a kiss. Kyouichi accepts the proposal, hoping it will save his marriage, but their secret relationship begins to escalate and eventually becomes sexual.
Isao Yukisada's 2020 live-action film 'Kyuso wa Cheese no Yume wo Miru' (窮鼠はチーズの夢を見る) is based on a Japanese manga series 'The Cornered Mouse Dreams of Cheese', written and illustrated by Setona Mizushiro, serialized in the josei manga magazine Judy from 2005 to 2006. The book was followed by a one-volume sequel titled 'The Carp on the Chopping Block Jumps Twice' (俎上の鯉は二度跳ねる, Sōjo no Koi wa Nido Haneru).
This is a fascinating and heartbreaking film that deserves much more than being classified as BL, as well as better attention from the public.
The two protagonists are joined by Yoshida Shiori ('Chihuahua-chan') as Okamura Tamaki, Sato Honami ('Lupin's Daughter') as Natsuo, and Ohara Noriko ('Disturbed by Gymnopedie') as Ide Ruriko, whose characters they vividly embody. and compelling the idea that no matter who you are, once you fall in love with someone, your world will be turned upside down and there is nothing you can do about it.
The acting of the actresses allows human relationships to be more interesting than in a typical romantic film.
Tadayoshi Okura as Kyoicho shows talent and instincts, while Ryo Narita brilliantly plays the role he has been waiting for for a long time. The looks, gestures, words and silences of the two actors, sometimes playful and sometimes passionate, make this work even more realistic. The performances of the protagonists are especially good and indisputably express the heartbreaking but endearing love story.
The character played by Ryo Narita portrays with grace, naturalness and a certain sexual appeal the subtle changes in his emotions, which oscillate between arrogance, vulnerability and impatience on the screen.
Imagase transmits power and shows beautiful gestures that I have never seen before, but also despair and suffering. It's painful to be with him, just as painful to be away from him. His raw emotions make the viewer feel suffocated. He achieves the audience's empathy, and at times they forget the other characters present. He is the person who leaves the audience spellbound. His charm could perfectly work in the world of Wong Kar-wai or Lou Ye.
For his part, Tadayoshi Okura, with his passivity, boredom and rootlessness, also contributes to the creation of the atmosphere that the film tries to convey. Although natural, it exudes a certain air with elegance and seductive charm.
In particular, the scene in which while Kyoichi claims to be planning to marry a woman, Imagase begs him to allow her to continue seeing him, whether once a month or every six months, just to see his face, is very heartbreaking. At that moment I thought of the main characters of the American movie "Brokeback Mountain."
In this triumph of compatibility between director Yukisada and the actors, phrases said by Imagase will resonate over time, such as "When you fall in love with someone from the bottom of your heart, that person is the only one in everything", or "You have a weakness for the people who love you, but in the end, you don't trust that love and you keep sniffing out the feelings of the people who get close to you. Because of their power, these words impact and move.
Although Isao Yukisada set the standard within the Japanese and world seventh art with films such as 'Crying Out Love, in the Center of the World' (2004) and 'Year One In The North' (2005), creating an aura of mysticism, there came a period of stagnation from which only minor works emerged. But for the good of his followers, it also meant a time of meditation and intellectual growth.
We see the result in 'Kyuso wa Cheese no Yume wo Miru', a film with which Isao Yukisada returns to the path of success and expectations surrounding his productions, bringing us solid visual expression and human representation, making his narrative heroes play ruthlessly and skillfully.
The above is demonstrated when it seemed that the film was running out of breath after the first 40 minutes of its more than two hours of duration, Yukisada's virtuosity and professionalism refloated to achieve a convincing work.
While the two main characters cannot be happy, neither can the women around them. The four women who have been interfering in Wataru and Hyoishi's romance end up acting in a resigned or useful way for the development of the plot, which is probably why the director and screenwriter criticizes their characters from a feminist perspective.
In this kind of unrequited love, the film has the fascination of surpassing the original work. When one finishes watching it, one is impressed by its beauty and the helplessness it leaves in the viewer.
I leave for last my impression of the final scene of the film. When filming began, the two characters are on the shore of a calm, serene sea, but suddenly the wind blew and became intense. Someone asked to stop filming, but Okura Tadayoshi, Narita Ryo and Isao Yukisada, some in front of the cameras and the other behind it, stood firm, giving us a pulsating scene that leaves us with a lasting impression for life.
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A torrid sex scene is not enough fuel to get a plane or a car off the ground
The University of Technology and Innovation (UIT) opens its doors to receive new entrants every year. Its strict rules establish that future graduates, all male and interested in engineering careers, have to live on campus. It is divided into six buildings, and each one represents a group, according to the intellectual and physical qualities of its occupants.Ai (Nuttawatt Thanathaveeprasert - Bank) and Songkhram (Chitsanupong Soeksiri -Earth) are two of the first-year students who will have to participate in multiple tests in an initial day of university orientation.
The striking physical challenges and artistic and mental competitions that they will undergo during the official reception ceremony provide a score that will define which dormitory building they will live in for the next four years.
By being elected leaders of university residences that have historically been involved in a continuous dispute, exacerbated each year with the arrival of new tenants, the two protagonists, without intending it, will end up being rivals, since each one will have to defend the interests of their respective campuses. .
While Ai, the automotive engineering student and car lover, commands building number 3, where the "handsome ones" live, Songkhram, the future aerospace engineer, who dreams of being an aviation pilot, is the guide of dormitory 2, where The "strong and athletic" ones are grouped together.
Bank, who we already saw in the drama 'Friend Forever', but with Ai makes the leap to the leading role in his first BL project, is a reliable boy who is always willing to help others, and shares a room with Touch, his best friend since the day he entered university.
This last character is played by Supanut Sudjinda (Tong), who we saw in the 2022 BL 'Unforgotten Night' in a supporting role.
For his part, Earth, also in his first leading role in BL, but with demonstrated artistic qualities appreciated in the series 'That's My Candy' and 'Even Sun', both from 2022, plays an intelligent and self-confident young man, who enters into frequent pungas with Ohm, (Bhurichon Khumsiri - Neptune), one of the occupants of bedroom 4, who has a close relationship with Ai as he is her cousin and childhood friend.
This is the fertile ground for the relationship between Ai and Songkhram, two “sworn enemies”, to flourish in the last year of their studies. The bitter conflicts and friction accumulated during the race will cause these two people, so different from each other, to first begin a friendship relationship that will soon become love.
To the aid of the two young people, indirectly, will come an assignment that they must present before graduating. They will have to form a team, along with other students, to prepare a project proposal to present to a panel of investors. This task, in addition to uniting them in complicity and romance, will also serve as a pretext to try to deceive their friends.
Despite having treated each other as adversaries, both will admit their secret feelings for each other. Songkhram is the one who will little by little stop fighting with his rival, after confirming that his suspicions that Ai is interested in Meen (Nattapat Suwanich - Pre-Saint) are not true. He will lose his fear and will be forced to reveal his love, realizing that his best friend, the athletic basketball player Bright (Natthaphon Musikanan - Boss), also loves Ai and tries to win him over.
Meen, one of the characters to take into account, is Ai's friend and has problems with class attendance and academic performance, since, along with his studies, he works as an actor in a popular television drama.
Meen and Bright used to be high school friends. However, they have grown apart and barely speak to each other at university.
Pluster (Chawanakorn Donmongkol – Po Te), and Nano (Sarin Rungkiatwong – Rim), are two first-year students who will bring new conflicts and tensions when they join the cast late in the series.
When love surprises the two main boys, they will have to contrive in front of the rest of the students to try to hide the fact that they are no longer rivals, but lovers.
In a script that reflects a weak and boring love story, Songkhram and Ai cannot show off their potential as a BL couple, despite their attractive looks and charming smiles. Embodying well-developed characters, I have no doubt they can become one of the most seductive couples within the genre.
Both the romance of the main couple and that of the secondary couples simmer and take time to develop, causing misunderstandings between them, and annoyance in the public, eager for the timid sighs of adults who act like teenagers to become hoarse. grunts of sexual enjoyment.
The adaptation of the novel "ราชาวิหค" (Racha Wihok) by Chiffon Cake lacks a compelling plot and shows little imagination. The only incentive we have, as the public, is to wait for the octane rating, that scale that allows us to rate the anti-knock power of a fuel when the latter is compressed in the cylinder of an engine, to be higher, and so on, Ai and Songkhram, like combustion generated, start flirting and kissing and thinking about a life together.
While the viewer waits for the couple to begin their journey in a stagnant plot, the repeated clichés, boring scenes and the actions of the characters, a kind of meaningless childish pranks, populate the episodes of 'Destiny Seeker'.
Only after the protagonists become adorable boyfriends with cute flirtations and romantic scenes in which there is no shortage of fun teasing and erotic games, while they hide their love from their friends and other students, the hitherto hidden BL material gains intensity and explodes with the essential fuel to get both cars and airplanes off the ground.
With a narrative that finally takes shape in the bodies of the two boys, the series enters, with plenty of momentum, into the last episodes, allowing visibility to a tender romance between two attractive young people who flirt deliciously.
The climax is reached in the passionate encounter of the young people in the final episode, in an act that borders on wild eroticism, but artistically polished like an exquisite jewel.
A hot sex scene will make even the viewer most accustomed to strong erotic images blush, due to how few they are in BL genre series.
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This review may contain spoilers
Feelings for the deceased brother's partner or between stepsiblings: a challenge to the norm
For some time now, Korean cinema and television have been committed to showing characters from the LGBTIQ+ community. The works of the filmmakers demonstrate the evolution of an audiovisual panorama interested in expanding its sense of inclusive diversity.This is the reason why among the films of this Asian nation that reflect the various aspects of seduction and attraction, couples and commitment between characters of this human group, that is, lesbians, gays, transgenders, bisexual, intersex, queer and more, titles such as 'Yeoldaeya' ('열대야'), also known in English as 'Tropical Story' or 'Tropical Night', appear.
Mixing drama and gay romance, this 2017 Korean-Thai collaboration from director, screenwriter, cinematographer and editor Kim Hun revolves around Kim Min-ki (Khan), a young Korean man who travels to the city Pattaya, Thailand, to find Park Jae-Hee (Park Hyun Soo), the lover of Kim Min-hoon (Choi Hong Joon), his older brother. Interested in finding out why Min-hoon committed suicide after escaping military service, he will try to contact his boyfriend. Min-ki suspects that his death is due to Jae-Hee's indifference. Therefore, look for him to express his regret.
Will Jae-hee be indirectly to blame for the tragedy? Did Min-hoon think about how much damage he would cause to those who love him? Is his death related to the harassment to which homosexuals are subjected within the Korean army by their superiors? Doesn't Article 92 of the South Korean Military Penal Code consider sexual relations between members of the same sex to be "sexual harassment", punishable by a maximum of one year in prison? Isn't the illegality of homosexuality and discrimination towards LGBTIQ+ people in Korea due, among other factors, to the fact that the country's army maintains a conscription system? Doesn't the military have a strong influence on the way Korean men's gender identity is configured?
Isn't it true that conservative South Korean society encourages homosexuals to feel ashamed of themselves? Don't you want homosexuals to blame themselves for not being able to satisfy society's criteria of heteronormality? Is it the purpose of the film to accuse South Korean society as a whole for the suicide that Min-hoon is forced to commit? So is it a suicide or a crime? Wouldn't society itself be to blame for the tragedy? Although this would be a good song, 'Tropical Night' opts for romance, perhaps to avoid finding other reasons for censorship and rejection in that homophobic society.
However, the film does not hide in presenting social themes that are extremely strong, such as homosexuality, the possible romantic relationship between step-siblings or between the ex-boyfriend of a deceased person and his brother, suicide, guilt, how taking steps forward in the face of problems and limits, and the fragile thread that sometimes exists between friendship and love. Generating controversy and having the ability to educate and offer a different point of view is an essential objective of 'Tropic Night'. Could Kim Hun have set out to prove that life is not simply black and white, and sometimes addition and subtraction can yield different results than expected?
The fundamental message it transmits is love, despite the situations of each character. The film teaches us how the transformative force of love can overcome and overcome every obstacle that comes our way.
Without being guilty, Jae-hee reflects the complexity of human emotions, especially the weight of guilt and the internal struggle that it generates in those who carry it. Meanwhile, Min-ki carries the pain of not having understood his brother in time and not having been by his side in his most bitter moments. Then it will hurt him to have recriminated someone who was always faithful and loving to Min-hoon.
Initially, Jae-hee appears uncomfortable with Min-Gi's presence in her house. He does not agree to give him an apology for his insistent demand to express "I'm sorry", because he does not consider himself the cause of Min-hoon's suicide, in addition to accusing him of being selfish for not valuing his life and not taking into account the suffering that the decision committing suicide would cause the people who love him.
However, Lee Tae Kyung (Lee Geun Joo), Jae-hee's stepbrother and who suffers from a fatal illness, with his jokes and laughter, will be the catalyst for the rapprochement of both boys. What first emerges as a rivalry will soon give way to friendship and from this to love. The meeting of Jae-hee and Min-ki will cause strange feelings to arise for each other. As Min-ki slowly stops blaming Jae-hee, a strong connection begins to develop between the two. Will it be morally correct to establish a loving bond between the ex-boyfriend of a person who committed suicide and his brother?
For his part, Tae Kyung struggles with the duality between the bonds of brotherhood that bind him to Jae-hee and the romantic feelings he also has for his stepbrother. If, on the one hand, the relationship between Jae-hee and Min-ki can generate a lot of controversy, especially when we base ourselves on patterns that consider a brother's partner untouchable, and especially when he has died, the fact that A young man is secretly in love with the son of his mother's husband, even if they are not related by blood.
Facing the possibility of developing feelings for a brother's partner or between step-siblings, as occurs between the three protagonists, challenges the norm, and can make the viewer who is not used to consuming strong and delicate themes in television productions feel uncomfortable. cinematographic. However, this is a challenge that can be real.
The plot seeks to explore how to deal with complex emotions and the difficult decision between preserving the friendship that could unite Jae-hee and her late boyfriend's brother, or following the path of love. Although some may consider this situation embarrassing, I believe that addressing these taboo topics is essential to enrich the narrative and provoke reflection in the audience.
Tae Kyung, knowing that he has little time left to live, prefers to hide from Jae-hee the feelings that he has kept silent for years. “I want you to remember me as a brother,” he will confess to Min-gi, who did understand the secret early on, and will encourage him to follow the dictates of his heart. “You two make a great couple,” he admits. "Do not go. “Stay a few more days,” he will instruct him, so that he can comfort Jae-hee when he is gone, in addition to giving them time for both of them to open up to love. Dying, he will seek the same fate as Kim-hoon.
The viewer must be alert to how the situation develops to understand the characters' decisions and attitudes. Only in this way will you come to recognize that despite circumstances and limits, friendship and love sometimes intertwine, generating dilemmas that are difficult to resolve.
With this film, Kim Hun challenges taboos and breaks norms to successfully guide how the characters face these complex situations. The three protagonists do not stagnate, they evolve and face twists, generating emotions and interest, giving rise to discussions among the audience.
Winner of the 'Pink Money Award' (Audience Award) at the 2017 Seoul Pride Film Festival (SPFF), 'Tropical Night' features Jeon Il-hwan as music director and Lee Sang-woo as executive producer, producer and costume designer.
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This review may contain spoilers
We are faced with a filmic gem:Song Young Jun, 30 (Song Jae Ha) and Seo Joon Suk, 23 (Jo Hye Hoon) are a very happy gay couple despite living their love in secret. Both actors, who play their roles perfectly, are not afraid to show their naked torsos during the 65 minutes of the film and have explicit sex scenes, all achieved in an artistic way.
The young people decide to create a memory they never had in celebrating their 5th anniversary. They rent a room in a motel in Jongno (Seoul's popular gay neighborhood) to record their precious memory on a video camera.
Between a celebration cake, confidences, naked baths, sex and complicities, all in front of the camera in which they record themselves, the room is filled with the memories that unite them, like the day on the beach to which they promise. go back. Likewise, they vow to never change their love for each other.
However, there is a feeling in the air that today is going to be their last day.
On the one hand, the excellent performances, the control of the body and voice of the two actors to interpret the emotions, the direction, script and other technical elements of the film and, on the other, the viewer's refusal to accept the obvious, but All the signs of what will happen are cleverly shown: Joon Suk is reluctant to allow himself to be filmed from the first scene, the bathroom scene. He claims to be nervous, then worries that the video could be taken as pornography. Only your boyfriend's insistence will lead him to agree to participate in everything that will happen inside the room.
As Young Jun prepares to leave, Joon Suk is awake, but he pretends to sleep and doesn't want to say goodbye. It is evident that he knew in advance that the relationship would end, and of the existence of a prior agreement between the two that it would end in this way.
Young Jun will also ask “When did you hate me the most?”, to which Joon Suk will respond: “When you tell me 'we don't have a future', 'we should marry women' or 'the gay community in Korea hasn't changed'.” Young Jun will also confess that “there is a fantastic recording ready for you,” referring to the recorded video that he leaves for her to watch after he leaves.
In my opinion, not knowing how to appreciate the true emotions and feelings that the characters convey is the reason for the negative reviews and low ratings. The characters themselves, very subtly, are responsible for answering the reason why the film does not have an ending like the one we would like. The film makes a very intelligent, very subtle criticism of the discrimination that exists in South Korea against members of the LGBT+ community.
South Korea is a conservative country, with strong patriarchal and heteronormative traditions, where homosexuals have difficulty fitting into society. Coming out is still not welcomed in most conservative Korean families, who consider their children's homosexuality as something close to a crime.
Lesbian, gay, bisexual and transgender people in South Korea face legal challenges and discrimination not experienced by non-LGBT+ South Koreans. Same-sex sexual activity is legal, but Gay Marriage, Equal Marriage or Same-sex Marriage or other forms of legal partnership are not available to same-sex couples.
It's true: we would like a happy ending for the two young people, but reality prevailed. Young Jun leaves an envelope on the nightstand containing an invitation to his wedding to a woman. His destiny is decided by his family. Your destiny is determined by society. He doesn't have the strength to fight this and accepts not being happy and also making his boyfriend unhappy.
An ending, which would only be syrupy, melodramatic and unrealistic, perhaps bordering on the worst film productions, would have been for Young Jun to have rebelled against his family and society and not have abandoned his boyfriend. For a moment, before the end credits, I thought that they were not a couple, that Joon Suk was a prostitute (because of the envelope on the table I even speculated that it could be money) and they both pretended to be boyfriend and girlfriend for some reason. A happy ending, in this case, could be that the connection created between the two turns them into a couple. Young Jun would return to the room to confess to loving him and Joon Suk would claim that he also developed feelings for him during the hours they shared in the motel room.
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Between spies and potential mobsters, love is in the air
After delighting BL fans with the dramas 'Eternal Butler' (2025), 'Unknown' (2024), and 'Stand by Your Side' (2023) as screenwriter; the series 'We Best Love We Best Love: No. 1: For You' and 'We Best Love: Fighting Mr. 2nd', and their respective specials, as executive producer; and the Specials 'Anti Reset Extra Episodes' (2024), 'Stay by My Side Extra Episodes' (2024), 'VIP Only Extra Episodes' (2024), and 'You Are Mine Extra Episodes' (2024) as actress, Cai Fei Qiao offers us, in 'Fight for You' (2025), in her first work as screenwriter and director, a mix of genres that works quite well. Here we have comedy, espionage, drama, and, above all, romance. All this with two actors who will make you laugh and want to visit the stars.All the genres mentioned in the previous paragraph come together in the relationship between the characters of Andy Ko (Hei Yu Bo / "Da Hei") and Nelson Ji (Bai Zhou Qi / "Xiao Bai") throughout its 12 episodes.
Let's believe for a second that the synopsis of this series doesn't spoil the interesting twist of its premise. Let's admit that the marketing campaign has sold its best secrets without hesitation. What you'll be lucky if you get to 'Fight for You' without any of the spoiled information and you go into it without knowing what it's about.
Two young people land in the middle of a house; each one hopes to get their way and occupy the best room. One of them abruptly gives in. The tenants shout with joy. They now have landlords, and two handsome young men, of course. Their false names protect their complete anonymity.
Through dialogue, brief monologues, precise flashbacks, and specific thoughts, we slowly, unhurriedly, progressively learn their false identities and the reasons for their presence and personalities. It doesn't matter who they were for the moment; we will be able to accept them for who they are now.
This is Cai Fei Qiao's first tool to draw you into her unique game: you will always know that the two of them will not be who they say they are... and we will already know who they are supposed to be.
In this Taiwanese series, built on a foundation of comedy, intrigue, deception, and humor, the romance is evident almost from the moment the two protagonists meet and begin to bond beyond what is advisable in the always dangerous realm of spies and organized crime.
Da Hei, a young man who works at a food establishment with his grandmother Hei Shi Lin (Lam Sau Kwan), is in need of money to cover the medical expenses of his ailing sister, Hei Jia Li (Mimi Shao – 'The On1y One'). Because of this, he is driven to reluctantly join a mysterious "All-Service House", run by his neighbor Dou Ke Yi (Wills Sia), which is under investigation by the intelligence department as a suspected front agency for a crime syndicate. The evidence, though inconclusive, is quite compelling.
Xiao Bai is a member of a famous family of intelligence agents. But his superiors and his own family don't see in him the qualities that distinguish his grandfather and older brother Bai Zhou Guo / "Da Bai" ('Papa & Daddy', 2021).
What Da Hei doesn't know is that his roommate is an undercover spy named Bai Zhou Qi, sent to find evidence linking Dou's business to the mafia. To do so, the clumsy agent resorts to deceiving the gullible suspected gangster, first by posing as a university student named Xiao Bai, then by making him believe he's in love with him and convincing him to fake a courtship between the two in front of Da Hei's grandmother, leading to a hilarious clash of secrets, dangers, and unexpected feelings.
As part of an exercise to reevaluate his work, the young spy must verify, as his grandfather puts it, whether the unsuspecting young man is "a just person or a hostile person".
Xiao Bai will come to the conclusion each day that of the two types of people the elderly secret agent believes exist in the world, Da Hei is of the righteous. But he will need to convince himself first, and then convince the others of this.
What the two don't know is that after completing each tracking and verification mission, their growing dependence on each other will deepen. But how will Da Hei react when Xiao Bai's true identity and mission are revealed? Would you love someone even if you felt like you didn't know them? Would you love someone even if you feel you don't know them?
By the fourth episode, I would like Da Hei to answer yes, if only for the mischief they have experienced together.
The chosen context —organized crime and the possible affiliation of one of the two protagonists— decorates a beautiful, joyful, and fun love story that delves into that which, through deception and impersonation, functions as the true support of relationships: the purest of truths.
Xiao Bai's quest, eager to prove that this truth exists, possesses good pacing and tension, despite lacking impact and surprise. It demonstrates that when the script is well-crafted —although it suffers from exaggerated dialogue— everything flows naturally, leading to a beautiful love affair.
'Fight for You' doesn't reconstruct the spy genre but reinvents it, turning the experience into a tense journey toward a happy ending, accumulating false clues and half-hidden secrets that must find their necessary conclusion.
The series fulfills its purpose of entertaining and amusing, but also of making we reflect on relationships built on the basis of complete ignorance of the other's identity.
Yes, it's cheesy. Yes, some parts are cringe worthy. And yes, the creators of the series know this perfectly. It's full of absurd and exaggerated humor, along with tender and sweet moments, and plots that keep you on the edge of your seat. The result is a heartwarming story that will give you the serotonin boost you need.
Regarding the casting, it's clear that it relies heavily on the roles of Andy Ko and Nelson Ji. It's important to note here that the one who shines the most is Nelson Ji, who makes the series his own from the moment he appears.
This actor, known for playing Duke of Yong in 'The Longest Day in Chang'an' (2019), stands out for the great spontaneity, comic timing, and believability he brings to his character, Xiao Bai. Andy Ko, for his part, is convincing as the naive, grown man who is afraid of cockroaches and is suspected of being a member of a criminal organization; both elements are frequently used to provide humor, intrigue, and suspense.
While the main characters steal the show, a cast of supporting actors enriches the narrative, creating a richer and more engaging story.
Part of the pleasure lies in seeing how all the pieces come together in a seemingly natural way.
And Cai Fei Qiao, with her narrative wisdom, draws you neck-deep into a spy-gang game with such personal nuances that even you'll want to see it end.
The elegant, classic, and calm direction allows the viewer to enjoy themselves, giving them their time and space, allowing them to settle back in their seats and enjoy the delicacy without rushing.
The script is impeccable. Every choice is spot on, nothing is missing or superfluous, everything fits together. It follows its own rules of the game and respects them to the death, like a faithful dog.
It's a strange and surprising series. It summarizes, concentrates, and distills spy and romance cinema while giving it a new lease of life and vigor.
A lighthearted series, intelligent in its exaggeration, beautiful and accomplished, that respects the tradition of the most fantastical and escapist fiction, the most dreamy and unreal.
I'll come back later with the review.
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The Dilemma of Choosing Between Oneself and One's Family
Xiao Lin is experiencing the development of his gay identity, a recently emerging term that has permeated societies globally. Our young protagonist has begun to realize that he could be homosexual, that he is attracted to young people of the same sex. Like many other people in this period of self-discovery as gay, precisely the first stage of accepting homosexuality, the Shanghai University student fears confronting his homosexuality under pressure from his family.During a short vacation, he travels back to his hometown where his father and paternal grandmother are waiting for him. Under the influence of Ouyang Fu Gui, a more radical and visually more open young writer, Xiao Lin begins to accept himself. He even goes so far as to reveal to his new friend the possibility of being homosexual or bisexual (the Second Stage or Comparison Stage, according to Vivienne Cass (1979), a criterion widely recognized worldwide), and what that would mean if it were true. Thanks to Ouyang Fu Gui, he visits gay clubs while still suffering from Confusion.
Whether internally or with his friend, Xiao Lin expresses his fear about the consequences that being gay will have on his life.
However, after returning home and seeing his family's expectations for his marriage grow, Xiao Lin finds himself trapped in the dilemma of choosing between himself and his family.
Writer-director Wu Xuan, who trained in Film and Television Direction from the Shanghai Theatre Academy, films a short film that delves into the contemporary gay community, which is still on the verge of self-identification, and develops the story through a realistic audiovisual style and the perspective of young college students.
Rather than focusing on a sweet, sexy gay romance, as seen in Thai BL, the film by Production Company: Shanghai Theatre Academy takes a more realistic social context, showing their psychological processes and encounters, focusing on the plight of gay youth today.
Starring young Chinese actor Liu Haoqiong as Xiao Lin, the short film reflects on gender and the social constructs that have been built around homosexuality.
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A modern queer spin on a classic bedroom farce
Let's say you're gay, 25 years old, and you live alone, and you don't want to associate with heterosexuals.Let's say that your friend and fellow university student, a year older than you, who defines himself as heterosexual, has just broken up with his girlfriend and moved into your house.
Let's things get even more complicated when, in order not to sleep on the hard, cold floor, he gets into your bed and sleeps next to you, linking his hands and feet with your body.
Let's warn that no matter how angry you look and the constant invitations to look for a rental apartment, the new tenant will refuse to leave, claiming that he likes living with you, and that your large house could very well be shared by both of you.
Let's imagine that he claims that even though he knows that you are gay, he does not find it uncomfortable living with you, as he is a person who is easy to get along with.
Let's affirm that he tells you that he has no impediment to living with a homosexual boy, if at the end of the day neither of the two is interested in the other since one does not like men, and the other likes the type of intelligent and fun boy, the one who makes you feel loved and praised, and who has the same taste in movies, something that, according to you, your straight friend does not have.
Let's say that you arrive home drunk and frustrated after your date didn't arrive at the meeting place and you ask your friend to undress you and put you in the shower.
Let's say that your friend would like to understand your homosexual life and to do so he reads the BL novels and mangas that you keep on the shelf.
Let's confirm that he takes you home so you can meet his family.
Let's assume that to try to understand you better, your friend meets another homosexual boy in your same house, and he turns out to be your ex-boyfriend, who abandoned you for a girl.
Let's imagine that his heterosexual heart begins to beat rapidly every time you touch his cheeks, or discover it, at night, while you pretend to sleep, that he covers your body with a blanket, casually plays with your hair and gives you a kiss on the forehead.
Let's certify that your heterosexual friend surprises you in your job as a bartender in a gay bar, and behind his back you surprise him talking to your co-workers and clients about his "life as a couple" with you.
Let's make sure that on a date with heterosexual girls your friend tells them about his daily life with you, and they blurt out in his face, very funny and complicit, that his actions are those of a gay boy in love.
Let's confirm that your best friend has to listen to your recriminations about being single because of him, because you can't get a boyfriend when he is sleeping with you next to him every night.
Let's confirm that when we see them arguing with each other in the middle of the street or in shopping centers, they are mistaken by everyone for a gay couple.
Let us witness that the sexual tension between the two boys shoots up to unimaginable limits.
Let us state that the constant proximity of structural bodies and physical contact provokes desire in the two young people.
We agree that looks full of desire, as the basis of eroticism, are taken to the maximum by measuring the distances between bodies.
Let us confirm that the erotic charge increases when the two friends move over very short distances not only with their genitals close, but also referring to them.
Let's support that without intending it you have developed feelings for your friend.
Let's proclaim that your friend, who has always defined himself as heterosexual, finds himself in love with you.
Let's confirm that your heterosexual friend suddenly recognizes that he likes someone who is not tall, that although he appears irritable his angry face is still cute, that at night he lets him hug him to sleep peacefully, and that he has made him enter a new world to he.
Let us maintain that secretly, he has described you.
'Bedmate or Bad Mate', the Taiwanese web series, is a modern queer spin on a classic bedroom farce where relationships old and new will be tested when the boundaries of friendship, love and sex collide when life comes to a head. The harmonious and calm life of Hao Chen, a young homosexual, is interrupted by his heterosexual friend Wang Da Zhi, an athletic and expressive boy, when he decides to move into his room after breaking up with his girlfriend.
In this delicious and fun LGBT+ romantic comedy about two roommates who try to live in harmony, their different personalities will cause an eternal dispute between them for even the most unexpected reasons, which will lead them to get to know each other and get closer.
'Bedmate or Bad Mate', which has all those characteristics that make you remember it for a long time, reminds me of series like 'My Gay Roommate', a 2012 North American comedy, directed by Austin Bening, about the funny stories of a straight boy and his gay roommate, starring Noam Ash and Drew Paramore.
But here friends go for more.
Successful use of words and phrases with double meanings, of inanimate figures that come to life to express the emotions and feelings that overwhelm the characters; of the internal monologue and the breaking of the fourth wall so that the protagonists let us know about the past of the two characters and the new reality they live.
I also like the use of the mockumentary film technique as a way for Wang Da Zhi to interview young homosexuals to try to understand what he feels for Hao Che.
Among those interviewed, there is someone who suggests that he keep it simple when expressing his feelings: "Just tell him directly that you like him and that's it."
In summary: 'Bedmate or Bad Mate' is a fun and entertaining comedy that addresses the issue of diversity intelligently and without falling into stereotypes. The performances are convincing and there is good chemistry between the main characters.
However, the script is a bit predictable and the web series is not very original. Also, some parts are a bit forced and the dialogues are sometimes a bit forced.
Still, I recommend seeing it. It will make you laugh and daydream.
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Han Woo Jim is the leader of sales team 2 who has received a dissolution notice amid the company's management crisis. He is in charge of closing deals with the associated companies he has managed within a period of three months. Left alone in his office, Yoon Su An, a deputy manager of the support team, is sent to temporarily help sales team 2.
Yoon Su An is a young man capable enough to work under Han's orders. And the latter ends up falling in love with the personality and beauty of his office colleague, when a small incident brings them face to face with each other. In this way, the lives of the two young people will change when they come into contact with each other.
With just the two of them in the office, Han can't help but notice Yoon's distant attitude. But the constant closeness will make their hearts end up broken as the days go by and they will have to deal with an office romance.
The South Korean small screen has office romances as one of its calling cards, thanks to numerous series that reflect the romantic relationships that occur between people within the four walls of any institution, relationships that can be short-term or long-lasting, and They can occur between co-workers at the same level or workers in a hierarchical relationship.
'My Damn Business' follows the path started by other series that have provided us with clear proof that love can be found in the most unlikely places, such as the also South Korean series 'Business Proposal', 'What's Wrong With Secretary Kim', ' My Secret Romance', 'Her Private Life', 'Romance Is A Bonus Book', 'My Shy Boss', among others.
Many Asian television stations are not far behind in telling this type of romance. There we have the Chinese 'Capture Lover' ('Bing Tang Xian Jing') and 'Beloved Enemy'; the Thai 'Step by Step', 'Paint With Love' and 'Cherry Magic Thailand'; the Japanese '30-sai made Dotei Da to Mahotsukai ni Narerurashii' and the Taiwanese 'We Best Love: Fighting Mr. 2nd', 'HIstory 4: Closet to You' and 'Be Loved In House', to name just a few, but The latter have in common with 'My Damn Business' that they address a love story between boys.
Even animes like 'Atarashii Joushi wa Do Tennen' address romances taking place in the offices of any company, series that at the same time expose relationships of camaraderie in work settings between employees and between them and managers, and serve as a fascinating portrait of the work life, many times without them being about anything in particular, but they are perfect for those moments when one just wants to disconnect from one's own reality.
Back to 'My Damn Business': this series, produced by GND Studio, fully inserts its plot in a company office in the South Korean capital, to mock the strict human resources policies that make it seem like romances in the environment work are doomed to fail, while reflecting the birth of a romance between two co-workers.
In a comedic tone, bright, affectionate and without great pretensions, from the first frames you will be hooked on its fun and romantic story, while it embroiders a story that describes the love of a boss and his subordinate. Quite a guilty pleasure for many viewers.
And it successfully meets that objective. The characters of Han Yu Jim and Yoon Su An breathe truth. The second one is definitely coded as a shy cat, and Han Yu Jim is the big doggo who complements the dynamic perfectly. Despite their different characters, they merge a loving relationship that arose in the heat of everyday life in the office.
With small doses of comedy that really works, the story of 'My Damn Business' stars actor Jung Jae Bin in the role of Han Yu Jin, and Jeon Yu Bin, who wears Yoon Su An's clothes.
Jung Jae Bin is known for starring in the film 'Three of Us' and the series 'BReal Bro&Sis', both from 2022, and Jeon Yu Bin is remembered by BL lovers for his starring roles in the drama 'Actor:eal', 2024, and for playing Yu Yong in the film 'His, Ice Cream' (2022), and Lee Hyun Woo in the series 'Judo Boys' ('Blue of Winter' - 2022).
For his part, Hwang Min Hwan, known for playing the Boyfriend in the drama 'Fake Buddies', from 2024, and Park Jung Woo in the series 'Sweat Romance' (2019) and 'Sweat Romance 2' (2020), intervenes to play Hwang, a recruiter in charge of introducing the two protagonists.
Han Woo Jim and Yoon Su An are credible beings who even become endearing to the viewer, despite the series not having a deep plot, a serious conflict, or a story arc that delves into the psyche of the characters. and is only interested in showing the daily life of two young people who, due to circumstances, are forced to work side by side, resulting in them getting closer, getting to know each other, beginning to help each other, while they discover what they carry inside. In short, a kind of balm for an escape from reality.
A type of series that I don't know if they are becoming more popular or if I am paying more attention to them now, but every time I am coming across more of these comedy or romance stories.
In a delicate mix of wit, silly humor and heart with a lot of potential, through these two characters, the director creates a drawing – deep and noble, individualized, rich in color and warmth – of two young people who fall in love between computers and sales management charts.
I know that at first glance this is not a series for everyone, that the short duration (only 7 episodes of 11 minutes on average) does not allow us to delve deeper into the personality of the characters or to develop conflicts and tensions, a small cast in terms of quantity and diversity of characters, the absence of a specific plot beyond "have they already confessed their love or will we have to wait for the next episode?" and that humor that is enjoyed even if sometimes it is not understood because it is very "Korean", I would encourage giving 'My Damn Business' a chance because it is a fun and tender series with which to have a good time and disconnect from everything .
But despite this, or because of it, when seeing the way in which the director transmits the feelings, humanity and the growing romantic relationship of his central characters - without grandiloquence, with virtuous simplicity -, one cannot help but think about series like ' 'The New Employee' by Kim Jo Kwang Soo, 'Love Mate' by So Joon Moon, and 'Jun & Jun' by Kim Eun Hye, all Korean, all 2023. And that's the biggest compliment I could receive 'My Damn Business'.
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This review may contain spoilers
Without a doubt, the worst Oxin Films series so far (final count)
'Sky Valley' is directed and written by Xion Lim, the Filipino actor, director, screenwriter and producer who was responsible for carrying out series such as 'My Day', 'Rainbow Prince', 'My Story', 'Our Story' and 'Dear Miss Becky', among others, but who also fails to capture the audience on this occasion as he lacks the voice to delineate characters and resolve conflicts, for not meeting the viewer's expectations by not achieving an adequate closure after a spectacular and powerful.The series begins with an excellent montage devoid of dialogue that presents our protagonist, Fourth, a young man from Manila who flees from family commitments to take over the reins of a company, by traveling by plane and then by road to a paradisiacal place.
And although his true intentions remain in the dark for much of the series, both for the viewer and for himself, we will later witness that his routine reveals something more than the mere logistics of his life: we understand that he harbors resentment towards a father who wants the young man to inherit his company, which is merging with another, so he has decided to escape his responsibilities. The parent responds to his hostility with a prolonged search for his son to avoid being removed in his absence.
We will also learn that she recently had a breakup with her boyfriend, so possibly the getaway is part of forgetting a failed courtship. What he intends to do when he reaches his destination is a mystery of course to us and probably also to Fourth himself, whose anguish demands comfort as soon as rest for his tormented soul.
Upon his arrival at the airport in the Philippine city of Zamboanga, Junjun, a young rider who works at the Sky Valley Park resort, is waiting for him, the hotel located in the picturesque mountain spot chosen by Fourth to hide, which is precisely the mountain resort of the family of the director of the series and the place where he spent his first years of life. If the visitor is somber, mysterious and abrupt, the local is extroverted and optimistic, giving rise to a structure in which opposite poles repel and attract each other in equal measure.
Junjun maintains a routine of coming and going in his daily tasks, feeding and training the resort's horses, or keeping the park that surrounds the hotel complex clean, but his monotony and serenity are broken with the appearance of a kind of incarnation of a prince out of a fairy tale. From their first meeting, Junjun is attracted to the reserved visitor whose arrival awakens deep emotions within him.
While a loving Fourth tries to distance himself because he will eventually have to return to Manila to take over the company, as well as considering that Junjun is heterosexual, so she could never develop romantic feelings for him, the resort worker cannot help but fall in love, although he will also be forced to fight against the pressure that Nathalie will exert, a girlfriend with whom he has not been able to officially break up, and who will appear on the scene with the intention of winning him back.
This is how in a paradisiacal and enviable space for rest and at the same time work full of queer characters, the viewer eagerly waits for the turn in the gray and quiet life of Junjun (Jaime Lucero) to be beautifully narrated, after the arrival of Fourth, role assumed by Tim Tuppil, in an interpretation far from what we are used to in the series 'Si Andy, Si Lauren or Si Peng?' and 'Our Story', since he had always assumed the role of the top boy, aggressive and even with a touch of villainy.
Almost right with Fourth, Paris (Angelgrace America), a vlogger from Manila, arrives at the resort, who is also seeking distance from her angry and aggressive ex-boyfriend, who does not accept the breakup. Paris will begin a lesbian relationship with Taylor (Lienel Navidad), the daughter of Mrs. Corazón (Dovee Park), the owner of the resort.
In this way, the director seeks, unsuccessfully, to raise the emotion with the incorporation of Girls' Love (GL) with the couple LorrIs (Lorraine-Iris) from 'Our Story', with the intention of exciting and delighting fans of both genres. However, the terrible performances, especially that of the actress who plays Paris, the low quality of the script and the deplorable directorial decisions manage to sink the combination of BL and GL into the spring pool. The intended delight, emotion and connection never arrive and the absence of chemistry between the main couples is palpable, especially between the girls.
The always necessary antagonistic figure soon appears, this time assumed by Jabó, a character played by Jericho Del Rosario ('My Story', 'Our Story'), who also works as assistant director, the rich and arrogant local who will try take over Junjun's workplace thanks to a risky and bad decision by Taylor.
Joining the main cast's performances are Tirso Cruz III, who plays Fourth's father in a very special role, and several veterans of Oxin Films' previous BL series such as Gio Emprese, Chad Kinis, Hiro Shimoji, Philip Robles, Jake Villamor, Kate Yalung, Jaime Ramada, and a few others. Their performances are, like those of the protagonists: among the worst seen in the entire BL universe, as if at the level of a high school play. In my opinion, 'Sky Valley' is Oxin Films' worst drama so far.
The director uses, once again, very attractive actors to give life to his protagonists, he gives a lot of importance to the landscape, but he likes to focus the story on many characters, whom he does not draw well on paper, and this detracts from the lack of a deepening into the construction and history of the characters, both main and secondary, the latter also important for their weight in the events.
The music, composed by Kayowdee, includes the diegetic, that is, the music performed by the cast members guitar in hand or in the night shows that enliven the lives of the resort guests, performed by the characters Timo (Sean Perez), Simba (Christian Patricio), Pumba (Voltaire Cabe) and the actress herself who plays Taylor, is not enough to lift a series that sinks deeper into the swamp of oblivion with each episode.
A topic as suffocating as a debt and the possible loss of a family property that, incidentally, is the source of income for some of the characters and a meeting place for everyone, remains a joke.
Likewise, the viewer lacks knowledge of the causes of the characters' internal conflicts or their motivations are poorly drawn on paper, which if known could be valuable to better understand their realities. I am referring, for example, to why Fourth does not want to commit to the family business, the lack of connection with the father, he past and the failed relationship with the ex-boyfriend, these reasons for her presence at the resort and what gives rise to the unleashing of events; the reason why Paris needs to get away from her boyfriend and the past left behind in Manila; Taylor and her mother's relationship, among others.
Junjun, Fourth, Paris and Taylor don't seem to me to be characters with a life of their own. The intimacy that emerges between the four main characters does not develop organically because their performances are generally flat. A plot as tenuous as the one portrayed in the series requires much stronger characters to sustain itself. A lot of potential gone down the drain.
It's a shame that what should be a passionate intensity between the two male protagonists loses steam almost from the very beginning, before a rather artificial conflict gives rise to the relationship between the two girls. There is no emotional bond between them, as with the two girls, that connects them, in addition to the physical bond.
In a series that should be all about character and setting, 'Sky Valley' falls short of the former but succeeds in the latter. The beautiful landscapes, mountain and beach, end up forming an aesthetically coherent background for interesting characters who are otherwise not developed as much as they should.
The story aims to be an emotional and psychological journey, where the characters seek answers and comfort in the midst of their personal problems, anguish and uncertainty. But the series lacks a well-constructed narrative and compelling performances; Even so, it invites us to reflect on the complexity of loving relationships and the search for identity in a constantly changing world.
And if Fourth was a sweet and tender boy, and Junjun took care of Fourth at the beginning, Xion Lim ends up precipitating the series into an abyss of no return by incorporating threesomes and infidelities, which not even Chuk Chuk would have been able to save.
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It will remind us that there is always room for love and personal growth
ON May 17, 1990, the World Health Organization removed homosexuality from the list of the International Classification of Diseases. Later, since 2004, it became a date to commemorate the fight of the LGBTIQ+ community for their rights and raise awareness about discrimination.However, LGBTIQ+ people in Japan face certain legal and social challenges not experienced by heterosexual citizens. The current Constitution, written after World War II under the control and supervision of the United States, refers to marriage as an act between a man and a woman and is prohibited for homosexual couples.
Despite the discrimination towards this human group and the fact that the dates mentioned above are not that far away, the issue of homosexuality had already been on the rise in the Japanese film industry long before.
With diverse approaches, mainly from the 80s of the 20th century, we could remember some films such as 'Beautiful Mystery' (Genji Nakamura, 1983), considered a cult film and the first feature film from that country that addressed homosexuality as a central theme; 'Merry Christmas Mr. Lawrence' (1983) and Gohatto (Taboo), from 1999, both by Nagisa Oshima, a director of extraordinary sensitivity and director of some of the most international Japanese films, and the list could be longer, because while The closer we get to modernity, the more prevalent the theme has become.
In this sense, a film that stands out is 'Sono Koi, Jihanki de Kaemasu ka?' (In English 'Can I Buy Your Love from a Vending Machine?', from 2023, a live-action adaptation of the popular manga series of the same name by Yoshii Haruaki.
Thus we find this film that was born from the thoroughness and creativity of an incomparable filmmaker who had already worked on several equally significant works such as 'One Man's Son' and 'Reminiscence Journey'.
This is a film that stands out for its deeply human themes, its formal successes and its delicate exploration of identity and friendship. Additionally, it combines elements of comedy-drama with a sincere look at relationships between men.
Although it covers several contents (the construction of a friendship narrated with unusual delicacy, the support of friends, coming out of the closet, work vertigo in today's world, a journey towards the search for happiness, self-acceptance and self-love) , the film is simply about a love story.
In 'Sono Koi, Jihanki de Kaemasu ka?', everything that can be conceived is reduced to the gaze, which confirms the existence of the other; and from there comes the rapprochement, and then desire and love. Yamashita Ryoma, a strong, tall and muscular 28-year-old man in charge of a juice vending machine in an office in Tokyo, surprises office worker Koiwai Ayumu with a noble gesture in a moment of exhaustion from hard work. From that moment on, Koiwai, 32, cannot take his eyes off Yamashita Ryoma, with whom he has secretly fallen in love. One day, he musters the courage to start a conversation, which sets in motion a closer relationship.
Although eye contact, known as shisen or awasu, is not common in Japan, and staring into a person's eyes can be very rude and uncomfortable, at some point, their gazes meet.
Actors Matsuda Ryo and Tazuru Shoho play the lead roles, Koiwai Ayumu and Yamashita Ryoma, respectively. Next to them we see Yanagi Yurina, who plays the character of Ooishi, Koiwai's colleague and friend.
Matsuda Ryo is one of the best-known Japanese actors inside and outside his country, thanks to his role as Jonouchi Hideyasu / Kamen Rider Gridon in several films and series of the Kamen Rider universe, as well as his leading performances in the films 'Bakumatsu Without Honor and Humanity' and 'Messiah: Shikkoku no Shou', among others.
For his part, Tazuru Shoho made his acting debut precisely in 'Sono Koi, Jihanki de Kaemasu ka?'. Through his character's relationship with a man who recognizes his gay status from the first scenes and who has just entered his life, he learns to accept his sexuality and find his own voice. His authentic performance captures the complexity of his character.
Written by Kumi Tawada ('Junihitoe wo Kita Akuma' (2020), 'To Each His Own' | 'Chotto Ima Kara Shigoto Yamete Kuru' (2017) and 'A Chair on the Plains | Sougen no Isu (2013)', the The audience will be able to enjoy in this office romance how each young person becomes the center of the other's attention and they build, step by step, a very strong bond, friendly at first, romantic later, although full of clumsiness and misunderstandings.
The viewer will appreciate how small everyday mistakes, such as being late for an appointment, also contribute to boosting confidence and making the person you want to conquer feel more comfortable.
Koiwai Ayumu and Yamashita Ryoma will confirm to us that Japanese way of being when it comes to seducing: they are not as inventive as Westerners could be, as it is difficult for them to express their feelings or take the initiative. Even the first kiss takes forever to come. And it's not exactly due to lack of interest, shyness or even coldness, as many might think, but it seems that flirting is still a taboo in Japan. Although much of this has changed in the last century, Japanese society still finds it somewhat difficult to express its feelings, due to its culture of extreme respect for others.
But equally, the film transgresses, for the better, some of the peculiarities of Japanese romance. For example: the characters' dates are not with groups of friends, such as work or study colleagues, and when they declare their feelings they can lead to public displays of affection.
It is striking how Yamashita, who is the younger of the two, is the one who not only asks to exchange contact information or proposes the date without spending weeks exchanging messages, as the Japanese usually do, but he will also ask Kiowai to call him. his first name and leave aside the use of honorifics, something strongly rooted in Japanese culture.
The viewer will be able to appreciate that although they are both adults, everything related to the emotions that Yamashita awakens in Ayumu, and vice versa, feels like the first love of a teenager.
I also recommend the film for joining other dramatized films in addressing issues related to sexuality and gender identity in a conservative society with strong patriarchal and heteronormative traditions, such as Japan.
I highly value the fact that 'Sono Koi, Jihanki de Kaemasu ka?' portray the diversity of human relationships with delicacy, and contribute to dismantling the prevailing stereotypes regarding what is "normal", enabling the necessary change in society.
In short, it is a film that not only seeks to entertain us, but also makes us reflect on our own lives and relationships. It is a reminder that no matter what challenges we face, there is always room for love and personal growth.
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