ariel alba

Weak conflict that does not serve as a solid argument for a story of false courtship

'Single All the Way' (2021) is an American film directed by Michael Mayer and starring a couple of two gay boys – Peter (Michael Urie) and Nick (Philemon Chambers). Peter, desperately seeking to avoid his family's judgment given his eternally single status, convinces his best friend Nick to pretend that they are in a relationship and accompany him during the Christmas festivities.
For its part, 'The Proposal' (2009), an American film directed by Anne Fletcher and scripted by Peter Chiarelli, tells the story of Margaret Tate (Sandra Bullock), a Canadian editor-in-chief of a large publishing house in New York, who that no one at work can stand her. A problem that grows because you need to have a VISA to remain in the United States. For this reason, she decides to ask her assistant Andrew Paxton (Ryan Reynolds) to marry her to achieve this (manipulating him with the idea that she will publish the book he wants).
In the South Korean BL series 'Nobleman Ryu's Wedding' there is not a courtship, but a fake marriage. In place of the beautiful bride, who disappeared the day before the wedding due to her hatred for political marriages, Ryu Ho Seon marries Choi Hwa Jin, her brother. The deceived nobleman tries to reverse the marriage, but ends up accepting his "wife's" proposal to wait a few days until the lost young woman reappears and she takes her place without anyone suspecting, thereby avoiding a scandal that could be the ruin of the two families.
Of course, in these two films and the series, farce will give way to true love.
These are solid arguments why these people have to, at their convenience, fake a fake romance. These are three of the many examples of stories that share this premise. They are valid to present my points of view that I will explain later.
After directing 'Battle of the Writers', 'To Be Continued', 'Naughty Babe' and 'Friend Forever', Klaryder Nathawat Piyanonpong, a Thai director with more mistakes than successes in his work, returns to the screens with the series 'Your Sky', the adaptation of a romantic comedy of the same name that, with a script by Wannapa Lertkultanon ('Bed Friend'), and Jungjing Wanna Kortunyavat ('I Feel You Linger in the Air'), tells us a story of false courtship.
The premise of 'Your Sky' isn't really original. Teerak Rak Niran, played by Kong Kongpob Jirojmontri, in his first leading role, and known for appearing in a supporting role in 'Naughty Babe', is a naive first-year university student. Oh (Mike Chinnarat Siriphongchawalit) pursues Teerak with the hope that he will agree to be her boyfriend and will not hesitate to use even deception to achieve it.
To prevent this from happening, Teerak relies on his inseparable friends Type (Patji Jirachart Buspavanich), PunLee (By Suppakarn Jirachotikul) and Joy (In Inthira Sae-sieo).
But through a ruse, Oh manages to deceive Teerak and two of his loyal followers. Then, to the viewer's delight, fate intervenes, and Muenfah, a character played by Thomas Teetut Chungmanirat, comes into action, also in his first leading role after playing secondary characters in several BL, such as 'Bed Friend' and 'The Middleman's Love'. The actor plays PunLee's older brother and a popular senior on campus.
The two young people will make the decision to pretend to be a couple to stop Oh's machinations. Teerak and Muenfah will live a story about a fake love that could lead to something real and genuine between two opposites who, although they don't want it, attract each other. Does it sound familiar to you?
What begins as a fake love could become a great couple when they have to pretend in front of family, friends and, above all, Oh, until they realize that they have more in common than they thought, as reflected in the synopsis.
Time together will make them see that, although it may not seem like it, they are made for each other.
I must confess that, while I did not advance more than 10 minutes into the first episode of 'Battle of the Writers', 'Naughty Babe' and 'Friend Forever', and 'To Be Continued' was a great disappointment for me as the series avoids addressing the internalized homophobia suffered by one of its protagonists and in this way resorts to an easy way to avoid the problems of self-understanding and self-acceptance of the character's homosexuality, I enjoy 'Your Sky', even being too simple to make a lasting impression.
Now, there are some issues that do not convince me about the premise of the series.
Oh is shown to be a gallant and kind young college student to both Teerak and the rest of the students. Apparently, he enjoys prestige, has the respect and admiration of friends and fellow students. He has public meetings with Teerak and in spaces where only the two of them meet, such as the locker room in the university bathrooms. At no time does he show signs of being possessive, violent, irritable... He smiles friendly while looking into the eyes of his interlocutor. Evidence empathy and kindness. So,
-What reasons do Teerak's sister and friends have for demonizing Oh, declaring him "untrustworthy" and trying to prevent them from even talking to each other in public places?
- Could you foresee that Oh has a hidden agenda to cause harm to Teerak?
-If they have prior knowledge of machinations on Oh's part to deceive Teerak and cause him harm, why have they not reported it to the relevant authorities?
- How can an attentive, gallant young man who gives flowers and chocolates to his lover in a plan of conquest in one scene, in the next scene, be able to use deception to get Teerak and two of his friends drunk to offend him?
- And now, after knowing that Teerak and Muenfah are dating, will Oh deny it and continue her attempts to conquer him?
- On the other hand, everything seems to indicate, from his actions/reactions, that Muenfah is in love. If so, why not confess your feelings? Why use a false courtship to approach him?
- This weak conflict could very well be solved not with a false courtship, but with Teerak telling Oh that he sees him as a friend and not a boyfriend. If, because you are so naive and shy, you don't dare to tell him face to face, you can very well use a text message, smoke signals, and even carrier pigeons. But I suggest you do it like anyone does today: looking him in the eyes and saying it at point-blank range.
True or not, dear reader?
Something just doesn't convince me here. The reason why the two protagonists have to fake a romance is forced. The creators could have been more coherent and designed another scenario and other reasons to justify the procedure.
Although it is full of clichés and does not present great incentives, the first episode showed that the public can expect candid moments from the story of Teerak and Muenfah that manage to bring a knowing smile to the viewer. The series is worth watching if only to see Teerak's silly, naive laugh and the attractive actors who play Muenfah, Real and PunLee.
The forced plot does not take away from the magic of a leading couple, which has good chemistry.
Furthermore, the series tries to provide an easy answer to the most hackneyed question of all time: Can love be born from lies?
In parallel, the series tells the story of a second BL couple, that of Real (Auau Thanaphum Sestasittikul) and Hia (Save Worapong Walor). Both also rock the role of secondary couple. They really catch my attention. Very good chemistry. The dynamic of a boy in love with his best friend and a boy who doesn't know anything is cute. It is a relationship that begins to form and flourish along with the main one. The production company should give the actors the opportunity to be the main couple in another dramatized boys love in the future.
And while the story of Real and Hia the second was developing, a new secondary couple belatedly appears, made up of Punlee and Chlaijai (TeeTee Wanpichit Nimitparkpoon), his college classmate. In fact, everything indicates that this couple was not initially conceived, since this last actor, in his artistic debut, but known as a competitor in the role model contest for young people "To Be Number One Idol 12" does not appear in the credits until the fifth episode, and does not appear on screen until episode 8.
These secondary stories are important: while the main protagonists will be chaotic, carry the weight of the plot and have the maximum focus of the viewer's attention, the secondary ones will give us some calm with their cute and passionate romance.
But I personally think Auau and Save, and Punlee and Chlaijai having less screen time than the main couple benefits the series as a whole more, because they get the most out of their scenes. Especially this last couple for emerging almost at the end of the series. Sometimes showing less will make one pay more attention to the few scenes shown, if they are carefully thought out and executed. Their performances make me love the series in general.
Something that also catches my attention, both in this and other Thai BL series, is that most of the characters are either queer or allies. That in a Thai university, a country that, despite its growing openness towards LGBT+ issues in recent years, continues to deny the right to equal marriage at a time when the series was filmed, and does not yet have a government policy to protect homosexuals, lesbians and other people from said community of harassment and discrimination, and there is not a single harassing student or teacher, nor a single homophobe (who serves as a denunciation of discrimination and homophobia), is something truly suspicious.
Seeing Teerak's father watching a BL series on his mobile phone, even ignoring that his son is a queer young man, inquiring about these types of television products and then rejecting his son's homosexual relationship, is something illusory, beyond a truth: in Thailand, as in any other heteronormative and patriarchal society, there are parents who respect their children's right to love whoever they want.
In this sense, as I enjoyed series like the British 'Heartstopper', based on the four-volume graphic novel by Alice Oseman, for its realism, in which Charlie Spring (Joe Lock) and Nick Nelson (Kit Connor), who have a beautiful and supportive group of queer friends, they fight homophobes daily, even if they are members of their own family. And this is happening in Britain, a country much more open to LGBT+ relationships than Thailand.
Surely some will say that this is a BL and they are not interested in it being realistic or lacking the truth, and its light and sweet tone is enough that if I want to watch dramas I would go somewhere else.
The tone of the story is rounded out by a luxury cast that elevates the dramatic and comic moments of 'Your Sky'.
Duu Sanya Kunakorn ('Good Doctor', 2024) plays Teerak's father, a man who intensely loves his son and his sister, Babe (Morakot Liu). Chumpanee Sopitnapa ('Luead Khon Kon Jang', 2018) is Teerak's mother here, a woman who pampers her youngest son. Tanthasatien Pol ('Lord Lai Mungkorn', 2006), and Koy Narumon Phongsupap ('Only Boo!', 2024), play Muenfah's parents; Phiao Duangjai Hiransri ('#HATETAG', 2021) steps into the shoes of Oh's mother, a manipulative woman who will take advantage of her social position and influence to ally herself with her son and try to take revenge on Muenfah for "having stolen her boyfriend." Oh", and Tonnam Piamchon Damrongsunthornchai ('Make Money', 2020), plays Dom, Babe's loving boyfriend.
All of them, and other talented actors and actresses, seek, together with the protagonists, to develop an imperfect story that continues an important path in favor of representation and diversity.

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The Japanese actor Okuno So is marked in the memory of the universal spectator, not only for his beauty and the splendor of his black eyes or beautiful smile, but, above all, for his extensive command of the stage, for his extensive filmography despite of being only 25 years old.
Of the dozens of titles to which it has given a face, there are several that are sacred pieces of audiovisual heritage, especially for BL lovers. Shibata Keisuke ('Sahara Sensei to Toki-kun', 2024) and Takahashi Yuya ('Blue Birthday', 2023), two of the most exceptional Japanese directors of all time, caught their eye, very early, and summoned him to take part in 'Sukiyanen Kedo Do Yaro ka', from 2024, in the role of Nakatsu Mizuki, the ex-boyfriend of Sakae, one of its protagonists.
This series, together, fundamentally, with the film 'The Novelist: Playback' and the drama 'Given', both from 2021, placed it at the forefront of global attention, both from the viewer and the most significant Japanese directors.
His brilliant career as an actor gains strength through the three works included and, furthermore, through the miniseries 'High-Speed ​​Parahero Gandeen', directed by director Tsujimoto Takanori, in 2021.
The young actor's on-screen respectability increases after his collaboration with Japanese director Yamaguchi Junta in the 2022 series 'Koi ni Mudaguchi', in the drama 'Boys! Please Kiss Him, Instead of Me', by writer and director Hiranuma Nohirisa, and in many other series, such as 'Say Goodbye If You Love Me' (2022), 'Joshikosei, So ni Naru', (2023), 'Shufu Maison ', by director Ueda Hisashi, in many of them as the protagonist, or in films such as 'The Setting Sun', directed in 2022 by Kondo Akio and 'Gray Wall Gear', from the same year or 'High&Low: The Movie', from 2016 .
The performer has been pragmatic in balancing his interests on screen. He earned his aura as a magnetic actor, capable of moving on the sets of several demanding filmmakers. Let's not forget his starring role in films such as 'Kamen Rider: Reiwa the First Generation', by Sugihara Teruaki (2019), 'Kamen Rider Zi-O: Over Quartzer', by Tasaki Ryuta (2019), and the series 'Kamen Rider Heisei Generations FOREVER', by director Yamaguchi Kyohei, (2018), 'Kamen Rider Zi-O' (2018 – 2019), directed by a group of filmmakers.
For his part, actor Toyoda Yudai means sure success and a full box office, and the public has supported him since he put a face to so many iconic characters in Japanese film and television, in the feature films 'Red Bridge', 2022, 'Youkai Sharehouse: The Movie (2022), directed by Toyoshima Keisuke, 'Father of the Milky Way Railroad' (2023), by Narushima Izuru, and in the series 'Saiko no Seito: Yomei Ichinen no Last Dance' (2023), 'Fufu no Himitsu ', 2024, 'Renai Battle Royale', releasing in August 2024, 'Sorette Pakuri Janai Desu ka?' (2023), from directors Nakajima Satoru and Uchida Hidemi, 'Numaru. Minato-ku Joshikosei, by director Goto Yosuke, from the same year.
The participation of Okuno So and Toyoda Yudai in 'Cosmetic Playlover' increased the fascination for the two. From director Shindo Takehiro, who has films with LGBT+ themes such as 'Closet' (2020) among his work, he gives us a story that revolves around Mamiya Natsume, a diligent, kind and serious young man who keeps all his problems to himself. She has managed to make her childhood dreams come true, and today, as a beauty assistant, she performs hygiene, care, maintenance and beautification tasks on clients' skin, face and body.
Her great understanding of products, brands and services in the area of ​​cosmetology has earned her fame among Japanese women, who have as one of their main goals to have firm, radiant and extra white skin, based on the ancient tradition of paint their faces with a white powder called oshiroi.
In a microuniverse dominated by women, Natsume (Okuno So) is self-confident in his work life, but not so in his personal life. Her world is turned upside down with the arrival of junior Sahashi Toma (Toyoda Yudai) at the cosmetics store where she works. His new partner, who relies on his beauty to attract clients but does not take his job or Natsume's pertinent advice seriously, manages to outsell and annoys Natsume because he tries to act like a good superior.
But from animosity to love there is only one step. The senpai's feelings of love for his junior appear when Natsume discovers that his heart beats fast, although it irritates him, while Toma recognizes Natsume as the only person who admires him for his skills and efforts in the effort to provide happiness to his clients.
Natsume will soon forget that since he was a child, when he discovered his passion for the work he currently does, he has been secretly in love with Tanouchi (Nakamura Yuichi), his senpai, a heterosexual man, father of a family.
However, the lovers' happiness will be put in danger with the arrival of Nanjo Atsushi (Sono Shunta) at the store where they work, or the constant trips they must make abroad for work reasons. While Natsume's parents and sister come to terms with his sexuality, Sahashi lives away from his family, and will see Natsume as his only family member and the person with whom he wants to share his life.
The conjunction of that pair of faces captured by the camera represents, for some, absolute physical perfection on Earth.
Kanasugi Hiroko, one of the most significant Japanese screenwriters, author of 'Takumi-kun Series 1: And The Spring Breeze Whispers' (2007), 'Takumi-kun Series 2: Rainbow Colored Glass' (2009), 'Takumi-kun Series 3: The Beauty of Detail' (2010), 'Takumi-kun Series 5: That, Sunny Blue Sky' (2011), 'Killing Curriculum: Jinroh Shokei Game - Prologue', 'Udagawachou de Matteteyo', 'Sukitomo' (2007 ), and the series 'Fukou-kun wa Kiss Suru Shikanai!' (2022), among many other films and dramas, adapts the manga series "Cosmetic Playlover" (コスメティック・プレイラバー) by Narashima Sachi, to tell us about this gay relationship between coworkers, against the background of the competitive cosmetics industry.
I am struck by the idea of ​​putting two men to work together to attract female clients, as well as making Japanese aesthetics visible, related to the standards of what is considered taste or beauty in Japanese culture. Considered a philosophy in Western societies, the concept of aesthetics in Japan is seen as an integral part of daily life.
Beyond recounting the romantic and work experiences of Toma and Natsume, 'Cosmetic Playlover' serves as a portrait of Japanese aesthetics as a variety of ideals; some of these traditional and others modern or influenced by other cultures, especially Western ones.
The series undoubtedly succeeds in showing the most fascinating face of Japanese male beauty assistants, who, in this case, are not united only by their delicate work in the tasks of beautifying the skin, face and body of Japanese women.
The sensitivity with which it is narrated is evident in the most moving scenes, capable of showing with great honesty and with complete naturalness the relationship between the two protagonists, their evolution throughout the time shared in the workplace and in the Toma's house, where Natsume will move to live the romance with the person he loves.
Despite being a series that seems aimed at a very specific audience, the truth is that its intrinsic quality deserves good consideration by the public and specialized critics.
Okuno So's performance is one of his best works to date and has served to demonstrate that his fame is very well achieved.
For his part, Toyoda Yudai's role in 'Cosmetic Playlover' is undoubtedly a challenge, giving life to a young homosexual for the first time in his already extensive filmography. The young actor manages to successfully overcome the challenge thanks to his fantastic performance, which he gives with the vitality, romanticism and desire to grow professionally and personally that characterize his character.
The chemistry between the two actors on screen gives rise to beautiful scenes of physical interaction that audiences who love romance in general and BL in particular will appreciate and appreciate.
'Cosmetic Playlover' exudes subtlety and good taste. The costumes, both the modern one and the yukata, the traditional Japanese clothing made of cotton that we see worn by the characters at the summer festivals where they come to enjoy the show, are taken care of down to the smallest detail.
Another strong point to highlight is the excellent photography, while the soundtrack has some really beautiful songs with very suggestive melodic themes.
In summary, the series is recommended for several reasons: for its faithful reflection of a reality that is absolutely fascinating for Japanese women and beauty consultants, for its sharp and elegant sense of combining humor and drama, for the strong performances, especially from the two protagonists, and for the honesty of their approach.

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From BL as a social and cultural phenomenon to Thai series and their hidden meaning

With dozens of productions each year, Asian BL dramas have skyrocketed international audiences, winning the hearts of global audiences.
From the bustling streets of Taipei to the no less noisy universities of Bangkok, passing through El Nido beach, on the Philippine island of Palawan; bordering the Han River, on foot or by bicycle, before flowing into the Yellow Sea, or exploring the luminous avenues of Shanghai or Hanoi, the series from that distant continent transport us to a world full of drama, romance and intense emotions.
But what is it that makes these television productions have captured the attention and obsession of people from all over the world?
Convincing performances that touch the heart, acting talent as a strong attraction, ingenious scripts that combine romance with other genres, actors and actresses recognized for their convincing and emotional performances that manage to connect deeply with the public; The use of popular idols, the skills to transmit emotions, whether love, hate, rage, joy or sadness, make viewers feel part of the story and become emotionally involved in each chapter.
High quality works that rival the best produced in other latitudes, Asian BLs have raised quality standards in the television industry. With high budgets in most cases, and a passionate dedication to excellence, these productions manage to compete with European, Australian, Latin American, North American and Canadian homosexual-themed series.
From the stunning cinematography to the detailed sets and impeccable production techniques, each episode can be a visually stunning experience. On the other hand, they also stand out for their focus on cultural diversity and the representation of different ethnic groups and religions.
The visual aesthetics and attention to detail in each scene transport the viewer to a fascinating world, presenting characters and plots that reflect the rich diversity of Asian societies, connecting with audiences from different backgrounds.
For many, perhaps, it may seem like something totally new and strange, but it is not for millions of young consumers of these series around the world. With production companies in charge of creating and adapting literature in live action, BL series emphasize the not-too-distant cliché scenes of love between heterosexuals seen in novels and television series from any country.
The contrast arises when on this occasion the story is transferred to a different social context. One, due to its geographical and cultural position distant from many of the spectators. And two, because it deals with romantic relationships between young men (particularly high school or college students).
The representation of lesbian love is practically non-existent on the television screens of BL-producing countries. There has not been the same interest and dedication on the part of manga and anime authors, as well as television screenwriters and directors, to reflect these stories, as there has been with the romance between boys.
However, GL series (i.e. Girls Love), which feature romance between women, have slowly made their way in recent times. To do this, first a couple of loving girls were inserted as friends or study partners of the male protagonists, within a BL series. We can now count on dramatizations where they are the true protagonists.
The interesting thing about these works is that they address a theme as universal as love, which resonates with a global audience. Very everyday themes that show youth, disappointments in love, fictitious loves, the bad boy, the family, interest in sports or the arts, studies in secondary schools or universities, entry into the world of work after graduation, office work or love, friendship, cooking and typical dishes, fantasy, the supernatural, the dynamics of youth, first loves, the discovery of sexuality, power, political and administrative corruption, and fight for justice are just some of the recurring themes that run through these productions.
With their universal stories, people from different cultures and nationalities make us identify with the characters and immerse ourselves in the complexities of their lives, no matter how foreign they may seem to us at first glance.
There is no doubt that the Asian BL drama fever is a social and cultural phenomenon that was born at the beginning of this century.
The BL inside
At the beginning of the 1970s, BL content could only be found in Japanese anime, manga, or novels. At an accelerated pace, this genre spread to other Asian countries, mainly South Korea, the Philippines, Vietnam, Thailand, China and Taiwan, and has led to new formats and fashions.
Its objective is to represent the romantic relationship between two male characters. Generally, the profiles of the main character are that of the high school student, university student, or young heterosexual professional who meets love for the first time in a boy of the same sex. On many occasions, they exhibit social differences.
With the premiere of a weekly episode, lasting approximately half an hour to an hour, Japanese, Thai and Taiwanese television has broadcast popular BL dramas. Other countries spread the word through online platforms, as this phenomenon also comes to life on social networks, when millions of followers from all over the world share their opinion on X, Instagram, YouTube and Facebook, adding new followers as these discover the works.
Most BL are written from a female perspective. They reflect everyday problems, such as the stereotypes that exist in society about homosexuals, the complexities of gay men when coming out of the closet, the fear of rejection from family and society, the representation of women (familiar or close to the protagonist). in the sad role of decorative object in the home, in the role of being a mother or dedicated to domestic tasks.
Due to the conservative social atmosphere, the discrimination that still exists towards the LGBT+ community, the series rarely mention the problems and conflicts of its members and the struggles for their rights. However, the popularity of these dramas has promoted society's openness to BL culture and understanding of the situation of the LGBT+ community.
Despite BL being mostly known for content created in Japan, it is in Thailand that it has had the greatest boom. While in many nations it remains taboo, in the Thai kingdom it is quite normalized and consumed. This is mainly due to the fact that a very significant sector of the LGBTI+ community resides or is passing through this nation.
The reality is that, despite homosexuality appearing to be such a normalized issue in audiovisual media and in everyday life, legally it is not. Issues such as same-sex marriage or adoption between people of the same gender are not legalized in Thailand. On the other hand, these programs serve to promote sales of items from companies, such as those dedicated to the cosmetics and beverage business, responsible for providing money for serial productions, thus imposing their interests, as well as promoting the country as a destination. paradise tourist.
Its plots do not escape a certain homophobia or misogyny. The above is confirmed when one of the protagonists believes he is heterosexual until he meets the other and realizes that only with that male character does he feel happy and fulfilled. It is also very common to find characters who justify their sexual orientation based on their dislike of women after having been deceived by them.
On the other hand, it is extremely common to encounter clichés that also occur in series and movies whose main characters are a heterosexual couple, only, for some reason, this predictable plot is mostly accepted by the public when the genre is BL. For example, the romanticization of violence between partners.

Cooking Crush
Unlike audiovisuals from other latitudes in which the acting couple rarely meets again in another program in the same role, Thai BL series usually pair the actors, especially when there is chemistry and they are popular with the public.
This is the case of Jumpol Adulkittiporn (Off) and Atthaphan Poonsawas (Gun). With the formation of OffGun, both have participated in numerous projects, from the first of them in 'Senior Secret Love: Puppy Honey' (2016) and 'Senior Secret Love: Puppy Honey 2' (2017), 'Theory of love' ( 2019) and the critically and fan-acclaimed 'Not Me' (2021), and in the special anthology of couples boys love titled 'Our Skyy', from 2018.
With the drama 'Cooking Crush', of the romantic comedy, food and BL genre, released in November 2023 on the GMM25 network, the two reappear. Like good wine, both actors, now 33 and 30 years old, respectively, underpin their artistic talent and consolidate themselves as ships within the BL universe.
The series reminds me of one of the most famous romantic comedies in history, 'Pretty Woman', from 1990 and directed by the American Garry Marshall. In it, the protagonist (Richard Gere) hires a prostitute (Julia Roberts) to accompany him for a few days, and they end up loving each other.
In 'Cooking Crush' the characters also come from two different social strata: Ten (Off), a rich medical student, hires Prem (Gun), a humble cooking student, to teach him how to prepare exquisite food dishes.
Prem dreams of becoming a chef who revolutionizes the culinary art. Determined to compete in a reality show that will choose the best chef in the nation, he must improve his culinary skills. That is the reason why he accepts Ten's proposal. Prem uses this as an opportunity to make money. The clash between both worlds will end up causing both of them to end up deeply in love.
A skilful script written by Pong Pattarawalai Wongsinwises, Noolek Sureechay Kaewses, M Rittikrai Kanjanawiphu and an effective staging, in addition to the good work of the two protagonists, allows us to find ourselves before a sentimental and romantic comedy with a lot of fairy tale and little of everyday reality.
The main characters add depth and emotion to the plot. The series promises a mix of touching moments and immersive drama, as both boys navigate between Ten's causes of stress and Prem's desire to overcome challenges.
The Thai setting adds a unique cultural backdrop to the seductive love story between medical consultation rooms and kitchens, offering viewers a captivating journey through the complexities of discovering sexuality and romance. While the information provided provides insight into the series, watching it will certainly offer a more complete and immersive experience.
'Cooking Crush' stands out with its tone of sentimental and romantic comedy and a talented cast, also composed of Pakin Kunaanuwit (Mark) as Dynamite, and Jaruwat Cheawaram (Dome) as Samsi. These two, along with Prem, will make a trio of friends. It also features Trai Nimtawat (Neo) as Fire and Warawut Poyim (Tum) as Metha, who make up the other friendly shortlist.
The members of these groups, who are not united by anything at the beginning, will not only find love in each other's members, but also strong ties of friendship and companionship. Together they will contribute humor to the program.
Rounding out the cast are Chatchawit Techarukpong (Victor) as Changma, Bhasidi Petchsutee (Lookjun) as Jane, Sukhapat Lohwacharin (Suam) as Bun, Pimwalee Phunsawat (Pim) as Paeng, and Lapisara Intarasut (Apple).
The trust in the ability of each of the members of the main couple in the other, and the way in which they promote each other, is striking. An example of this can be seen in the fact that Ten does not believe he has what it takes to succeed as a doctor and Prem encourages him. Prem, for his part, operates in a very competitive world such as culinary art, and if he has any doubt or circumstance, Ten supports him. Ten's love for Prem's cooking is what finally convinces him to sign up for Super Monster Chef.
Without being the best in the filmography of this acting duo, 'Cooking Crush' is a visual delight and fulfills its purpose as a romantic comedy, showing Off and Gun's undeniable chemistry while Ten and Prem flirt adorably in every interaction. . Theirs is a charming, beautiful, fun, natural and wonderful couple.
Although dynamite is so stable that generally new dynamite cartridges in good condition do not explode even if exposed to fire, Dynamite will not need a detonator and detonator to explode as soon as he meets Fire and encourages a fun game of cat between the two. and the mouse with a slight and subtle harassment on the part of the former at the beginning of the plot.
Without a doubt, 'Cooking Crush' is guaranteed to be popular for various reasons. The breadth of social media, such as YouTube and others, allows more people to connect with this and other BL series. The Western mentality is today much more open to viewing (without prejudice or hatred) content that is part of the LGTBIQ+ community. And finally, a growing need for the viewer to have the possibility that all sexual diversities can be expressed through the artistic formats within their reach.
Just as 'Cooking Crush' is another successful Thai BL by being a media product with an undeniable communication effect, we, as viewers, must be able to appreciate the content without ignoring its hidden meaning.
However, I must add the following criticism: throughout the history of film and television, homosexuals have been portrayed in a stereotypical way or in roles of ruthless killers, disturbed suicides, caricatures of human beings. On many occasions their effeminacy was exaggerated so that an audience could distinguish the gay characters without words. In this way, the audience could easily identify them as homosexuals because they reflected the clichés that still existed in society towards them. These consisted of portraying them as extremely mannered, prim characters, with thin mustaches and often grotesquely made up. In addition to repudiating this “perverted behavior,” filmmakers and television channels or film companies seek to provoke laughter in the viewer, since in comparison to them, men could feel more masculine and women more feminine.
This has been the case since the short film 'Lot in Sodom', by James Sibley Watson and Melville Webber, produced in 1933, which treated homosexuals as depraved sex-hungry satyrs. A film like 'Brokeback Mountain', by Ang Lee, from 2005, had to arrive, already in the 21st century, to present homosexuals to the general public as "common" men, with traditionally masculine appearance and without any type of pathology. that justified the presence of the character himself in the film.
This situation has been gradually transforming to the present day in which the major film and television production companies, especially European ones, pioneers in this subject, make films and series aimed almost exclusively at the LGBTIQ+ audience, showing more realistic characters and settings, films that are shown in commercial theaters or in the numerous film festivals on this theme that are held on all continents, or series broadcast on television channels in much of the world.
Although these current audiovisuals show how difficult it is to “come out of the closet” and project to the viewer the reality in which homosexuals find themselves, series like 'Cooking Crush' do not escape from reveling in stereotyping queer characters. Thus we see how Prem's three fellow students and also participants in the culinary contest, only with competitive, malicious objectives, are able to constantly harass and mock another member of that human collective.

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Yawn generator, its main feature

Again hugging a tree that draws attention because "my mom said." Again talking about photography. Again, agreeing on whether to let the two strange boys into the house when they are left without a hotel reservation. Once again imposing rules of coexistence. Again speaking badly about a person without realizing that they are listening to us. Once again the overwhelming fatigue of everyday life. Again the same formulas seen in… so many other times. But we have already seen this, in other scenarios and with other actors. Where did the magic and surprise travel? Where did they hide? Or are they scarce and exhausted goods?
I am not given to expressing opinions, much less in the form of a review, when it comes to a series, film or short film that does not catch my attention, but with 'Kiseki Chapter 2', the BL drama from 9NAA, a romantic comedy between four handsome men set in Tokyo, the Japanese capital, made me break with self-imposed things.
With this premise, to which is added the fact that it is a series with the protagonist of P Ekkapop Tata (P), Nanthakorn Sringenthap (Beboy), Jirachot Chotticomporn (Pan) and Chattrin Chotticomporn (Plai), the last three protagonists of 'Beyond the Star', I was curious.
I like the idea of ​​a romantic story (I prefer this term to the usual gay love or homosexual love or simply BL) that takes place "far from home" for the protagonists. But I immediately objected to being from the same company that produced 'Check Out' and 'My Blessing', so I was suspicious from the first moment.
And since I learned about the synopsis about a romance between Thai boys visiting Japan, it reminded me of that classic film that is 'Present Perfect (แค่นี้ก็ดีแล้ว / Khae ni k dilaew), from 2012 and its sequel , 'Present Still Perfect' (แค่นี้ก็ดีแล้ว Part 2 / Khae ni k dilaew Part 2), 2020.
As in the aforementioned films, the boys meet, accidentally, during a trip to Japan. And they will only have the few days (in this case 6) that their stay in the Land of the Rising Sun lasts for P and Beboy to meet and fall in love with the twins Pan and Plai, in that same order.
As they get closer and learn a lot about the meaning of life, their time in the country they visit runs out. Furthermore, one of them, P, has lived there for some years. What will happen then when they have to separate? Will they stay together? Will their feelings survive or will they only be content to store beautiful memories in their hearts?
I said to myself: "If it can be 1 percent as good as the films of Thai director Aaam Soisa-ngim, the series is worth watching. If the four protagonists can be 1 percent as good in their roles as they were Kritsana Maroukasonti as Oat and Tonawanik Adisorn as Toey in the aforementioned films, it would be worth seeing."
But soon my cry of euphoria was drowned in discouragement and dissatisfaction. Yes, we are faced with a BL audiovisual that escapes from those stories focused on teenage or school romance, which is not bad at all, but they can get tiring.
So far, and I doubt it will happen, there is no emotional and visual pleasure. I also don't think I managed to awaken other kinds of deeper feelings and emotions in the audience, despite being able to touch on topics such as self-acceptance, discovery, liberation and the way of seeing life. I don't think I'll find these and other themes mixed with deep messages in the plot.
Contrary to 'Present Perfect' and its sequel, it will not touch the human sensibilities of the spectators, nor will it transport us to a confusing journey full of questions about the essence of oneself, despite having, I do not doubt it either. , a very sweet ending. How I would like to be wrong!
Of course, 'Kiseki Chapter 2' will amaze us with the choice of landscapes, especially monuments, temples and sculptures in parks and streets, that we can enjoy in each scene. Hopefully these will contribute scenarios to the story in accordance with the moment of the series, the message or the emotions transmitted by its characters.
One more story of "strangers to friends" and... yes, I would like romance to break out between the characters, but with a solid script and good performances.
Neither the story nor the characters capture me. Between a lot of boredom and little fun, both in the characters and visually, I would like it, why not? May the instant friendship of the four boys become ever deeper into love.
Something positive is that so far nothing indicates to us that the boys are homosexual. So, it could be a good time for them to discover each other and get to know their sexualities. This could be a strong point of the series. Also, being able to enjoy the atmosphere of Tokyo, especially in the fall season.
The series is a slow story and on many occasions very boring. Everything is told without any emotion. The dialogues sometimes turn out to be absurd and unreal conversations where the thread of who is saying what is often lost. The four characters become unbearable and you cannot empathize with any of them.
No, on this occasion it is not boredom and daily problems that are the worst enemies for the couple's subsistence, as in other dramatized ones, but rather it is the couple's own subsistence, actually two, that promotes boredom without reaching solve everyday problems.
Giving a good rating to 'Kiseki Chapter 2' seems to me to be underestimating many very superior romantic dramas that have been ignored for years.

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It speaks to us about all the closets we create throughout our lives

A film transcends its entertainment dimension to become true art when, beyond its narrative anecdote, it reaches a universal magnitude, beyond the particular story it tells.
In 'At First Glance To See It With,' Chinese writer and director Wong Chun Wai embraces the essential through the intimate, which is why hi film connect with audiences so profoundly. This 2017 short film is much more than just another queer coming-of-age story.
The protagonist of this film is Gu Jinxuan, an athlete and instrumentalist who lives a stereotypical life denying his sexuality.
One day, Gu meets Huang Lin, a music lover and fellow university student, and they establish a connection. This moment ignites a spark within him that grows, and which has the power to open a door to achieving the emotional and physical satisfaction he longed for. However, Gu is unwilling to leave the closet and admit that he is actually gay.
In this short film, also known as "As Cheerful as Ever", from the first moment we see Yang Qinkai in this repressed, sad, and painful role, it's unimaginable that another actor could have done a better job.
Despite being a low-budget student production, Wong Chun Wai, in addition to writing the script and making a valid personal statement, is a master at directing actors. Equally exceptional are Luo Panpan as Huang Lin and Hao Ningbo as Ye Yuhan, a girl unfortunate enough to fall in love with a gay man who refuses to acknowledge his sexual orientation or gender identity.
The ending is very sad: three years after breaking up, Gu Jinxuan and Huang Lin reunite on the streets of the city. And even though it is perceived that love still floats in the air between the two, the first one goes hand in hand with Ye Yuan, with whom he lives a lie, and the second one, despite having a boyfriend, he eyes and gestures denote the desire to hug and kiss he first love, the boy he has not yet forgotten.
Woody Allen said that his most faithful companion had been his fear, because she had never cheated on him and left him with another man. 'At First Glance To See It With' speaks to us of all those closets we create throughout our lives, of the impossibility of opening the closet doors and embracing our gender identity in the face of the fear or risk of being discriminated against, harassed, even of losing our lives, by dint of not living it, if we continue to think that the worst is on the other side. Without realizing that the enemy is very comfortably installed within us, which is ourselves.
The signs are there from the beginning, the clearest of them being Gu's need to pretend to his heteronormative and conservative sister that he has a girlfriend, and to deny being gay.
Ultimately, the film is not exactly original, but it is interesting as a critique of those who put fear and silence before their own happiness. The execution is quite good: the camerawork, all the technical parameters, the acting...
Also starring Huang Zhenwei, Guo Xubo, Wang Qi, and Ding Junyan.

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Feeling respected, recognized, and valued

'Open' tells a moment in the life of Kim Hando (played by Youngnam Cha, an actor known for his roles in 'Seoul Mates' (2014) and 'Summer' (2015), a young student who has a big secret that his family, friends, and all his classmates don't know: he's gay.
Hiding his identity hasn't been easy for him as he navigates between love, friendship, and authenticity in a heterosexist school environment and society, such as South Korea's.
The story follows his efforts to protect his identity when one night, while studying at home with Junjae (Yoonho Jo, in his acting debut), his friend and classmate, his boyfriend (played by newcomer Seon-Hyuk Kim) arrives. Our protagonist will experience a moment of gay panic, as he externalizes the shame caused by internalized homophobia.
The interesting thing about the short film directed by Jun Beom, a South Korean filmmaker who directed his second film, 'Secret Spectacles', in 2017, is the joy and freedom Kim feels (which he expresses with a smile and small gestures of satisfaction) when he discovers that his friend has accepted his sexuality.
Kim has won a real battle by feeling respected, acknowledged, and valued by his friend and classmate.
I have no doubt that a path now opens up for Kim where he feels he can be himself, without hiding who he loves or how he identifies, and can live his homosexuality completely naturally without perceiving it as inferior to heterosexuality.

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The seduction scene between two very masculine men is one of the best in world queer cinema

Some love stories are written with poetry, and others are etched in pain. 'Bangkok Love Story' is not the typical romance that BL lover’s dream of... it's raw, confusing, and drenched in sadness and tragedy. Love isn't easy here. It's dangerous, fleeting, and the world refuses to let it exist in peace.
Set in the harshness of Bangkok's slums and the central area, which is full of neon lights and luxurious mansions, the film is violent, passionate, and deeply tragic.
The story follows Maek (Rattanaballang Tohssawat), a hitman, whose tragic past, a blind mother, and an HIV-positive brother named Mhok (Weeradit Srimalai), both homeless, led him to a life of murder. But he's a hired gun with a conscience: he'll only take the lives of people who lack innocence.
His latest assignment is to assassinate Ith (Chaiwat Thongsaeng), a young police informant who knows too much. But when Maek discovers that the man he's meant to kill is innocent and the man who wants him dead turns out to be a criminal, he refuses to do it: executing him goes against his complicated code of honor. After fleeing from his boss and being wounded while protecting Ith, the two men go into hiding together for a time, fearing death by those pursuing them. In a show of gratitude, Ith takes care of Maek during his convalescence.
The scenes in this part of the film are brimming with homoeroticism, as the two fugitives, usually naked to the waist (and very close to each other), constantly gaze at each other when the other isn't looking.
Masterfully executed in this first hour of the Thai gay romantic crime action drama, written, directed, and produced in 2007 by Poj Arnon, the viewer will enjoy a growing sexual tension that finally explodes when Iht rubs Maek's back while bathing the wounded man, unable to use his own hands. They gaze at each other, kiss, and suddenly find themselves engaged in a passionate sexual experience.
In these moments, Arnon expresses through images his power to explore the human heart in the face of danger, the discovery of sexuality, and extraordinary circumstances.
The photography of the seduction scene between these two very masculine men is among the best in global queer cinema of all time. Set on the rooftop of a nearly ruined building with the Bangkok skyline as a backdrop, it is passionate and sensual, with lush, romantic piano music.
But when it's all over, a confused Maek freaks out, demands that Iht leave and leave him alone, and pours water over himself to cleanse himself of what happened. Heartbroken, Iht returns to Sai (Chatcha Rujinanon), his fiancée, but is no longer interested in continuing the relationship with her.
The provocative story of a police informant and a murderer who fall in love then disintegrates before my eyes. The reason for this is that director Arnon falls into the worst clichés of a low-budget Hollywood tearjerker, with endless scenes of an elusive man struggling to accept his feelings for another man, who, while secretly yearning for revenge, hides from his beloved, but leaves signs that he is there to lure the other man back. And to top it all off, the magic of the piano music is transformed into pure, banal, repetitive artifice.
Still, 'Bangkok Love Story' should be praised: in addition to being a milestone for its portrayal of gay men on the Thai screen, something unusual for the time, since previous representations consisted mostly of stereotypical transvestites (or kathoey in their native language), the director continued a cinema that tackled taboo subjects in that Southeast Asian country at the beginning of the 20th century, just as he did with his previous films 'Go-Six' (2000), which portrayed a love triangle between a man and two women (one of them sexually ambiguous), and 'Cheerleader Queens' (2003), which featured transvestite teenagers who aspire to be cheerleaders. Also noteworthy is the almost poetic cinematography and the beautiful full-color photography, which makes excellent use of the locations, the panoramic views of the buildings, and the cityscapes of the Thai capital to tell us this story that begins as an act of mercy and becomes a story of forbidden love, caught between survival and desire.
Moreover, the film is steeped in Thai culture, making it a very exotic cinematic experience. If you doubt it, ask yourself: how many movies have you seen where there is a shootout in a Buddha statue warehouse?
In addition to its well-crafted erotic scenes, the film explores the raw, uncontrived reality of the situation faced by thousands of homeless people and AIDS sufferers in Thailand. It also addresses cruel situations, such as the abuse and rape of a child, and how this event changes the victim's destiny.
Chaiwat Thongsaeng and Rattanaballang Tohssawat do a great job, portraying believable characters with explosive chemistry that sparks audience interest.
Maek is the best-designed character, with a past that serves as the basis not only for the kind of life he leads, but also for his enormous emotional burden, which prevents him from getting close to anyone.

YOU MAY LIKE TO KNOW

When developing the script, the director used names with specific meanings. Maek means Cloud; Iht means Stone; Mhok means Fog; and Sai means Sand.
The film had serious difficulties getting released. During the pre-production process in 2006, the Royal Thai Police objected to the original script, as Iht's character was a police officer who eventually admitted his homosexuality and fell in love with a murderer.
As a result, the director was forced to rewrite the script to make Iht's character and the elements establishing his connection to the Thai police force more vague and ambiguous, in order to pass the scrutiny of the Censor Board, which included members of the Royal Thai Police.
During filming, the actor playing Iht requested that the cameras be used at different angles so he wouldn't have to kiss his co-star, but Arnon explained the importance of realistic kissing.
Ultimately, Chaiwat Thongsaeng accepted the role of Iht, claiming that he was motivated only by the challenge and hoping the film would make him famous. He even told the press that the experience of kissing another man seemed disgusting at first, but he managed to do it by pretending to kiss his girlfriend.
For his part, Rattanaballang Tohssawat declared that it was "an honor" to play a gay man.
Upon its release, the film, which was very popular and grossed a lot at the box office, received mixed reviews, partly because it was considered overly melodramatic. Other positive reviews hailed it as Thailand's most daring gay-themed film. It won Best Film at the Brussels Independent Film Festival.

IN SUMMARY
'Bangkok Love Story' is a fusion of 'Brokeback Mountain' (on a conceptual and cultural level, but not on an artistic level) and an action thriller set in the Thai capital, but with less emotional complexity, more male tearjerkers, and excessive gunplay.
Although it aspires to be an innovative queer film, it leans toward exaggerated masculine tropes and borrows the color palette from Kar-Wai Wong's dreamy melancholy, but without fully capturing the emotional nuance.

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The film works as a metaphor for fascism

Soldier Abel (Sandino Martín) comes running and asks permission, without neglecting martial salutes, to appear before Major Mac Favila (JC Santos). The latter, from a position of authority, which he consequently abuses, welcomes him into a dark and gloomy space (as is the entire film) that looks and feels like a basement.
To get to the place it is imperative to cross a wall, or rather, a row of bars that emphasizes the feeling of an underground prison cell. On the other wall, in the background, in view of whoever arrives, there is a poster of Ferdinand Marcos. At his side, the even more despotic wife Imelda, and a rack of rifles. In the center is a long, narrow bench under bright lights. A new electric shock runs through the viewer's body: everything resembles an interrogation and torture room.
Far away, on the surface, you can hear the cadets singing military marches following the officer's voice of command, while they are evaluated physically and mentally, without their superiors taking into account the cruelty still present, both in the military and in the Philippine educational system.
But dark and gloomy here does not mean uninteresting; On the contrary: it is expressed in the psychological sense of the term. 'Esprit de Corps', the film adaptation by director Kanakanan Balintagos (aka Auraeus Solito), is stunning.
The film, filmed in the Philippines in 2014 and based on one of Auraeus Solito's own dramas written in the 1980s, is visually stunning and will remind us why cinema is considered the seventh art.
From a unique perspective that functions as a metaphor for fascism, the Palawan-Filipino filmmaker, also author of works such as 'Ang Pagdadalaga ni Maximo Oliveros', 'Tuli' ('Circumcision') and 'Boy', opts for a closed frame that makes the viewer feel trapped in the claustrophobic and terrifying reality, both of the victims and the perpetrators themselves, of that dark and devastating movement of the 20th century that celebrates the idea of nation-state, of a leader who brings together all the power and usually despises democracy, seeking instead to establish a dictatorship that controls all aspects of public and private life.
Winner of three awards at the Cinema One Original Film Festival, including Best Director, Best Actor (Sandino Martín) and Best Production Design (Hai Balbuena), the film uses real locations, and a cast that combines established and non-professional actors to portray the crudeness of that ideology that has a strong inclination towards militarism and imperialism, and that often uses propaganda to mobilize national fervor and suppress any form of opposition.
A master of the art of documentary, as witnessed by '60 Seconds of Solitude in Year Zero' (2011), 'Sacred Ritual of Truth' (2002) and 'Philippine New Wave: This Is Not a Film Movement' (2010), the viewer quickly realizes that Auraeus Solito likes improvisation, but within certain limits. That is why in the film there are scenes that were not written, but improvised, and they remained in the final cut because they provide something new and fresh. It is easy to notice the dominant influence of Stanislavski, but also that in 'Esprit de Corps' there is a lot of Brecht. The contentions, the open endings, the appearance that nothing happens, the stopping of chains of actions are essentially Brechtian.
The film allows us to see how at the heart of fascism lays a perverse dichotomy: the glorification of "us" and the demonization of "them."
In a society and institution as homophobic as the Philippine army, we find a common thread of dehumanization: homophobia. This quickly takes shape as officers and recruits display the notion of "masculine machismo", alluding to strong warrior bulls to be celebrated, and those who, whether for reasons of race, religion, or for being weak "faggots", as the young men in the film so vividly call them, or any other arbitrary criterion, are marginalized, persecuted or eliminated.
For the record: Even though the ban on gay soldiers in the Philippine military was lifted in 2010, discrimination persists today.
The film explores the entire range of military philosophy: an officer must be, in addition to being... handsome?, strong; it should be a rock and not a simple gem ("What are you? Jade? Ruby? Turquoise?"). And something I don't know if it really matters or why, but you should know word for word Cyrano's short soliloquy "What is a kiss?", found in the work of Edmond Rostand.
Solito leads the viewer out of that dank, barred dungeon in search of an image of ecstatic beauty: a naked male form floating above us in the water, free from the weight of the world. It's a moment that takes your breath away, no matter what your personal orientation, and goes a long way toward justifying the insertion of Rostand's poem (why did Favila choose that poem anyway, to evoke the romantic nature of warrior culture? It suggests the sensuality of physical exertion and skin contact? Out of sheer perversity?) into the film:
"After all, what is a kiss?
An oath of loyalty taken very close
A seal on a confession
A pink red dot over the letter "i" in "loving"
An example of eternity murmuring like a bee
A balsamic communion with a flower flavor.
A fashion of inhaling the heart of the other and
To taste the edge of each other's lips
And the souls of each one."
Unintentionally or not, with this film its director makes you feel the irresponsible running, the pulsating rhythm of those words.
In this ROTC seduction and ranks game scenario, cadets are questioned for their knowledge and reprimanded for small mistakes. As punishment, they must do an inhuman amount of physical exercises while being physically, sexually and intellectually humiliated. For example, a cadet is accused of being able to claim to become an officer only because his mother became a prostitute to pay his tuition. Another hides before the arrival of the Father Rector at the soldiers' meeting place. He will then tell his companion Cain (Lharby Policarpio), both at odds with each other for outwitting the corrupt Major Marc for his position, that in his childhood he was sexually abused by a priest.
As the cadets are about to faint, the unexpected occurs... or perhaps the imagined: the sliding of a small towel, held by a soft hand, from the muscular back soaked with sweat to the rigid nipple. How will the cadet respond? What could happen to him if he refused to obey his superior's sexual desire? Is the hypocritical attitude one of the reasons why they can be so flexible? Can both the cadet and the superior openly ignore the question of morality? Is what happens in that basement with the low ceiling, bars and interrogation and torture bench that give the idea of a prison correct or not? Should that "prison" be eradicated? The truth is that much of the tension comes from maintaining that carefully cultivated act of evasion.
Auraeus Solito explores deep themes under the guise of an LGBT+ film, for which he decided to recreate the action in Marcos' dictatorial Philippines (overthrown before the play was written), and written when the director was only 17 years old and had just left high school. I should note here that the Reserve Officer Training Program today is no longer mandatory in universities, and attendance, not to mention the sense of relevance, is almost non-existent.
With his distinctive visual style, the filmmaker creates one of the most difficult films to watch in cinema history; a masterpiece that is both a fierce critique of totalitarianism, fascism, imperialism and corrupt power and human degradation, and a character study.
The director creates one of the films most overtly and lyrically obsessed with homoeroticism. Most of the time the cadets sweat and perform physical exercises half naked, under the gaze of the officers who scrutinize them, shout at them, approach their subordinates, touch them, incite them to continue sweating... At other times, you find them grunting against the bars, flexing their exhausted muscles against the concrete floor or grass, or with their bodies dripping with water after the soldier has been in a putrid river as punishment.
But there is not only homoerorism. Also in another peak moment, Auraeus Solito shows us eroticism in its various polymorphic forms: a naive provincial mentions his desire to one day see a diwata, and a forest spirit appears, in all its carnal splendor, represented by actress Sue Prado in a brief but brave cameo.
Capturing the aesthetics of the era, the cinematography and production design serve as the perfect backdrop for this captivating and thoughtful tale. It is a reminder that this political ideology advocates centralized power, fervent nationality and a disdain for individual rights, and has left indelible scars on the fabric of our collective memory. And cinema, with its unique ability to tell stories, has captured and presented fascism in a way that allows us to understand its horrors and reflect on its lessons.
'Esprit de Corps' not only serves as a reminder of the horror of fascism, but also as a call to action. In times when intolerance, hatred and racism prove to be on the rise, it is essential to remember our past and the lessons we have learned. Fascism and intolerance can take many forms and manifest themselves in different times and cultures.
Fascism lives, as demonstrated by the operation of ethnic cleansing, racism and human devastation, perpetrated by Israel in the Gaza Strip, with exhortations to the armed forces of Israeli Prime Minister Benjamin Netanyahu to replicate the Hebrew revenge against the Amalekites referred to in the Bible: "now go and wound them and destroy absolutely everything you have and do not spare them, but kill them, both men and women, infants and infants, oxen and sheep, camels and donkeys".
Fascism lives, as demonstrated by the operation of ethnic cleansing, racism and human devastation, which in the name of Russophobia Ukraine has perpetrated against the inhabitants of Donbass, the vast majority of whom are of Russian origin, with exhortations to the armed forces of President Vladimir Zelensky to raise the flags of Stepan Bandera, the fascist, anti-Semite and leader of Ukrainian nationalism in the 1930s and 1940s, main organizer of the Organization of Ukrainian Nationalists (OUN), and its armed wing, the Ukrainian Insurgent Army (UPA).
Fascism lives, as demonstrated by the North American president, Donald Trump, who in his second term acts like a 19th century emperor, showing that the United States has a serious problem in its democracy, which is that of oligarchy, exhibiting an imperialist fascism, loaded with authoritarianism with which he mercilessly attacks people he considers subversive or who betray the country (in a new McCarthyism); migrants, whom he calls criminals, and persecutes with drastic methods while attempting to eliminate the requirement that his children born in the United States be recognized as Americans; imposing racism and patriarchal white supremacy in a country where half of the population is of black, Latino or Asian origin, and not white.
Fascism lives, and a film that not only serves as entertainment, but as a call to remember, reflect and act to prevent history from repeating itself, may be the best way to combat it.

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Sexual awakening, coming of age, toxic loves and first romantic relationships

Sexual awakening, coming of age, toxic loves, a student's infatuation with his teacher and the first romantic relationships are the center of the plot of 'Heart Stain', a South Korean series directed by Ha Na and written by Yoon I Na, which presents a plot that we have already seen on many other occasions, even much better achieved.
Woo-hyun (Kim Ji Oh), a high school senior, has a one-sided crush on Jeong-min (Kang Yeon Jae), his teacher and basketball club advisor. And in this sense, the series explores how hormonal changes, the issue of appearance, the lack of experience, the idealization of scenarios and characters become part of the cocktail of students falling in love with teachers, something that, although it is not well regarded socially, especially when the student is a minor, occurs with some frequency in that phase in which the teenager is looking for love and prefers to date older boys or girls.
However, in the series this infatuation remains platonic.
As part of this stage in a teenager's life of beginning to know himself and explore his sexuality, Woo-hyun one day hints to Jeong-min that he likes a boy, but without offering other details as he has no plans to confess until after graduation, when the teacher-student bond no longer exists between them.
The kind teacher, who is unaware of Woo-hyun's feelings for him, assumes his words as if a student came out of the closet, and supports him.
For his part, Park Do-ha (Ha Min) is secretly in love with Woo-huyn. When Do-ha discovers his secret, Woo-hyun fears that his best friend and classmate will judge him for liking men. Surprisingly, Do-ha responds with an unexpected proposal: the two of them start a romance until graduation: If Woo-hyun ends up in love with him, Do-ha wins. If Woo-hyun hasn't developed feelings for him after high school, Woo-hyun would be the winner.
Eager to forget Jeongmin, and with nothing to lose, Woo-hyun accepts the offer, believing that this relationship will help him overcome his unrequited love. Little by little, their friendship changes, and the two must determine the complicated feelings they have for each other.
To represent these dynamics, the series uses stereotypical characters. Do-Ha is shy, naive and tends to redeem himself from everything Woo-hyun does, despite suffering from love for being in love with the boy who is in love with someone else. Woo-hyun is the boy who also suffers, but for the love of someone other than Do-ha. But with the bet they both begin a relationship, cold, without substance, without passion, without romanticism.
The power relationship between them is clearly seen from the beginning of the series: Do-Ha chases Woo-hyun, while he sighs in love for his teacher. Do-Ha doesn't make the decisions about their relationship; he suffers for love; he waits for Woo-hyun to change and fall in love with him…
This selection of characters is tailor-made to represent certain dynamics: the boy who initially has no feelings for the boy who is dying of love is the one who gets all the attention; while the boy who is in love with the co-star, the one who cares about the other's happiness and well-being, does not receive corresponding love. In other words: Woo-hyun's character functions as the "bad boy" who has little or no interest in the feelings of others; while Do-Ha would be the "good boy" who loves and suffers from not being reciprocated.
These characters are joined by Sori (Shin Si Ye) and Taemin (Yoo Ho Soo), the two supportive friends and also classmates of the protagonists; while we will soon see how the love triangle gives way to a rectangle (also called quadrangle) when Junsu (Kim Yi Geon) admits to being in love with Do-Ha. And this last one is the third one-sided crush, ironically marked by the coordinates that Woo-Hyun, who does not love Do-Ha, will make a "long face" every time Junsun flirts with Do-Ha.
Woo-Hyun needs to hurt Do-Ha, cause the breakup of the weak relationship between the two, stimulate a forced departure of the person who loves him to a European country with the excuse of continuing his university studies, to finally realize the feelings he has developed for him.
'Heart Stain' is one of those series that teaches us with these ideals of romantic love to experience or desire a practically toxic love. I would have liked the narrative to be focused on working to banish this idea that love is suffering, to begin to build a beautiful, tender, egalitarian love, so that young people learn to love in a positive way.
Changing these stereotypes in the representation of BL series is vital so that the dynamics on which romantic love is based also change.
Because even despite having a happy ending after a jump in time, the two boys will have to separate once again..., despite Woo-hyun's feelings for Do-Ha seem sincere, their relationship still does not convince me.
'Heart Stain' is a showcase for teenagers to assimilate that relationships have to be full of suffering and pain, and even that happiness is achieved with thousands of kilometers of distance involved, and with a brief and frugal meeting of two or three weeks a year.
Despite its thoughtful writing that follows the struggle of the main protagonist, it has the perfect ingredients to succeed among young audiences in general and BL lovers in particular: a high school plot, teenage love, first dates... in the 8 episodes of about 24 minutes in length, the main myth of romantic love is represented: if love doesn't hurt, it's not love.
Just as it represents the clichés of what teenagers do on a daily basis, it also reproduces many dynamics of toxic relationships from a young age: love is suffering, love is pain and both hurt each other and distance themselves. All seen through the exploration of pain and the protagonist's internal conflict between desire and disappointment.
'Heart Stain' could have been the opportunity to dismantle and banish the myths about toxic teenage loves, just as it could have been an opportunity to teach teenagers what healthy relationships are. However, its slow pace, lack of chemistry, insufficiently strong feelings to convince me of the romantic relationship, a relationship that exudes one-sidedness and the lack of development of the characters, that is, our lack of knowledge of their personalities, their backgrounds, make it a boring series.
And the series, like all cultural products, represents and tells us in some way what the behaviors and dynamics in a relationship should be like. We as the public indirectly absorb these values and adopt them in our daily lives. That is why it is so important that cultural products reproduce situations in which healthy relationships occur, and if they present toxic relationships, narratives full of pain and suffering, they also show reflection and learning. This is not the case. It is not achieved due to the poverty of the script and direction in this sense.
They sell you this series as a love story, but at no point is that "love" really shown.
If we must rescue something, it is the photography, and since it is a South Korean production, one could not expect less, the shots are precise and it has that touch of a youthful atmosphere and a student setting. The performances are good, especially those of the protagonists; I think they knew how to exploit it, but sadly the series alone fails to hook me, much less suggest it to others to watch.

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Captivating anthology series inspired by real lives

Oh, how I appreciate a captivating anthology series inspired by real lives, depicting moments in a person's life, whether in high school or college!
And this is precisely what 'Mr. X And I', based on the life of Chinese director Zhang Wen Shuang.
The trigger for the stories in the series is that they all portray a homosexual relationship. From there, Zhang Wen Shuang and Le Geng put together small stories that oscillate between the poetic, romance, questions between sexuality and gender, the school and youth environment, and they have had a notable staff of editors, scriptwriters and actors for each episode of its three seasons.
Yes, independent stories are my thing, because they usually offer room for creative experimentation, combining unconventional narrative structures, time jumps or even different visual styles within the same series without compromising the verisimilitude of the plot or characters; But if they have 8 gay men as protagonists and the city of Beijing, the Chinese capital, as a backdrop, they also intrigue me, which is why this miniseries ended up being one of my favorites. Even with the high bar to meet, I didn't leave the virtual platforms that showcase it disappointed in the slightest.
The series really has everything going for it (the cast, the script, the cinematography, the editing, the art, the controversy...) and it's not afraid to flaunt it. The icing on the cake is the confident and careful filmmaking of director Zhang Wen Shuang, who lets every facet of his creation shine.
Another of its strong points is the independent and self-contained narrative, the absence of a continuous plot and character development throughout the four episodes. This is a great advantage for the series viewer, since they can skip individual episodes that are less attractive without losing connection.
The final set, stacked, in its display packaging, is perhaps the strongest and most crucial feature of the miniseries. There is not a single weak link in the group.
The series is above all a great showcase for Guan Lexiao, Arthur Ma, Leon Li, Li Ou, Tu Dou, Wang Qiuhan, YiFan Wu Zhou Yibo, who play, in that order, Liang Haoran, Wang Kai Yuan, Zhao Xiaobu, Jia Ming, Li Xiang, Song Xiaoke, Tao Ye, and Xu Zhengxi, all skillfully played.
In this sense, as each episode tells a new story, the actors change, but not the production team. In this way, the creators allowed for a wide range of perspectives and constantly new creative influences.
Adding texture is a fantastic ensemble of character actresses. Look, if you recruit Wen Xin or Zhang Beiyu to play a supporting role in your series, then you will have piqued my curiosity. But what if you recruit them both? And ask them to plot in the shadows against the leading boys, one playing Gu Xue and the other Ai Tong? So, I'll be the first in line on opening night!
Although each episode tells its own story, the series has a unifying theme and style that runs through all four of its episodes.
The performances aren't the only artistry on display. The shot compositions are tremendously bold.
Len Geng and Zhang Wen Shuang love close-ups and "Us Against the World" (Ep. 1), "Promise You a City" (Ep. 2), "Beijing Beijing" (Ep. 3), and "The Groomsman" (Ep. 4) are full of them. It will fill the frame with as much of an actor's face as possible and give them the shallowest depth of field allowed to work with. And if the setting requires it, actors in medium shots will also float in a sea of soft focus. The effect is isolating.
These characters are constantly in states of reflection, of interaction with each other. At any given moment, they are dealing with what is best for their own life or relationship, and the technique magnifies the immense pressure the creators have placed on them; to fight for your happiness and that of the person who accompanies you on the journey of life and love.
So yes, Zhang Wen Shuang brings us uncomfortably close to the actors whenever the occasion arises.
No one can doubt it, I get so excited every time a director composes conceptually and with intention!

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Depressing, confusing, exhausting and... very blue science fiction short film

On high school graduation day, young Fan Lai throws himself into the Pacific Ocean and memories of Tao-Yang Cheng return.
Lai has a secret love for Cheng, but Cheng already has a girlfriend. Lai is forced to reveal his feelings for Cheng and the nightmare begins.
On graduation day, should Lai let the sea take him away?
Using the Depression, Blue and Ocean trilogy, in his debut feature, To Kao films a depressing, confusing, exhausting and... very blue science fiction short film.
The film has great potential and cinematography, but I find the story too classic and disappointing.
I can immediately realize that it was all a dream. The short film is worth seeing for the use of water as a metaphor, for the incredible view of the sea, for the beautiful photography.
In the film, the filmmaker who graduated from Kun Shan University in Tainan, Taiwan, addresses the theme of unrequited love that turns everyday high school life into a thriller, but I don't find it satisfying or memorable as a whole.
In my opinion, the biggest flaw (unless it was a pointless art film) is that the story doesn't try to leave a message. If the meaning were a message, maybe everything would be memorable, even if it were a dream.

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To be or come out of the closet, that is the dilemma!

Set in the present day in a Chinese university, the romantic and youth film 'To You, for Me' is an example of the best of Chinese queer science fiction, in the manner of the series 'I'll Turn Back This Time' (2025), and the films 'Shao Ling Bi' ('Mermaid's Jade', 2019), by Zhang Kai Qiang, and 'Star Appeal', by Cui Zi En, among many others.
With a plot that invites both enjoyment and reflection, 'To You, for Me' divides its 26 minutes into four acts, to tell us about a relationship between Ian (Ian Lao) and Paul (Paul Wong), two university students.
Written and directed by Symenie Kam and Kitty Wu, the first act explores the jealousy and shame that homosexuals often suffer from publicly recognizing themselves as such, themes that are the reality of many.
The plot immediately introduces us to the story from the moment the two boys meet, while playing the popular game of hide-and-seek in the student residence.
Independently, both decide to hide in a closet that, due to its small size, does not have space to house both of them, so Ian will demand that Paul find another place to hide and thus prevent both from being caught by the pursuers.
The friendship between both protagonists is quickly built from the unexpected meeting. And what begins as a simple game quickly turns into a secret and unconfessed love for each other, triggering unexpected conflicts and testing the strength of the relationship. While Ian is more open to acknowledging that he is in love with his friend, Paul is unable to acknowledge his feelings, so he agrees to have a heterosexual relationship with Sofia (Sabrina Tam) to avoid being singled out by his classmates.
The relationship between the two protagonists is abruptly interrupted by a tragedy that forces Ian to go back in time to precisely the moment when the two boys met in the closet during the game of hide-and-seek.
The second act addresses the theme of the established gay couple, but in which one of the two boys is not ready to come out of the closet and asks his beloved for time.
After traveling in time, Ian agrees to share the closet with Paul while the pursuers try to discover where the other players are hiding.
As happened in the first act, the friendship between the two young people blossoms and the plot quickly leads us to Paul admitting that he is also in love with Ian and they both begin to live a secret relationship.
In this act the idea of ​​"being in the closet" is played with, because while Ian is not afraid to acknowledge his sexuality and considers, a year after starting the courtship, that the time has come to publicly acknowledge the relationship, Paul still feels confused and maladjusted in society, so he insists on still keeping the romance a secret. Despite being happy, Paul is embarrassed to hold Ian's hand and introduce him to his friends as his boyfriend, especially when everyone considers that Paul is a boy who attracts all women.
Since the reasons why Ian traveled in time have not been resolved, tragedy occurs that will force him once again to return to the moment when they both met.
Knowing the tragic outcome, in the third act, Ian will reject all of Paul's attempts to connect with his friend and lover. And tragedy ensues, but now, in the fourth act, it is Paul who travels back in time to give us a happy ending.
Despite its low budget, a script that seems to fulfill a university academic exercise, a non-professional cast that took its first steps in the world of acting with this film, and a shallow romantic content, I liked the plot for addressing topics such as second chances, choosing relationships, jumping in time and coming out or being out of the closet.
In summary: the plot line of 'To You, for Me' connects with the BL-loving public, because it is very close to their reality. Friendship, jealousy, gay shame, staying or coming out of the closet, self-discovery, acceptance, fidelity, love and the search for happiness, are essential values ​​and themes that resonate in our daily lives, seen from all perspectives. science fiction.
Furthermore, the story addresses strong themes that may be controversial, but through reflection they seek to transmit positive messages, always starting from truth and love. On the other hand, there are situations that will invite the viewer to reflect deeply on various aspects of life.

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Love can really change people

The Japanese director Daisuke Yamanouchi, one of the fundamental presences of audiovisual creation on his continent for three decades for his work in mainstream film, pink film, straight-to-video V-cinema and adult videos (AV), was deserving of the Jury Prize in the Off Theater Competition, at the Yubari International Fantastic Film Festival, in 1994 with her debut feature, the short film 'Blood Red Girls'.
He would then continue his artistic career as assistant director with Keita Amemiya on the 1995 fantasy film 'Moon Over Tao: Makaraga', the direct-to-video V-cinema productions, which usually involve extreme gore and horror, such as 'Red Room, Girl Hell', 1999 and 'Dead a Go! Go!'.
In 2002, Yamanouchi made his directorial debut in a pink film, with Maria Yumeno: 'Chō-inran onna no shiseikatsu', starring AV Idol Maria Yumeno.
At the 2006 Pink Grand Prix ceremony, she won the Best Picture Award, by virtue of her pink film 'Beautiful Lesbian Sisters: On the Day of Mourning'.
At this same Festival, five years later, he won a second award with his film 'Irokoi sata Sadako no bôken: Watashi no ai Shita shôgu-tachi yo'.
Yamanouchi also ventured a bit into the Japanese adult video (AV) field with studio Global Media Entertainment in 2005, directing four videos in their 'Boshisōkan yūgi' series, featuring older women and incest themes.
In addition to his work in pink cinema, Yamanouchi continued to write and direct dozens of V-cinema films, many of them in the horror and science fiction genres. In 2014, he was the editor of Yutaka Ikejima's film about a minor actor in the Japanese adult video (AV) industry, 'Oyaji Actor Z' (おやじ男優Z, Oyaji danyū Z).
Many still remember his 2019 film 'The Shortest Distance is Roundabout', which has two versions; "blanc", aimed at a youth audience, and "noir", for those over 18 years of age.
The release in July 2024 of his latest film, 'Heavens x Candy', is a good reason to suggest that MDL readers also get closer to the filmography of the Japanese author.
Family, human relationships, sex, affections, absences and otakus and their (mainly) online obsessions with love, games, anime and/or pornography, are the six pillars on which this film is based, supervised by Kasai Ami.
'Heavens x Candy' tells a story of pure love between two men who have never known love: a shy boy and an audiovisual actor who get to know each other through "oshikatsu" (fan activities).
On his way back from an event for fans of the popular anime series "Heavens x Candy", Hibiki Takato (played by newcomer Taisei), a 2D otaku with a reserved personality at twenty, visits a cafe that is a sacred place for fans but he forgets his wallet and leaves there without paying.
Amemiya Towa (Mukai Riku), who shares similar otaku tendencies and a love for "Heaven's x Candy", and who is at the cafeteria for the same purpose, accompanied by her stylist Satochi (Matsumoto Takuya, 'Fujoshi, Ukkari Gei ni Kokuru ', 2019), pays the bill for him.
The next day, they both meet at the cafeteria when Takato returns with the money and Towa to drink the banana smoothie that the establishment sells and which is also praised in the audiovisual preferred by the two young people. Once agreed, they go to the lighthouse that appears in the anime to continue the pilgrimage.
Towa, known for playing Haruto in 'The Shortest Distance Is Round', strongly suggests that the two go to another sacred place, a love hotel. There, as they express their love for each other, Towa reveals that he is a popular straight porn actor. Meanwhile, Takato recognizes the reason why he locked himself up like a hermit in his house.
I also liked the side story of Yusuke (Takemoto Taishi), Takato's father, and his partner Shinya (Yuki Shun).
Takato represents a widespread phenomenon in Japan, particularly among young men who cannot access university studies, and are seen by their embarrassed parents as disabled people or useless failures who should be "hidden in the back room".
I am struck by how in the film we see the opposite, with a tolerant father who encourages his own hermit son, who has not left the house for four years after his mother's death, and how he is happy when he leaves out of the shell after falling in love with another boy.
I liked the 'otaku' character concept of the character played by Taisei, a shy and lonely twenty-something, uncommunicative and unemployed ('Otaku can mean 'home', as in 'homebound', an insult).
Although the film could use a little more depth in the story, I liked how the two main characters manage to change thanks to love, serving as a motivation for personal growth, as a source of inspiration to improve behaviors and attitudes. Takato, for example, was able to develop self-esteem, which led to greater happiness and satisfaction in life. He was able to leave his hermit life and look for a job to become independent from his father.
Towa, for his part, quit a job that did not satisfy him, because despite having a lot of sex thanks to his work as a porn actor, he had never experienced love.
Likewise, the love that arises between Towa and Takato allowed them a change in perspective, allowing both to see the world in a different way, adopting a more positive and empathetic perspective, just as they were able to overcome fears and insecurities and bring them to a better place. greater self-confidence.

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Pioneering Chinese queer cinema in not having a fixed protagonist

The long-haired rent boy from Shanghai, the middle-aged lady who settled in the city upon arrival and today works hard to earn money, the young man who broke up with his ex who never returned to his hometown and now works as a pimp middle-aged, a bald and perverted old prostitute, a laid-off worker who once acted as a guest star and now runs a sexually transmitted disease clinic, the gay husband of a laid-off worker and their modest son, the introverted and taciturn son of a worker farewell who kept company with a puppy found on the road, the murderous gangster disguised as a member of the joint defense team, the young woman from Yunnan who asked for directions to the Bund, the Zhabei girl who works as a prostitute, the taxi passenger, the beautiful girl from out of town who took her younger brother and her boyfriend to a small town south of the Yangtze River...
Before 'Babel' and 'Crash', the American films directed, the first by Alejandro González Iñárritu in 2006 and the second in 2004 by Paul Haggis, achieved international success due to their main characteristic of not having a fixed protagonist, and being benefited by the presence of Brad Pitt in one case and the Hollywood studio system in the other, 'Welcome to Destination Shanghai', the docudrama written and directed in 2003 by Chinese filmmaker Cheng Yusu also does not have a single protagonist.
Premiered at the 32nd Rotterdam International Film Festival in the Netherlands, then screened at the 27th Hong Kong International Film Festival, the film, starring Yang Zhiying, Cui Zi'en, Xiong Dailin, Yi Jin and other actors and Chinese actresses, cross stories, intermingle lives of queer characters in their daily lives on the streets of the important Chinese city.
Winner of the FIPRESCI Award from the International Association of Film Critics and the Fipzig National Film Critics Award, through a collection of vignettes involving male prostitutes, elderly prostitutes and other sex trade workers, Shi Yue's precise photography combines the Shanghai on the Bund with the Shanghai on the Suzhou River, the ever-changing political Shanghai with the ever-changing economic Shanghai, the Shanghai with Chinese characteristics and the Shanghai in the process of globalization, the people common Shanghai and the people of prosperous Shanghai to present realistic Shanghai and allegorical Shanghai in a somewhat linear, full and white manner, forming a group of postmodern Shanghai images with various expressions and charms.

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Intimate, highly stylized and experimental docudrama from queer Chinese filmmaker Cui Zi En

'Night Scene' is a highly intimate, highly stylized and experimental docudrama from filmmaker Cui Zi En, one of the most prominent cultural figures in the Chinese queer community, which focuses on male sex workers in Beijing.
Camera in hand, the director descends into parks, nightclubs and other public spaces to interview both real-life "rent boys" and actors posing as male prostitutes.
In this work Cui Zi En manages to scrutinize one of the greatest taboos of contemporary China: male street prostitution.
The film becomes a unique portrait of a twilight world in parks and nightclubs, which oscillates between documentary and fiction. Cui filmed gigolos and real actors playing homosexual prostitutes, without detailing precisely who is real and who is not. There is no strict distinction between homosexuals and prostitutes, nor any moral verdict. However, the director has filmed an ambiguous and layered film, as limitless as the lives of prostitutes in China.
Cui Zi'en's second film in four months is more of an expanded footnote to his memorable 2003 effort titled 'Feeding Boys, Anaya'. As in this work, 'Night Scene' investigates the lives of prostitutes on the streets of Beijing, here using the most subtle narrative to gather first-person interviews to document the clandestine sexual world of the Chinese capital.
While not as compelling as 'Feeding Boys, Anaya' and less formally interesting than 'The Narrow Path', Cui's one-take work, 'Night Scene' found a home at the same festivals that have regularly showcased his work, as well as the support of critics and the public.
The docudrama explores the construction of queer discourse in China through the lens of male prostitution, and thanks to a fragmented and layered narrative that is combined with diverse perspectives and polyphonic voices, giving rise to all these representations being presented in one performance highly conscious that it needs to be put into context: that is, China's queer visual discourse, which is constantly under construction and in need of self-criticism.
Presented in the Official Selection of the International Film Festival Rotterdam, 2005, Busan International Film Festival, 2004, Viennale, 2004, and Frameline: San Francisco International LGBTQ Film Festival, 2005, the documentary collects confessions of sex workers as they speak directly to the camera, but it also features some fake scenes.
I draw the viewer's attention, because since all the false scenes are located in the footage at the beginning of the film, we can come to believe that we are actually watching a fiction film and not a docudrama.
The line between fact and fiction is blurred from the start, but in some ways the faux approach helped make the more intimate, one-on-one scenes with the sex workers feel much more vulnerable and personal.
Cui Zi En shows mastery of an intimately embodied vision, the effective use of the haptic camera, reflective performances and subjective editing strategies, characteristic features of his work, with which he manages not only to present alternative perspectives on issues of identity from within of queer communities but, more significantly, practices a boldly performative and intimately engaged mode of documentary filmmaking, and in the process challenges the very distinction between documentary and fiction, truth and opinion, self and other.
Its embodied approach not only demonstrates the potential for minority discourses to actively and critically engage with social reality, but also represents an important direction – that of increasing reflexivity – for the continued development of documentary film in China.
The candid confessions of all those interviewed offer a glimpse into the culture of street sex workers in the Chinese capital, touching on common themes such as gay rights, class disparities and the search for true romance.
The docudrama also follows a gripping story about a young man named Yangyang, who discovers that his father is gay. The boy sets out to investigate his father's hidden past and confronts his secret partner Xiaoyong in the process. At the same time, in all this confusion, Yangyang is surprised to discover that she also falls in love with a boy, Haobin. But his world falls apart when, after a while, he discovers what his friend really does.

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