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This review may contain spoilers
Anusorn Soisa-ngim, the irreverent, the illusionist
Anusorn Soisa-ngim is a 35-year-old Thai man with a frank smile and happy eyes, a clean-shaven beard and modern pants and shirts as his clothing of choice, in which there is no shortage of the image of Britney Spears, which along with love is the other thing in this world that you believe in.He looks like a high school math teacher. However, sometimes I imagine him in another way, with a wardrobe of bright colors, an earring in his ear and a bohemian air, and in his hands a banner with a motto drawn in the colors of the rainbow, in the middle of a crowd, fighting for the right to equal marriage and the end of the discrimination to which LGBT+ people are subjected in their nation, or actively participating in other protests against harassment and marginalization carried out by executives in the Thai entertainment industry.
Perhaps this way, Aam, as he likes to be called, was more similar to his film work, because Anusorn Soisa-ngim is not dedicated to teaching logarithmic equations to inattentive teenagers: his job is to be a Thai iconoclast or, what is the same, one of the most unique authors of contemporary world cinema.
From his beginnings on the big screen as a screenwriter and director, Aam showed his ways as an original creator. With great artistic skills and indie creation, he says what he thinks and, above all, tells the truth.
Eternal nonconformist and controversial to the core, but never apologetic, few filmmakers can boast in their entire careers the significance of the titles they have delivered from 2012 to date. His debut was with 'Present Perfect', a short film made during his university years, in which he filmed a story related to himself, which would be taken up five years later in a film with the same title, with which he set out to bring back to Toey and Oat, his main characters, with the aim that the audience enjoyed his realistic perspective on what he believes about love, and with the key message that if you think in a new and different way, sometimes it is much better than you expect.
It would then be followed by the films 'Bangkok Dark Tales' (2019), and 'There Is No Space for Me' (2014), the three seasons of '2moons: The Series' (Mello Thailand, 2019), the documentary 'BL Broken Fantasy ' (2020), the feature film 'Present Still Perfect' (with which the cycle momentarily closes, but another installment is planned), the film series 'Call It What You Want' (GagaOOLala, 2021), which includes 'It's Complicated', and the film series 'Till the World Ends', the latter two from 2023.
Their creations share a taste for telling realistic stories that reflect their own lives, or about how they wish society was, how they wish people would treat each other. Despite the stylistic variations between each work, one cannot escape the feeling that they point to the same essences, convictions, fears, securities, philias and intimate worldviews of the author. As if Anusorn Soisa-ngim created a portal to his mind through his filmography, because the Thai director believes in the power of telling stories, in creating content that speaks to people, that makes them feel, think and question . He ultimately believes in being unapologetically himself, no matter what the industry says.
His journey has not been easy. After graduating in 2014, the filmmaker dove headfirst into the world of glitz and glamor that is the entertainment industry, only to discover that it's more about who you know than what you can do. But here's the kicker: Instead of following their rules, Anusorn Soisa-ngim made his own. And that provoked the anger of the hierarchy.
Inspired by real events, 'Call It What You Want' reflected the pressure of the BL industry on artists: plastic surgery, strict diets and, worst of all, the suffering to which young actors are subjected when they are harassed by film producers series, in addition to the need to keep the relationships between many of the protagonists of these dramas a secret from the company and fans. This meant an attempt to silence him.
Being banned from the entertainment industry has meant for him that he is not chained to having to follow guidelines, so he can break the rules and, although he does not have money for his creations, he has been able to push the limits and create art that really means something, without fear that it may generate controversy.
Aam's cinema has as many tricks as a conjurer. Characterized by telling real, raw stories full of passion, his works are about people, life, struggles and triumphs, and that is what makes them unforgettable. His creations go from laughter to horror as they reflect the sexual harassment of young actors by executives in the entertainment industry, or the promises that giving them their bodies would guarantee them entry to Earthly Paradise; but perennially having as its main theme the romance between boys.
Always trying to be himself and, at the same time, trying to understand what the fans really want to see.
Away from fiction, but about it, in the documentary 'BL Broken Fantasy' he addresses the behind-the-scenes of BL. Starring Bright and Win, the protagonists of the famous BL 'Still 2gether', Anusorn Soisa-ngim himself and a group of directors, producers, actors and scriptwriters of the genre, including Aof Noppharnach, Vachirawit Chivaaree and Metawin Opas-iamkajorn, try answer questions such as: Where does the BL series come from? Why are Yaoi fangirls devoting themselves physically and financially to BL?
Revered in 2022 as the best-selling BL sales director, in 2023 he was the Filmmaker of the Pride Month. He was nominated twice for the Asian Contents Awards, the first in 2020 thanks to '2moons: The Series', and then the following year with his second series, 'Call It What You Want', with which he was also nominated for an award. Content Asia, for "illuminating the struggles of independent filmmakers in the cutthroat entertainment sector." This series of films reveals, through the lens of Aam Anusorn, a tapestry of challenges, triumphs, and eternal perseverance.
Known for his unique approach to storytelling, drawing inspiration from his own experiences to create stories, Aam has made a name for himself in the independent film industry, and founded his own production company, COM'ME'TIVE By Aam, while still He was in his second year at Bangkok University, where he earned a bachelor's degree in Film and Performing Arts.
'PRESENT PERFECT' AND 'PRESENT STILL PERFECT'
Aam's most notable work to date is 'Present Perfect', which he adapted from the original 2012 short film. It is considered the first Thai film to receive funding from the government of Hokkaido, Japan.
The film revolves around Toey, a young Thai man who, after a painful breakup, decides to heal his broken heart in the Japanese city of Higashikawa, where he meets Oat, a man who travels to Japan to experience freedom for the last time in his life, because he is about to get married. From strangers to friends, romance blossoms between the two. Before returning to the "real" world, the two men have to pick up the broken pieces and rebuild them.
Starring Kritsana Maroukasonti as Oat and Tonawanik Adisorn as Toey, for her 2017 debut, Aam Anusorn Soisa-Ngim drew on him own experiences to tell this romantic story that will take the viewer on a moving journey as the characters follow the simple quest of love The encounter forms a beautiful relationship between two men, because each has his own trauma.
For the filmmaker, recovering these characters, especially Oat and Toey, was like seeing himself.
Produced by Nuttachai Jiraanont, Tanwarin Sukapisit and Chen Rong Hua, the film won the Best Film Award at the Amsterdam LGBTQ Film Festival in the Netherlands and was screened at many film festivals around the world, including the World Festival Bangkok Film Festival, the Serile Filmului International Gay Film Festival, Romania, and the Western Visayas Film Festival, Philippines.
Then, the film ended inconclusively, in the airport scene in which both young people have to separate. The director faced a dilemma, when one is about to accept or delete the other's friend request. And he chose to just leave it there, because he wanted people to create their own ending. "Those were those times, in 2017, when gay marriage was something we didn't talk about in Thailand," he told the press at the time.
While 'Present Perfect' is more realistic and intended to be true to life, 'Present Still Perfect', released on March 12, 2020, offers a more idealistic view of same-sex relationships in modern Thailand, while the A pair of former lovers reunites once again on the remote island of Koh Kood.
Four years after what is told in 'Present Perfect', Toey meets Oat at the airport and all his pain returns. In an attempt to cope with her pain, he decides to travel to Koh Kood where he meets Jane (Darina Boonchu), the guesthouse owner who recently discovered that her husband was having an affair, and Kenta (Ryota Omi), a traveler from Japan who was staying at his house.
The peace and beauty of the island brought Toey joy again, but he knew he couldn't ignore her feelings for Oat forever. Until one night he receives a message from Oat about how much he missed him. Toey responds by stating that he loves him too, because deep down being with Oat is all he wants, but he is cautious, knowing that his love is forbidden. The next morning, Oat appears on Koh Kood. Now Toey has to decide whether to follow his heart and rekindle his relationship with Oat or let him go since they can never truly be together.
'Present Still Perfect' is more about how Aam wishes society was. With his dream of getting married one day still unfulfilled, the filmmaker needed his dream to come true, at least on screen. For this reason, he did not hesitate to see his characters triumph in love. "I feel like I'm already married, even though that's not the truth. So yeah, the reason I keep coming back to these characters is because I want them to be successful in love, and ultimately they were."
The sequel to 'Present Perfect' makes a clear statement in favor of same-sex marriage.
And if on the one hand, the film has contributed to changing mentalities and making visible people from the LGBT+ community and their struggles for the legalization of same-sex marriage in Thailand, it also leaves another clear message: the act of letting go, the act of forgiving. If your husband is gay and you already knew it because you have been with him for years, you have to learn to let go and accept the truth.
In 2018 he did not have the budget to film the second part because no one supported him. Then one of his fans suggested, "Why don't you go to Indiegogo.com and then do some crowdfunding?" And after a lot of thinking: "Who is going to pay me the money? I'm a nobody. Nobody cares about me. Why do I have to?", he discovered one day that he had enough money to embark on that other trip. .
On the other hand, much of 'Present Perfect' and its sequel deal with cultural differences. In 'Present Still Perfect', for example, a Japanese character explains how in Japan it is considered disrespectful to let an old woman take her seat on the bus.
However, what is truly extraordinary is the cinematographic wrapping of these topics in films and series that leave the unmistakable feeling of being unique.
This, and no other, is the key to Anusorn Soisa-Ngim's exceptionality. If we look closely, the themes are not different from those of hundreds of authors, many of them also Thai, no matter how much personal quirks are sought in their work. However, his way of conceiving stories on celluloid has such a singularity that there is no other choice but to applaud and applaud him, like the magician who has just pulled a white rabbit out of his hat.
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This review may contain spoilers
Considered to be the first Thai BL series and also the initiator of the expansion of Asian boy love dramas to the rest of the continent and the world, 'Love Sick The Series' explores the experiences of students who attend an exclusively university. male called Friday College, based on the budding love story between Noh, the president of his music club, and Phun, the vice president of the Student Council of the aforementioned house of higher studies.The series has two seasons: the first aired in Thailand from July 6, 2014 to September 21, 2014, with 12 episodes, and the second in 2015, with 36 episodes. In April 2019, the main characters appeared in the three-part miniseries 'Reminders'.
Broadcast on Channel 9, the series is directed by Andy Rachyd Kusolkulsiri, the filmmaker of the Thai queer scene for writing and directing both the first season, as well as many other series and films, such as the homoerotic drama 'Me: My Familiar People', which caused a stir due to the strong sexual scenes, and for being the producer of the comedy 'Tom Gay', which portrays the relationships of a gay and lesbian couple.
Also behind the cameras are Cheewin Thanamin Wongskulphat ('Why R U?', 2020), who plays Jenny in the first season, a director, producer and owner of Copy A Bangkok who is credited with being the first producer of the series Y in Thailand, and Yuan Tin Tun Danop, the director of 'Hit Bite Love', the daring series adorned with sexual scenes and sadomasochism, the films 'Tom Gay', 'Let's Go Bangkok Holiday' and 'The Right Man : Because I Love You', and the series 'Make It Right' and 'War of High School', among others.
With extensive experience in addressing topics such as homosexuality, homophobia, love triangles, secret affairs, multiple partners, family conflicts, unrequited love, youth and the school environment, the trio of directors adapt the original novel of "Thai Boys Love Love Sick: The Chaotic Lives of Blue Shorts Guys", written by Latika Chumpoo, the Thai screenwriter and novelist who publishes her work under the pseudonym Indrytimes, doing a very restrained job of putting teenagers before the cameras.
We are facing a story of coming of age and coming out of the closet. Also, before a love story. I wouldn't say it's an LGBT+ story because their struggle to fall in love is more complex than gender. As in the first season, the series stands out for adapting many Japanese yaoi tropes.
Starring Captain Chonlathorn Kongyingyong ('Rak Sood Jai Yai Tua Saeb, 2023), and White Nawat Phumphotingam, ('Water Boyy The Series, 2017), as Noh and Punn, the script of the series is written by Kwang Latika Chumpoo (' Cause You're My Boy', 2018), the same Thai screenwriter and novelist author of the novel on which the series is based, Fern Tanyatorn Butyee ('ReminderS', 2019), and Saipirun Chaichiangpin ('May-December Romance, 2021).
The beautiful cinematography of Panit Jirawattananunt (Midnight Motel', 2023), the correct editing of New Siwaj Sawatmaneekul and the music of Boy Sompob Pokepoon ('2 Worlds', 2024), capture the viewer and immerse them in this exciting series.
It's adorable how Siam and related areas are shown. The daytime scenes and especially the nighttime ones are beautiful.
THE HISTORY
The second season of Love Sick the Series begins with Noh and Punn deciding to be just friends. The two focus on preparing for Friday College's main football event while maintaining their platonic relationship. When the game ends, Noh, Punn and their friends celebrate their victory at a restaurant where Noh meets Golf, a former student of Friday College.
Golf tells Noh about a disturbing indiscretion involving Aim, Punn's girlfriend. Golf asks Noh to tell his friend Punn about Aim's indiscretion, as it was the right thing to do as Punn's friend. Noh struggles with this information and drinks too much and ends up at Punn's house, further confirming her relationship with Punn to her sister Pang and her friends.
Later, Aim and Yuri invite Punn and Noh on a couple's vacation to Hua Hin to spend time together. During a quiet moment in Hua Hin, Noh is faced with evidence of Aim's indiscretion, confirming Golf's claims. Noh then begins to worry about how he will tell Punn the truth about his girlfriend without hurting him.
When Noh's friends throw an impromptu party at Noh's house, Punn shows up and accidentally stumbles upon Golf's evidence that shows Aim's secret. Punn runs off, struggling to deal with Aim's betrayal, and Noh rushes to Punn's side, promising to support him through the next difficult times. Punn and Aim's relationship comes to an end shortly after.
Punn and Noh maintain their relationship as friends for a while, until Noh's band performs at an open house event at the girls convent school. When most of the girls work to win Noh's heart, Punn decides to confess him feelings and asks Noh to be him boyfriend. They keep their relationship a secret, as Noh is not ready to let everyone know the nature of their relationship. Their secret relationship leads them to multiple misunderstandings with their friends and Noh's girlfriend, Yuri.
To put an end to the fighting and pain, Noh confesses his feelings to Punn and decides to end his ambiguous relationship with Yuri. The day after Noh talks to Yuri, she witnesses an intimate scene between Punn and Noh that confirms Noh's feelings for Punn. Unable to accept the truth, Yuri distances himself from Noh, which causes him great pain.
Noh and Punn then navigate their experiences of coming out as gay to their friends, facing prejudice and, in Jeed's case, possible ostracism. The series comes to an end as Noh and Punn finally find balance and acceptance of each other's experiences and feelings. They promise to stay together as long as possible.
Luangsodsai Anupart, Chindavanich Primrose, Charnmanoon Pannin and Vachiravit Paisarnkulwong are part of the cast and bring drama, humor and intensity to the series.
YA
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The series has two seasons: the first aired in Thailand from July 6, 2014 to September 21, 2014, with 12 episodes, and the second in 2015, with 36 episodes. In April 2019, the main characters appeared in the three-part miniseries 'Reminders'.
Broadcast on Channel 9, the series written and directed by Andy Rachyd Kusolkulsiri, a filmmaker from the Thai queer scene, known for directing the homoerotic drama 'Me: My Familiar People', which caused a stir due to the strong sexual scenes, and for being The producer of the comedy 'Tom Gay', which portrays the relationships of a gay and lesbian couple, does a very restrained job in 'Love Sick: The Series' by putting teenagers before the cameras.
Director of series and films such as 'Friend Forever' (2020), 'Thank God It's Friday' (2019), 'Water Boyy' (2017), 'Make It Right' (2016), 'Water Boyy: The Movie' ( 2015), and 'Cause You're My Boy' (2018), among others, Rachyd Kusolkulsiri adapts in his debut work the original novel of "Thai Boys Love Love Sick: The Chaotic Lives of Blue Shorts Guys", written by INDRYTIMES or Latika Chumpoo.
In writing the script, Andy Rachyd Kusolkulsiri has the collaboration of
Fern Tanyatorn Butyee, renowned BL writer, with scripts that were later brought to the screen in the series "Chains of Heart" (2023), and "ReminderS" (2019), among others.
We are facing a story of coming of age and coming out of the closet. Also, before a love story. I wouldn't say it's an LGBT+ story because their struggle to fall in love is more complex than gender.
Starring Captain Chonlathorn Kongyingyong ('Rak Sood Jai Yai Tua Saeb, 2023), and White Nawat Phumphotingam, ('Water Boyy The Series, 2017), as Noh and Punn, respectively, both in their acting debut, the first season stands out for adapt many Japanese yaoi tropes.
THE HISTORY
Punn has a dilemma: despite having a girlfriend, his father insists that he date the daughter of one of his friends. Punn decides to ask his little sister, Pang, to help him convince his father to change his mind. Knowing that his sister is a true Y-girl obsessed with boy love novels, Punn comes up with a crazy plan to win her support: convince Pang that he has a boyfriend.
Due to unforeseen circumstances, Noh discovers that his Music Club's budget is short and they need money to buy new batteries. Noh runs to the Student Council for help and finds Punn, his vice president, to whom he presents his case, and Punn decides that he has found the perfect candidate for his plan.
Punn asks Noh to be her fake boyfriend in exchange for help with her Music Club's budget. Noh is reluctant at first, but when he shows up at Punn's house, the plan goes as Punn intended and Pang is convinced they are a couple. She agrees to help Punn with his father.
Throughout the first season, the story revolves around the many adventures that Noh and Punn encounter. Their relationship changes through these experiences and eventually the two 17-year-old boys fall in love with each other.
Luangsodsai Anupart, Chindavanich Primrose, Charnmanoon Pannin and Vachiravit Paisarnkulwong are part of the cast and bring drama, humor and intensity to the series.
I love this show, the first Boy's Love show I ever saw in my life when it comes to Asian shows, to the extent that I watch it again from time to time, and today, 10 years after it aired, when it's just hours away from premiering a new version, I enjoy the drama again and decide to write this review.
'Love Sick The Series' is credited with doing a lot to make the LGBT+/Boy' Love/Gay show acceptable in Asia.
The chemistry between the two boys is perfect. Their relationship is great. They are very good with each other. Without any toxicity. Pure innocent love and understanding. Many shows have had the same premise, but nothing could compare to the pure adoration and feelings these characters show for each other.
Seeing Punn and Noh, who can't help but fall in love, and hence the name of the series, seeing them suffer from lovesickness, seeing them sick with love, something that is portrayed wonderfully, turned me into a lover of the genre.
The performance of Chonlathorn Kongyingyong and Nawat Phumphothingam is magnificent as they show themselves confused by feelings they do not dare to admit.
I enjoyed this incredible show. I'm literally lovesick too just looking at it. Seeing the tension, Puhn's eyes make me feel very strongly for him. And Noh is so adorable that I can't help but want love to emerge between the two.
Unlike other dramas, here the two main protagonists are portrayed as equals where twists, innocence, friendship, jealousy, care and clumsiness are mixed. In addition to the main couple, there are also other heterosexual and homosexual couples.
The beautiful cinematography draws the viewer in. It's adorable how Siam and related areas are shown. The daytime scenes and especially the nighttime ones are beautiful.
OTHER CHARACTERS
Jeed is a new student transferring from a public school to a private convent school across from Friday College. There he meets Aim, who is Phun's current girlfriend, and Yuri, who is Noh's girlfriend. Jeed then meets Noh's friend Khom/"Sharp" and they fall in love. At the same time, Jeed tries everything he can to fit in with his new classmates and the couple struggles to overcome the many expectations they encounter.
For his part, Tangmo is a student at a nun's school, and Moan, a student at a technical school who is the nephew of the principal of Friday College. They live together in the same condominium as husband and wife. All his friends know, but his parents have no idea. Golf, Moan's best enemy, lives next to them and keeps his secret.
Madmee and Jiab, Prang's little sister's best friends, also share a love for Yaoi. They all go to the same acting school. There, Pang and her friends meet Pop and Shay, who are inevitably "imagined" by the girls as a couple, and the trio does everything they can to ensure that Pop and Shay fall in love, but things are not so easy.
THE SOUNDTRACK
The soundtrack is sublime. Highlights include songs such as "Shake/Sun" [สั่น]", in two versions, the one performed by Sompob Pokepoon/Boy Sompob, and by Various Artist; "Begging" [ขอร้อง]", by Kongyingyong (performed by Chonlathorn/Captain Chonlathorn), "Did You Forget? [ลืมไปหรือเปล่า]", (Primrose Chindavanich); "Pass [ผ่าน]", (Chanagun Arpornsutinan/Gunsmile); "I Still Can't [ยังทำไม่ได้]", (Coates Samantha Melanie); "Just Only That [แค่เท่านั้น]", (Ausavaterakul Ausavapat/New); "If I Died [หากฉันตาย]" (Anik Kornkulchat & Pantita Kongsomtith); "Is This Love?" (Various Artist); "The Voice That Changed [เสียงที่เปลี่ยน]", (Luangsodsai Anupart/Ngern); "Farsighted [สายตายาว]" (Various Artist); "I Like You Both [อยากเก็บเธอไว้ทั้งสองคน]", (Paisarnkulwong Vachiravit/August); "Don't Get Me Wrong [อย่าเข้าใจฉันผิด]", (Nalurmas Sa-nguanpholphairot); "Nungira", (Hanwuthinanon/Gale & Manassanant Arkomdhon; "Door [ประตู]", (Tol Vonthongchai); "Unconditional Love [รักไม่มีเงื่อนไข]", (Nat Sakdatorn & Tol Vonthongchai) and "My Love Never Changes [ไม่มีวัน เปลี่ยน]", performed by Sompob Pokepoon/Boy Sompob.
Season 1 of Love Sick the Series ends with Phun and Noh deciding to stay away from each other for the sake of their two girlfriends, whom they don't want to hurt with their affair.
YA
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Fun, witty and charming film with good performances and an interesting premise
'The Boy Foretold by the Stars' is a charming 2020 Filipino gay romantic comedy about coming of age, romance, and exploration of sexual identity.The film explores the love story between two teenagers in a Catholic school setting who, with the help of a fortune teller, find themselves on an optional school retreat called "Journey with the Lord."
Through a series of events dictated by astrology and destiny, the protagonists discover the true meaning of love and acceptance.
The story:
Written and directed by first-time trans director Dolly Dulu, who has said in interviews that the story is based on her own personal experience, this fun, witty and charming film, with good performances and an interesting premise, begins when two best friends, students of Openly gay high school at St. Francis Catholic School, Dominic and Timmy (John Leinard Ramos, in his acting debut), go to a fortune teller, Baby R (Iyah Mina), to learn about their love life. Baby R tells Dominic, the central character of the film, that he will meet his soul mate in a week, and gives him several signs that would indicate that this child is really the one the stars have predicted.
On the contrary to Dominic, who is in love with Paul (Renshi de Guzman - 'In Between' I and II), another classmate, but does not dare to confess his love, Timmy is more open when declaring his feelings to Joseph, his platonic love.
As they prepare to participate in the school retreat they frequently organize, a student signs up at the last minute: Luke Armada, the high school basketball star. And Dominic is assigned to be Luke's godfather.
Luke has a girlfriend named Karen (Rissey Reyes – 'Pearl Next Door', 2021). But they are having problems in their relationship because Karen is very busy and finally breaks up with Luke, who believes in destiny and always resorts to flipping a coin when making important decisions.
Although Dominic and Luke are schoolmates, they have never met, as they are in different groups and their interests are not the same. In addition, he spends much of his free time co-leading the optional school retreat.
Heartbroken, Luke attends the retreat as a way to find time to reflect on his breakup and his life. As fate would have it, the two boys team up and discover that they have a strong and undeniable connection with each other.
Letting Luke know that he is gay and asking if that will be a problem, Luke says no. When Luke and Dominic begin to open up to each other and become friends, Dominic is not thinking about a romantic relationship with the young basketball player. After all, Luke is straight. Luke has a girlfriend. Luke would never notice an effeminate boy like him, ideas that run through his head.
Then Dominic begins to notice the signs that the "manghuhula" predicted in the way his relationship with Luke is blossoming. For his part, Luke eventually becomes confused about his feelings for Dominic, as he grew up knowing that he is heterosexual.
And so begins their romance, which will be put in danger with the sudden appearance of Karen to reconcile with Luke, or by Luke being ridiculed by his prejudiced and homophobic friends, fruits of a society that hates and discriminates against those who are different, such as the Filipino, for get too close to Dominic.
Of characters and actors:
Adrian Lindayag is known in the Philippines as a former fashion stylist and supporting actor in plays and television series. Before becoming known to a wider audience thanks to this film, he had already starred in the musical "Rak of Aegis" and was part of the cast of the comedy "Oh My Dad!", on TV5. Meanwhile, Keann Johnson is a model which had appeared in dramatic anthologies.
In the film they play Dominic and Luke, respectively. By then, both had already worked together on the LGBT+ film 'Click, Like & Share', from 2020, under the direction of Topel Lee and Ricky Rivero. Adrian playing one of the protagonists, Your Road Monts, and Keann playing the supporting character Your Road Derek.
In the film, Adrian is believable in the role simply because he is very comfortable being effeminate and doesn't seem to act at all. His impressive acting skills have been demonstrated in other performances, especially with his role as King in Marahuyo Proyect, a 2024 LGBT+ series directed by JP Habac. If you haven't seen it yet, you don't know what a great work you've missed. I recommend it to you.
Keann is a definite find. He is a beautiful actor, a mass idol as a model and his presence in the media and digital networks, with stage and acting mastery. He is also fluent in English and pronounces all his lines in that language, which is an advantage. He is remembered for appearing in the BL drama 'Worth the Wait' and starring in the LGBT+ film 'Run', both in 2021.
Some thoughts:
Filmed before the Covid-19 pandemic, when the BL (Boys' Love) genre was not yet popular in the Philippines, "The Boy Foretold by the Stars" shows this conventional vibe that works in its favor and achieves audience applause. In fact, it is a very accessible film as it plays with love in various ways and gives up its most intimate aspects.
In this sense, love is approached more as a means of friendship, companionship, and complicity as Luke and Dominic's bond grows. This approach is very laudable, because although love needs affection and intimacy, there is this feeling of a purer love by eliminating its more sexual aspects.
The most fascinating thing about the film is not the romance, but its depiction of that love story within an endemic Philippine landscape: that of an all-boys Catholic high school, with teachers, student leaders and students in constant struggle to unite the dogmatic religious doctrine that marks homosexuals as sinners who will not be able to enter Heaven, and the diversity of sexual identities. Without being didactic, the film bravely refuses to bank on the safety and convenience of secularism and instead places romance right in the middle of expressions of religiosity.
In this sense, it is impressive how Dulu was able to avoid turning the film into an argument against Catholic conservatism. Well, although the film has scenes where characters are judged for being openly homosexual, for being effeminate, or discussing homosexuality as a sin, this only happens to confront the confusion and not to judge. It is magnificent how the director never loses sight of the objective of the film, which is none other than to celebrate the purity of love, regardless of gender.
There are some tender and touching scenes between Dominic and Luke. The film also has enough emotional highs and lows to satisfy any romance lover.
The development of the relationship between the two boys is gradual but never stagnates, and the acting between the leads is surprisingly great. However, I was always attentive to what for me was the main problem in a film that depends heavily on the idea of destiny and having a soul mate, because does destiny really have anything to do with love?
Although Timmy is the person who pushes Dominic to consult the fortune teller and get a reading, his story is left aside and forgotten, so the film focuses on the story of his friend and his romance with the boy the fortune teller predicted he would meet soon. I would have liked to see more of what happens to him.
In 'The Boy Foretold by the Stars', Dominic plays a gay man who comes out as gay to his close friends at school, but claims that he has not come out to his own parents. This makes one wonder, since his actions are so effeminate, that it is impossible for his parents not to quickly deduce what his sexual preference is.
The director is right by not populating her film with big names. Instead, he entrusted the roles of two high school seniors who find love with the slight help of fate and amid the prejudices of their all-boys Catholic school to two new young actors who, although they have previous experience in theater and television, they don't have the manufactured chemistry that might have fueled their pairing. And this makes the result much more natural and realistic.
Another of the film's achievements is that the director manages to conjure an impeccable passion in a school where religion, homophobia and machismo are pillars, and creates a homosexual romance to support. Even if all the twists and beats of the film are familiar and predictable, it still convinces and succeeds, as it thrives on its simplicity and direct approach.
The film has good production and technical values. The narrative flow is smooth and the setting of the Catholic boys' school is used to great advantage to establish the setting of the story.
Its narrative, based on a well-written script, has a great pace in general.
In summary:
'The Boy Foretold by the Stars' is a fun, witty and charming gay film that follows the blossoming love relationship between two students at a strict all-boys Catholic school, in which one of them is openly gay and doesn't believe in destiny. , while the other is heterosexual and decides everything by flipping a coin.
Produced by Jodi Sta. María under Clever Minds Inc., The Dolly Collection and Brainstormers Lab., the film seeks to unravel themes such as growing up queer in a Catholic school, facing homophobia and sticking to your faith, whether queer or not.
One of its most interesting aspects is that it is not afraid to portray the effeminate gay, a trope that is often used in secondary characters and other times as a stereotype to denigrate the homosexual. In this film, destiny is as real as the people who experience it.
Without being apparently subversive and through a formula that favors tradition, 'The Boy Foretold by the Stars', considered the "first Filipino BL film", finalist in the feature film section at the 2020 CineFilipino Film Festival, opens a path for making homosexuality visible in a strongly patriarchal and heteronormative society, while encouraging escapist cinema to go through the realities of coming of age.
Despite its imperfections and lack of coherence when it comes to its visuals, especially as its few visually pleasing scenes are interspersed between prolonged and unspectacular passages, the film is visually pleasing, and brings a much-needed dose of positivity into a world in which hatred and discrimination against homosexuals prevails.
While it will make you reflect, the story, which has its conclusive closure in the series 'Love Beneath the Stars' (2021), will captivate you and leave you smiling.
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Premiering at the 26th London Gay and Lesbian Film Festival (since renamed BFI Flare: London LGBT Film Festival), on March 28, 2012, 'Speechless' (Chinese: 無言; pinyin: Wu yan), its fifth film, between short films and feature films, after filming 'Stanley Beloved' (1998), 'First Love and Other Pains (1999), 'Innocent' (2005) and 'End of Love' (2009), is a homosexual drama about a mysterious young Frenchman who is found naked on the banks of a river in a remote border city in southern China, precisely in Wuhan.
On this occasion, Chung joined forces with fellow writer and director Claudia Priscilla ('Look at Me Again') to take the protagonists on a journey in which destiny transcends differences in gender and culture.
In this film, the director continues to represent the violence of queers, but the film not only focuses on homosexuality, but also on the frustration of love.
The stranger (Pierre-Matthieu Vital), is arrested by the local police. Apparently he doesn't want to or can't talk (hence the title of the film), so he is sent to a hospital to find out what's wrong with him.
During his convalescence in the health center he remains mute, plagued by nightmares and scenes from the past. Despite having lost the ability to speak, the mysterious character is still able to create an emotional bond with the cute and kind Xiao Jiang, a nurse, who decides to help him when he is about to be transferred to an asylum, taking him clandestinely to his uncle's remote house in a distant village.
As Jiang connects with his new, silent friend, he discovers the secrets of his past and the reason for his silence. Jealousy, homosexuality and cultural differences caused the young Frenchman great harm from which he has not yet recovered.
The discovery leads to the retelling of a secondary love story between exchange student from France, Luke, who is eventually revealed to be the patient's identity, and a fellow college student named Han Dong. Unfortunately, Han has a girlfriend, Xiao Ning, who proves to be dangerously jealous.
Screened at major LGBT film festivals in London, Vancouver, Toronto and Turin, the interracial romance easily appeals to people of all sexual orientations as it reveals the true nature of love: that it is transcendent, but can also fade like dew.
Although the film is slow and somewhat confusing, it conveys this sad reality about the differences between the acceptance of homosexuality by different cultures. The drama gives way to a thriller that addresses themes such as betrayal, jealousy, revenge, and investigation, while showing scenes of frontal male nudity and sexual content, and viewers discover the truth step by step.
"Speechless" has quite a few flaws, notably the use of flashbacks to tell everything, completely interrupting the narrative, but it is a beautiful song against homophobia and for friendship and acceptance of those who are different.
'Speechless' is a surprisingly intriguing film that unfolds slowly and reveals what happened to Luke to render him mute. In the first half of the film, we glimpse Luke's memory as he attempts to piece together his own backstory, including scenes in which he has sex with another man. Once Luke leaves the hospital and joins Jiang, he disappears, leaving Jiang to investigate to find out how he ended up in the hospital. What follows is a series of twists and turns as Jiang tries to uncover the truth about his mysterious friend.
Following the personality of the main protagonist easily leads to falling in love with him, and that is what will happen to the viewer who is able to convince that any act is justified if it is out of love.
On the other hand, being faced with a story based on memory loss gives rise to a certain intrigue and a development to reconstruct the forgotten personality.
Simon Chung makes sure you are immersed in Luke's story as you, as Jiang, try to discover what really happened. From the opening scene of the film, where we see Luke swimming naked before he is arrested, you are intrigued to know what happened and if he is really crazy. Of course, things aren't that clear cut, but the film's many twists and turns eventually reveal the events leading up to that moment.
The handsome Han Dong is played by mainland Chinese model, actor and magician Jian Jiang, while actress Yung Yung Yu plays Xiao Ning.
Chung also gets strong but sensitive performances from his young cast members.
One of the difficulties Chung encountered during filming is that the actor who plays Luke does not speak fluent Mandarin Chinese, so he had to offer him help to train him to deliver his lines.
Filmed in the small town of Shantou, on the east coast of Guangdong Province, and in the northern countryside of this province located in southern China, and at Shantou University, 'Speechless' is a solid mystery drama and It hooked us from the opening scene.
Of course, it helps that Pierre-Matthieu Vital is very pretty, so seeing him naked from the beginning definitely helps the film win you over. This young actor's performance is very good and he has to be expressive through other means, since his character barely utters a word.
Simon Chung has created an intriguing film that explores not only homosexuality, but tells the story of a young man whose innocent relationship with another man had such traumatic consequences.
As the director noted, the inspiration for the film came from a real-life case known as the "Piano Man", in which a man appeared on the east coast of England several years before filming began.
'Speechless' reminds me of 'Soundless Wind Chime', another 2009 Chinese film with a gay theme and a similar atmosphere, which also has as its main theme a romance between two young people, one Chinese and the other Western. Unlike 'Speechless', the dialogue in the aforementioned film is mainly in English.
Chi-Lap Chan's beautiful cinematography and Sebastian Seidel's music introduce us to the fascinating romance between Han and Luke, who was still speaking at the time. However, it is the more subtle growth of love and understanding between the silent Luke and Jiang that has stayed with me.
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Cinema has delved into the search for perfect, magical and lasting love, and has shown more than once that soul mates exist and are in the places you least imagine.
If destiny wants a couple to stay together, so it will be. This is the premise of the LGBT+ themed romantic drama short film 'The Postcard', (Korean title 엽서/ 'Yeopseo'), written and directed in 2007 by Josh Kim, the Korean-American filmmaker based in Thailand, director of the film ' How to Win at Checkers (Every Time)', the yaoi drama whose premiere at the 2015 Berlin Film Festival served as this Southeast Asian country's official entry to the Academy Awards and Golden Globes for Best Picture in Foreign Language.
In his second film after 'The Police Box' (2006), Josh Kim introduces us to Suh Inwoo and Simo as protagonists in the roles of Boy and Postman, respectively.
The film revolves around Chico, a shy young man who is in love with a handsome and sexy postman, but feels too intimidated to even dare to look him in the eyes, much less have individual conversations with him.
Are you someone who often spends restless nights thinking about your crush and wondering if you're on their mind too? The most difficult and frustrating part of falling in love is not knowing if the other person feels the same way. This may make you wonder what you will do to get their attention.
In this effort, Chico goes every day to the post office where Postman works to send himself open love letters on postcards, only with his own address, so that they can be taken by the person who makes his heart skip a beat and who will wait daily at 4:00 p.m.
On a postcard he wrote: "Your eyes, your hair, your smile and your uniform are beautiful," and this causes the intrigued Post Girl 1 (So Yun Park) and Post Girl 2 (Sun Zoo Park) to start guessing. who is destined Who will all these shipments be for? Will it be for any of them?
Postman, who also has feelings for Chico, decides to knock on the door of his house after reading the text written on a postcard, but one of the girls at the Post Office, who mistakenly assumes that she is the one the letters are addressed to, he overtakes him.
Boy, who does not believe in destiny because he has always believed in himself, and in hard work to get ahead, will discover that he has been wrong. Fate will make Chico and Postman meet, that same day, in the least expected place.
Through the use of slow shots, dividers in dead time and a certain form of naturalistic narration, the viewer is kept in a state of suspense throughout the 15 minutes of duration, the same one that the characters suffer and that the viewer literally receives through the screen.
The first scene marks the ambiguity of the film. The presentation shows us that we are looking at a contemplative film. Nothing about simple identification. But a contemplation of a present, of a dead time even, in which Boy devises within himself a plan to attract Postman's attention. His job as a card dealer will inspire him to carry out his plan of conquest.
The film does not have a fixed tone, it is sober, melancholic, nostalgic, laconic. A tone brand of South Korean LGBT+ themed cinema that we could locate in the cinema of Kim-Jho Gwang-Soo and Leesong Hee-il, with their 'Boy Meets Boy' (2008), 'Just Friend?' (2009), 'Love 100° C' ( 사랑은 100℃ / Sarangeun 100℃), or 'One Night, Two Days', 'One Night', 'Baekya' ('지난여름, 갑자기'/'White Night' ), 'Suddenly Last Summer' (지난 여름, 갑자기/'Jinanyeoreum, gapjagi') and 'Namjjokeuro Ganda' ('Going South' /남쪽으로 간다), all from 2012, respectively, addressing themes such as sexuality, identity gender and being queer in a heteronormative and homophobic society.
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As Shai An tries to win the interest of Yu Xuan, a girl, Yan Ming discovers new feelings for his best friend. Meanwhile, both children will play typical adolescent games, activities that serve to uncover, or activate, a sensuality that springs from all the pores of young people.
All this happens in a violent, bleak and claustrophobic atmosphere, as Yan Ming is harassed by the other students, so he must be defended by his friend. These characteristics increase in their own homes, since they live their particular drama in their humble homes. With absent mothers in their respective homes, without the presence of other loved ones, Shao An lives with his violent father, while Yan Ming has his alcoholic and negligent father as his only family member.
Shao An and Yan Ming are experiencing an effervescence of their sensuality. The former is very comfortable with girls, while Yan Ming begins to realize his attraction to his friend and feels guilty for harboring a forbidden love within him.
Let's point out the sad scene of the two boys' arrival at school, with a happy Yan Ming attached to Shao An's back while he pedals his bicycle to school, which represents the catharsis in the face of the first's incipient and misunderstood homosexuality (see how the boy they are in love with chases the girl as soon as he sees him at the school entrance), and that anticipates the open crack, and the discomfort that Yan Ming begins to suffer with his friend.
Jealous of Yu Xuan, Yan Ming decides to play a prank on her to get her away from Shao An, which provokes the two's anger when they discover the author of the prank. Confessing his secret will cause the brotherhood to face an unprecedented challenge, in addition to increasing the ridicule of his companions about him.
The film portrays the pain of growing older, of not escaping the terrible gaze of those who will never understand your emotions, of the stupidity of others.
ISSUE
The 2016 Taiwanese romantic drama 'The Confession' (Native title: 男孩心事/Nan Hai Xin Shi) is about friendship, sensuality, discovering sexuality and how it affects them personally, and hidden passions.
It is a film that, in its scarce 25 minutes, shows the germ of homosexual attraction, the awakening of the sexuality of some boys who are defining their sexual orientation, who explore their body and their emotions, at the same time as a love triangle.
It is also about the agony that Yan Ming suffers from knowing that he is in love with his heterosexual friend, the shame that this forbidden love causes him, the pain of seeing how Shao An also falls in love with a girl in the classroom and the breakup of a friendship.
It is the pain of becoming an adult and leaving behind the joy of childhood; We will see Yan Minh, with his heart wounded by the blows of life, perhaps the first of many, looking at himself with pain through the reflection of the mirror in his room, while marking the sadness on his face with paint. His gaze also gets lost in the horizon, in the nature that surrounds his house, the school and the park where he once played with the friend who now, after hearing his confession, abruptly separates him from his life. When the secret is revealed and coldness conquers the heart of the loved one, game time is over and it is time to face the harsh adult reality.
SCENERY
Everything takes place in a humble town in Taiwan, which is surrounded by natural landscapes, which will serve as an escape route, games and walks for the protagonists.
Despite the suffocating atmosphere in which the characters operate, the director divides the short film well into two moments, which will show the moods of the protagonists, that of the joy of the innocence of youth, and that of sadness, discord and misfortune.
The young protagonists, new actors, play their roles quite correctly, giving verisimilitude to the restlessness typical of an adolescence that awakens to sexuality.
The narrative focuses more on the experiences of Yan Ming, who carries the weight of the anguish and the plot of the film, whose suffering and dismay are transferred with notable note from the script to the screen.
It is a visual film, where it is described more with images and silences than with the characters' dialogues. This circumstance forces the viewer to pay more attention to the viewing.
Despite its low budget, the rich photography helps the staging of the film, with beautiful framing and use of light, although it intentionally uses dark scenes, but not to recreate it, but to associate it to a certain extent point to the emotional state of its protagonists.
In short, it is not a film that will brighten your day, and the approach of inviting tolerance and not discriminating against homosexuals is too vague, and of course the adult characters do not help, as if between alcohol, violence and depression would have aged prematurely and would have bequeathed their own unease to new generations.
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Who would later participate in the Thai series 'Full House' (2014) and 'Kiss Me' (2015), and in their Chinese counterparts 'Wu Xin: The Monster Killer' (2015), 'Delicious Destiny' (2015), 'My Little Princess' (2016) and 'Mr. Swimmer' (2018), among others, in this film he plays Xiao Le, a university student who has it all: he is young, attractive and has just joined the prestigious swimming team at his school. But he keeps a secret: he is in love with Jia Liang, his best friend and study and sports partner.
After confessing her love and hearing her lover's rejection, Xioa Le embarks on a one-night stand, her birthday, after Jia Liang, following her sister's bold suggestion of cross-dressing him to see if Jia Liang cares about her him or by his gender.
At just 21 minutes, 'Love in the Water' manages to achieve a level of intimacy, intensity and sensitivity that most of the longer films I've seen never achieved. The film points out all the turmoil, conflicts and sexual tension of a young man in love with his best friend with disconcerting acuity.
The dialogues between the two main actors are scarce and spontaneous, they seem more improvised than anything else. The camera captures most of the film during moments so natural and undramatic that their encounters, between deep glances and races around the university campus holding hands, have a magical and electrifying quality... in fact, it made me goosebumps In my opinion, this is the most effective way to portray a relationship that is both so fragile and passionate.
Starting from a dramatic situation as discouraging as not being accepted by the person you love because they see you as just a friend or because they are not interested in maintaining a romantic relationship with someone of the same sex, the director of 'Love in the Water' chooses dramatic material that already has its genre implicit and decides not to overload scenes that already have intensity.
To narrate it on screen, the director uses a linear chronological structure of cut sequences, with that sequence shot in which the camera follows Xiao Le during his birthday party, dressed as a girl, singing his love, approaching Jia Liang to dance with him, while he dances alone in the middle of the stage. All this, while listening to beautiful musical themes, such as the song "Fool", by Yoga Lin, and others performed by the same actor Mike Angelo.
He then breaks down Jia Liang's hurried departure into medium shots and details after confirming that the person he has been dancing with is none other than Xiao Le.
The short film continues with alternating sequences in which close-up shots and more open shots convey the evolving point of view of the two protagonists. A general overall shot that swings from comedy to drama with a simplicity and effectiveness that demonstrates the cinematographic mastery of its director.
In other moments of the film, the director gives importance to the characters of Xiao Le's sister who, aware of his feelings for his best friend, advises him on how he should act to win him over, or to the friends and fellow students of the two protagonists, who are also somehow aware of the feelings that one awakens in the other.
The film is a beautifully observed portrait of the experiences of a young Chinese homosexual. Avoiding both stereotypes and preachiness, it is a wonderfully naturalistic film, superbly acted, filmed with a sense of the surroundings of the university campus where the action takes place, never melodramatic but often painfully real.
If anything, it's almost too realistic, as there is little conventional plot, just slice-of-life scenes. But the absence of conventional dramatic tension counts for less than it might in such a thinly drawn world. 'Love in the Water' may not be the most exciting film ever made; but his simple humanism serves him well in comparison with the preconceived, celebratory or intolerant views that often mar the treatment of this subject.
The short film is, in itself, an adult, realistic, cruel, dark story, full of beauty and sadness, ellipses and silences, shadows and small glimpses of hope: a man looking for a warm companion, a better life, a sincere attitude.
'Love in the Water' has its greatest weakness in a title that is poorly worked on in its evidence, although it may be effective as a commercial claim. It is a very worthy product that joins a wide list of Chinese films with LGBT+ themes.
In particular, it reminds me of 'The Raccoon', a film directed by Tang Shi in 2016, with Weng Hai Bin and Wu Di as the leading actors, as it also reflects a friendship relationship in which a boy is in love with his best friend and it is not reciprocated, also taking place in a university in Beijing, the Chinese capital.
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The film stars Paolo Rivero, an actor who plays Raymond, and who has participated in numerous LGBT+ themed films such as 'Daybreak' (2008), 'Kabayo' (2023), 'Share' (Salo, 2012 ), 'Indie Boys' (2010), 'Brothers in Law' ('Bayaw', 2009), 'Heavenly Touch' (2009), and many others.
For his part, Ray An Dulay, who plays Bien, has extensive experience in homosexual films. The viewer remembers him for his participation in 'Kambyo' (2008), 'Moreno' (2007), 'The Game of Juan's Life' (2009), 'Ben & Sam' (2010), 'Tale of the Lost Boys' ( 2017), 'Antonio's Secret' (2008), 'The Man in the Lighthouse' (2007), among others.
With a script by Lex Bonife ('Adonis X', 'The Escort', 'Laruang Lalake', 'The Game of Juan's Life'), the story revolves around Raymund Fabillar, a graphic artist whose main concern in life is having promiscuous sex, enjoying strictly casual encounters, visiting as many gay venues as there are, participating in many orgies and chatting online with potential occasional lovers.
However, Raymund's life will be turned upside down due to two key events. One of them involves his nephew, Zack (Renz Valerio), who has to stay with Raymund because his mother must travel to Hong Kong to meet her new boyfriend. The other is Bien (Ray An Dulay), a young man whom Raymund finds at an orgy and with whom he begins to feel a connection.
Over time, Raymund makes progress on both fronts. While Zack and his Uncle Emon, as Raymund likes to call him, continue to bond and build a better family relationship, Raymund and Bien also grow closer and will soon agree to be boyfriend and girlfriend. With them, they establish a series of rules that include the need to be perfectly honest about the status of their relationship with everyone around them and, of course, the need to be faithful to each other through a monogamous relationship. So soon we will see the two men living with the child under the same roof, as if it were a happy family.
However, as the days pass, cracks appear in the fragile love relationship, as Raymund finds it difficult to completely abandon old habits.
And although there are many gay sex scenes, they suffer from being artistic, beautifully executed gay sex. It feels even stranger given that the orgies Raymund attends seem to include an orgy coordinator who acts for the purpose of facilitating role-playing games to break the ice between participants.
And yes, although there are many gay sex scenes, both the orgies and the intimate scenes of the protagonist couple are marked by cheesy moments, silly and shady scenes and gay sexual positions that hardly happen unless you constantly hide your genitals from the camera.
This is one of the problems with a film that aims to include so many sex scenes, whether gay or not. Maybe if the director decided to tone down the hammy sex scenes a little more, if the two lovers' interactions weren't so overacted or exaggerated, we could have better character development to explain why these two guys are suddenly so good for each other.
Because no one can doubt it: the relationship between Raymund and Bien is, at best, superficial and empty, and the possible problems they experience are as tropes as they are cheesy. It is very weak how the topic is treated that Raymund liked the boy enough to bring him home, and without further ado they are destined to be boyfriends.
Then we have Zack and his role in the development of the story. There were satisfying moments when the boy would enter the scene with the typical questions that all children can ask themselves, but then his curiosity could only function in the service of the plot, which made his character seem a little inconsistent. However, in my opinion, his role as the cute, precocious boy is probably the best performance in the film.
The actors playing Raymund and Bien were struggling with their predominantly English lines and so it seemed like their words were clearly not their own. And that just took away from the drama and made their arguments even more petty.
The film draws on the ending of a semi-classic independent film of the uncertain future. There is enough hope for things to move forward, but at the same time, how can we support such superficial characters? Is there enough character development to make us want to become emotionally invested in their conflicts? Would our involvement be motivated to see the characters grow or to enjoy the sex scenes as a form of comic relief?
Well, ultimately, 'Little Boy Big Boy' wants to be a great piece about a gay man's journey to grow emotionally and better understand relationships. But in the end, it's really just a bad plot designed to string together some pretty unimaginative queer sex scenes.
Given the poster image, I was hoping that the element of a boy in the story would make it a more sensible film compared to most Filipino films of the same theme from the time of its release. However, it did not surpass this illusory vision, as the creators were more interested in depictions of bad gay sex scenes, so it was on par with other films that attempted to be much less pretentious about their overall objectives.
The participation of important production companies such as Viva Digital, Beyond the Box, the music of Richard Gonzales and his team, or the photography and set design of Arvin Viola, cannot save a film that, if it had something to say, never managed to express itself efficiently or effective. The end result is a film that attempted to juggle two main plot ideas, but never knew how to marry them or even balance its thematic axes to any degree.
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Some veteran directors presenting their works at the Malaya Independent Film Festival, the Philippines' biggest film event, had their roots deep in mainstream cinema, and it turns out that bad (mainstream) habits die hard.
For that reason, the history of cinema of that nation ultimately produced some of the most inferior, self-oppressive and tasteless works, digging a deeper margin for the members of that human community and misleading the public about what their defenses really were in the face of a conservative, heteronormative and discriminatory society.
However, this sad cycle of Philippine filmography changed when director Joselito "Jay" Altarejos made 'Kasal' in 2014, and that year it won the Best Feature Film, Best Music and Best Cinematography Awards at the 10th Cinemalaya Festival, even surpassing the most requested 'Hustisya'.
The feature film immediately attracted the attention of the public and specialized critics, both local and international, as 'Kasal' broke with a previous scheme, planted deep within filmmakers interested only in their profits, by bringing a more realistic and identifiable representation of relationships between people of the same sex.
The film talks about how homosexual couples are situated in a society in which they are prohibited from marriage even though they may have a lifelong commitment.
I am not offering a spoiler here, since Altarejo took it upon himself to talk in every possible way about the content and premise of his film.
Paolo (Oliver Aquino), a film, commercial and video director, encourages his boyfriend Sherwin (Arnold Reyes), a renowned professional lawyer, both breadwinners for their respective families, to hold a wedding ceremony, but Sherwin refuses to accept Paolo's proposal because he knows that the marriage law in the Philippines is only for male and female couples and, as a law graduate, he must respect the law.
In the film, Sherwin, who values the tradition in which he was raised since childhood, and Paolo, who has a more open family that is aware of his homosexuality, attend the wedding of Sherwin's younger sister in Batangas.
Sherwin wanting not to disappoint her parents, conservative and very devout of the Christian faith, if she admitted to them and the rest of her family about her relationship with a man, she prefers to hide her romantic relationship.
The filmmaker, recognized with several prestigious awards both in the Philippines and internationally for his innovative openly gay-themed films such as 'The Man in the Lighthouse', 'Antonio's Secret', 'Kambyo', 'The Game of Juan's Life', ' Pink Halo-Halo', 'Tale of the Lost Boys' and 'Unfriend', among others, films a feature film that explores secret issues surrounding the cries for equality of LGBT+ people in the Philippines and elsewhere in the world.
In this sense, 'Kasal' defends homosexual marriage and equality before the law on marriage between people of the same sex. But even maybe not just equality before the law but also proper understanding of the LGBT community.
In the face of discrimination, the film shows that human beings need an open-minded environment that does not degrade them as people and allows them to live equally and freely with the gender they prefer to embrace.
Even though homosexuals represent a group largely treated as a minority, the film is incredibly inclusive. It portrays the problems that lack of communication can cause in relationships (homosexual or not) and even touches on family conflicts.
'Kasal' is neither an all-out feast of flesh, nor a series of intolerable acts, but a presentation of silent oppression. It carefully presents a strong argument as to why the LGBT+ community in the Philippines and beyond continues to fight today, 10 years after its release, for the basic right to marriage equality.
The performances of its two protagonists stand out. Arnold Cruz Reyes and Oliver Aquino give strong performances of two lovers who are trapped in a circumstance from which they cannot escape. The chemistry between the leads is so genuine that you know the film is not just about gender. It is truly and simply about two people in love, struggling with the universal difficulties of love.
The film excels at offering audiences an intimate, rarely seen glimpse into the life together of two gay men, complete with the mundanity, incredibly detailed sex, and emotional nuances of almost every other romantic relationship.
The script written by Zig Madamba Dulay and Altarejos himself, not only delves into the complexities and challenges of being gay in a conservative society, but also delves into the struggles within a romantic relationship. Instead of distinguishing the unique difficulties of same-sex relationships, the film focuses on what makes them equal to others.
'The Commitment', as it is also known, stands out as a truly independent film, in terms of treatment. It seems like a relatively small production. Many of the scenes appear to be filmed in convenient locations, mostly indoors.
The tight cinematography takes us right into the characters' comfort zones, showing us what they are like at home, at work, with friends and with family. And with the explicit, prolonged, continuous, uncut softcore scene lasting probably at least 5 minutes, 'Kasal' is as intimate as it gets. But at the same time it raises a theme that has been present in world cinema for decades, while successfully describing how cultural and religious oppressions provoke the personal and emotional struggles of queer people.
In this very honest film, I am captured by two parallel scenes filmed behind a window, and in which I am suddenly relegated to the role of an outsider.
I am referring to the opening scene taken from the balcony of the condominium showing the interior of the room occupied by the two protagonists, and the scene with the lovers engaged in a heartbreaking fight on an empty street. In the latter, we can see the couple, but not hear them – as it is filmed from inside the car. These two scenes noticeably mark a distance between the characters and the camera.
But the most interesting thing, in my opinion, is that at the same time, from this distance, we can see the gap between the two lovers, no matter how intertwined they are. It is no longer the faces of the actors that speak to us, but the space of uncertainty that surrounds them and that threatens to open a gap between the two souls that painfully cling to each other.
These two scenes alone would be enough to demonstrate the professionalism in their craft, the natural and convincing acting skills of the lead actors, and the ordinariness of the settings make the film easy to identify with. The conversations also seem spontaneous. As in real life, it is in the slight changes in tone and sudden moments of silence that we see how easily we tend to sweep things under the rug and, at the same time, how difficult it is for us to forget.
The script and story are strong enough for the audience to empathize with the characters' feelings.
In short, 'Kasal' stands out for its technical aspects. The camera angles focus on the actors' expressions. The lighting is perfect in all locations and manages to highlight the necessary lights and shadows in each scenario.
The elements used in the staging are organically well prepared, especially when they filmed in the province. Meanwhile, the costumes and set design blend well, particularly with the traditional wedding celebration in Batangas.
The music by Richard Gonzalez and the sad and heartbreaking love song "Ikaw at Ako", by Johnoy Danao, fit perfectly with the emotion of the characters and the atmosphere of the dramatic part.
Inside my chest I felt Paolo's pain when his boyfriend Sherwin introduced him as his best friend. My heart was torn when I saw the ring that Paolo bought for the wedding with his lover thrown into the trash. This image symbolizes that the marriage between them will never take place.
But I also have mixed feelings, as I try to balance Paolo's position with Sherwin's situation, who is torn between his love for Paolo, his dedication to work, upholding the law, and his family's views on marriage. In this sense, it is also difficult for me to determine which one I should prioritize because both characters touch my soul deeply.
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The cause of this internal collapse would be that in the most intense love, people put themselves in the hands of the other, and we reach the maximum degree of vulnerability: That is why nothing harms us as much as their contempt or rejection.
It is then that the temptation of revenge comes out of its hiding place and enters an unexpected orbit. At this moment, the first tremor of love transforms into a tremor of contradictory emotions and fertile territory for a creator.
The first image, in black and white, of 'Unfriend', is that of two male teenagers in a perfect state of romantic happiness. They are on top of an abandoned building, and their nostalgic looks and gestures ensure that they are the happiest lovers in the universe. It's Christmas Eve.
However, the initial image is far from reality. Filipino filmmaker Joselito "Jay" Altarejos deliberately follows the same two boys having sex in a small, dirty, dimly lit room where demons and other video game monsters seem to wink at the lovers from the walls. Everything plays with reality. The room is above an Internet cafe.
We will never again see the serenity, sincerity and euphoria of the film's opening dream sequence, as these have been replaced by the sweaty and unfunny date between two young men about to end their relationship.
After the night of breakup sex, David (Sandino Martín, 'Lonely Connections', 2023; 'Esprit De Corps', 2014), the youngest of the teenagers, aged 15, returns home smiling to his grandmother (Boots Anson -Roa), a kind but simple woman immersed in her Catholic faith.
Although grandmother and grandson can sing and dance karaoke songs together and share tender moments, the generation gap is enormous. On the other hand, David's parents work abroad, which aggravates his loneliness. Only once does social media become a benign force in the film, as it allows David to Skype with his mother.
Once David discovers through social media that 17-year-old Jonathan (Angelo Ilagan, 'Alimuom ng kahapon, 2015) has sought another lover, he locks himself in his room, where he keeps a shrine dedicated to his ex-boyfriend, and during the following hours, he begins an attempt to recover it through social networks. It monitors your steps, follows you from a distance, sends signals with red hearts and reacts with "Likes" to your posts. After all, David is today's typical awkward teenager who is better able to express his feelings through knee-jerk reactions on his digital profiles than through a real interpersonal connection.
When his affections are unrequited, he makes one last effort to reconcile as a sinister backup plan solidifies in his mind. The mission he embarks on matures with every step, as he distances himself from reality and wanders among the crowds and chaos of Manila. David needs to broadcast live to the world the love his ex-lover just wasted.
And I'm not spoiling this, as Altarejos publicly acknowledges before its release that his film is based on the 2011 shooting in a Philippine shopping mall of two young lovers, whose amateur images later appeared online and went viral.
My heart is squeezed by the image of David, alienated from reality, as he buys credits to resume the online harassment of his ex-boyfriend, and does not notice the homophobic insults his neighbors throw at him. When you temporarily come out of the spell and respond to grievances, you become aware of your surroundings. At that moment, David stops wallowing in himself and becomes a witness to problems that seem bigger than his own.
Recognized with several prestigious awards both in the Philippines and internationally for his groundbreaking openly gay-themed films such as 'The Man in the Lighthouse', 'Antonio's Secret', 'Kambyo', 'The Game of Juan's Life', 'Pink Halo- Halo', 'The Commitment' and 'Tale of the Lost Boys', among others, in 'Unfriend', Altarejos reflects the sadness of a child, while telling a passionate story of a gay teenager who searches for a lover who has become indifferent to his love, at the same time it intends to be a film with a message.
In this sense, it works as a social commentary, giving us an idea of the new generations' inclination towards social networks, as well as showing the dangers that unfiltered information available online can represent for teenagers.
The love story in 'Unfriend' is a cry of sadness. The film, on the other hand, is also a powerful observation of obsession. As soon as Altarejos retracts the unabashed romanticism of the opening scenes, he proceeds to detail the less endearing qualities of the specific homosexual relationship defined by the virtual world in which it exists.
Furthermore, David, with his constant and rapid shift between aching lover and sex-starved animal, exemplifies the youth that has been conditioned to trivialize emotions. This is how the film has an impact precisely because its shameless portrayal of current attitudes and behaviors are too close to reality to be comforting. Infused with love and all other demons, there is no predicting what kind of monsters we can all become.
The film reminds us that in the story of love pain is hidden for a thousand and one reasons whose consequences do not respond to reasons. And the ways of expressing that hurt and regret are unexpected. It is love-heartbreak-resentment in an explosion that can spin like a top in the deceived, disdained person.
In this way, Zig Madamba Dulay's script portrays the anguish and obsession of a 15-year-old gay boy with social networks, and creates a fascinating story of how the Internet can bring fragile minds into a dangerous world.
The filmmaker himself expressed in an interview with Reuters: "I was interested in showing people how social networks have changed the way we live our lives, how we have become artists and how social networks have also turned us into voyeurs and exhibitionists. ".
'Unfriend' vividly portrays life in the Philippines, where poverty forces millions to work abroad, and mobile phones and WiFi make social media ubiquitous, after teenagers buy small amounts of phone credit in the street stalls to bury yourself in the dilapidated booths of the cibercafes.
Premiered in the Panorama Section of the 2014 Berlinale, the film quickly attracted the attention of local and international media for highlighting the "dangerous power of social networks."
Arvin Viola's photography is full of beautiful intimate images that leave one more sad than excited. However, what makes the film appealing is that it is more interested in intimacy than sensuality. Deep down, it brought up mixed feelings. On the one hand, he secretly wanted David and Jonathan to get back together, but at the same time, he wanted to see the magnitude of the pain David can endure.
I'm struck by the liberal use of the shaky handheld camera in natural lighting. Many viewers will find this way of filming strange, but here it is used effectively to give it a grittier, dirtier texture, very appropriate for what the film reflects.
'Unfriend' is not a perfect film, but what it lacks in technical perfection and surprises it makes up for in the setting: a sensation of the gradual breaking of a dam of anger, the growing temptation to break the silence in the face of the pain of heartbreak, the disloyalty, disappointment or infidelity of the loved one and their tumultuous experience.
With each sequence, Altarejos' film clings to my throat until it leaves me breathless. I couldn't get it out of my mind that extraordinary events can happen on any bright sunny day. And so I held onto the couch, to follow the controlled anguish of the actor who brings David to life, seen in various forms as he goes through the various stages of grief.
I can hardly erase Jonathan and David's last meeting from my head, seeing how his voice and hands tremble, and he almost chokes with the sobs he tries to suppress, but his body gives him away as he chews his straw and blows bubbles in his mouth your tea.
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In the review I will refer to the story of the two boys who, in my opinion, are heterosexual and discover, in the rain, their same-sex attraction.
Directed by Kim Seon-hyung and script by Kim Eun Hye, this story tells the chance meeting of young people Ji Min (Yoo Kyung Seon) and Soo Huyn (Go Hyoung Woo) on the stairs of the first floor of a residential building. They both seek shelter from the sudden rain.
The beautiful photography by Jo Yoon-ju and Choi Ji-won captures the moment when a simple attitude changes everything. When the boy in white asks the other if he wanted to kiss him because he was staring at him insistently, the other could have simply said "no", but he did what most of us would like to do, he said what he wanted and that It generated destabilization and indescribable emotions.
The response gave the other the courage to be more incisive and realize that they both really wanted to kiss. Then, the one in white finally found the courage to express what he wanted and the two kissed.
To reach the climax, the short film captures eye contact, not being able to avoid looking at each other, the looks that one gives and the other returns, the increasing attention that one pays to the other. All this reflects that there is chemistry.
Jo Yoon-jeong's sound captures the falling rain, the nervous and labored breathing of the protagonists. I can almost guarantee that I hear the rapid beating of their hearts.
Seonhyeong Kim's editing is beautiful.
The viewer can quickly recognize that there is mutual interest, a manifest and growing attraction between the two through non-verbal language, that is, communication that reveals gestures, glances and body movements, among others.
As some would say, "the eyes are the window to the soul." Sometimes our gaze can unconsciously reveal our feelings. Therefore, when you want to find out if two people are attracted to each other, the first place to look is their eyes.
I would just like to add that I would like Ji Min and Soo Huyn to continue returning glances, smiles and kisses long after the rain that brought them together stops.
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Based on the script by Rod Mármol, known for creating LGBT+ stories and characters such as those in 'The Super Parental Guardians' and 'Mata Tapang', the audiovisual is set in Manila, the Philippine capital, in times of quarantine due to Covid -19, and tells the story of Judah Dela Vega, a rich young university student who has to maintain social distancing in an apartment shared with several fellow students, but where he has been left alone due to the departure of the others due to the cessation of the classes motivated by the new coronavirus pandemic.
At home things are not better: his mother, Jane Dela Vega (LJ Moreno-Alapag), works abroad, and Lolly, his devoted grandmother (Gina Pareño) has rejected him after learning of his homosexuality and sends him to a camp. of conversion, so Judah refuses to return home with the lady.
However, his life changes when he crosses paths with Rocky Ilagan, a college classmate who has to work part-time because of the poverty in which his family lives, and who is forced to live in the same dormitory due to who has not been able to travel home to the provinces due to road closures.
The protagonists of the series are two broken boys, one for not having been accepted by his grandmother when he came out of the closet, which is why he has distanced himself from the person who raised him in the absence of his mother, and the other for hiding his homosexuality. before her mother when she read a text with a clear sign of suicidal instinct by preferring death instead of confessing her secret.
The main charm of the series directed by Pancho Maniquis (Stuck on You, 2021) comes from the relationship between the two young people, who build a very special bond. The chemistry between Royce Cabrera and Kyo Quijano, who play Rocky and Judah, respectively, is palpable: the two transmit tenderness, camaraderie and a lot of affection.
This helps a lot at a certain point in the plot in which the internalized homophobia of one of the protagonists threatens the love forged between the two, since the warmth is felt despite the conflict created.
Although the character of Royce is the one that receives the most development, and falls in love with his straight boy aura, the deep sensitivity in the struggle with his sexuality and for protecting the person he has fallen in love with, Kyo Quijano makes sure that We grow fond of his Judah because of the complexity of his character and the nuances he brings to it with his performance. We do not want any other ending other than happiness for the two lovers.
Royce acts precise and with innate naturalness, as always. He knows how to take his character to emotional levels without falling into drama. This young actor transmits at all times the transformation that occurs in his character. The casting work is absolutely right in his choice, given that he is able to understand and sentimentally reveal his character to the viewer.
This character's conflict lies in the fact that since his father is a priest, it is difficult for him to admit to him that he is gay. He never confesses his homosexuality to his deceased mother and the fact that he has not done so is something that haunts him.
Both actors have defended various LGBT characters. Royce Cabrera is known for playing the protagonists Ace Policarpo in 'Fuccbois' and Lito in 'Call Me Papi', and for participating in other feature films and series with homosexual themes, such as 'Where Is the Lie?', 'A Soldier's Heart' and 'B X J Forever'.
For his part, Kyo Quijano plays Bryan's boyfriend in 'Luv Express', and Freddie in 'Mahal Kita Beksman', a 2022 feature film.
The supporting cast also does a good job without ever stealing the show. Gina Pareño, remembered for her role as Nanay Flor in the 2008 film 'Serbis', plays a character who will end up accepting her grandson's homosexuality and supporting the relationship that he has begun to build with Rockie. With an infectious laugh, a cheerful countenance and many funny words, the actress reveals why she initially rejects Judah, and gives us more than one touching moment.
Domingo Cumla, in his first appearance on screen, also touches and manages to give nuances to his character beyond being the stereotype of a widowed father, loving and grateful for the kindness of his son, who provides monetarily and materially for the poor family.
Joining them is Beverly Cumla, whose acting debut took place in 2018 in the film 'A Country in Moving Pictures', and on this occasion she has a brief but memorable appearance as Rockie's sister. She will have a great role in the making of the series as editor and first assistant director.
'Quaranthings' stands out by virtue of its communicative power. No viewer will doubt the personality of someone who sleeps in a room with a photo of Alexandria Ocasio-Cortez, an image of Martin Luther King Jr. and posters of several Thai BL series hanging on its walls.
There are also interesting little details of queer coding that will not escape the public. The figures represented in the paintings in the room, the birthday cake candle that Royce holds in his hands, the birthday hats, the luminous decorative piece that rests on a nightstand, the alcohol bottles... The phallic references can be simple, but very effective.
Jan Silverio, known for his work in 'The Rain in Spain', plays Glenn Martinez, a character who correctly fulfills his role of making Royce jealous, as this young man shows interest in having a purely sexual relationship with Judah.
On the other hand, Karl Zarate not only plays Beshie, Judah's faithful boy friend, but also sings "Sansinukuban" (My Universe), the main theme of the series, by Pancho Maniquis and Fitz Shioda.
Kyo Quijano also shows his vocal skills, performing "Ipu-Ipo", by Fern Tan, Pancho Maniquis and Othello Intia.
In addition to its LGBT+ theme, the series, of 8 episodes with an average of 25 minutes each, is distinguished by how it deals with topics such as sexual orientation, gender identity, coming out, social and class differences, and the conflicts of young people regarding these. Judah has already come out of the closet and his main objective in this area is the search for pure love, while Rockie is afraid to recognize his sexuality in a patriarchal and heteronormative society in which men hide their homosexuality and silence their emotions.
This authenticity in portraying the conflicts of young people who are still in the closet for fear of expressing and understanding their feelings reminds us of the importance of queer communities telling their own stories. The creators know the subject and this is reflected in the final work.
Made with great care and love for a young audience, 'Quaranthings' is an adorable romance that also deals with important social and political issues without falling into clichés in telling a story about finding love in times of quarantine.
Joseph Javellana's cinematography, Newt Lobete's camera work, art design, production design and editing all contribute to a quality product, which I recommend to anyone interested in appreciating a beautiful romance.
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Filmed in Beijing and released in 2014, the film tells the story of Hu Kun, a young car driver (played by Lu Yulai), tasked with transporting Wei Zishan, his disdainful and callous boss (played by Li Quan), from a from one place to another in the Chinese capital, without the two men exchanging a single word.
In addition, he is also responsible for taking care of the daily life of the boss, a man who is going through two crises, one of mid-life and one of marital breakdown, and occasionally comes into contact with his superior's wife (Li Xinyun) and other close people. to the character played by Wei Zishan.
The film had its world premiere in 2014 in one of the main cinemas in the Chinese capital, an opening ceremony attended by the two protagonists and the director.
With a script by Fan Jiu Wei, the 29-minute film tells how the serious and taciturn driver is responsible at work, but has his own hidden motives: he is deeply in love with his boss. Due to the enormous difference in identity and social status, added to the fact that he hides his homosexual condition, the driver represses his emotions, but secretly hopes to be able to satisfy his passions one day.
'Boss, I Love You' is the third short film by independent film director Zhang Yuan, and is also one of the works of Youku's "Master Micro Film" from 2014.
As in his landmark film, 'East Palace West Palace' (1996), director Zhang Yuan explores same-sex attraction in the context of power relations in contemporary China, this time as part of the production from the Hong Kong International Film Festival, Beautiful (2014).
While the previous film linked a hapless citizen to ruthless, seductive power ("the prisoner loves his jailer"), in 'Boss, I Love You', the conflict arises from the socioeconomic inequality that leaves the dispossessed pining for what they can't have.
Presented at the International Institute of the California University of Los Angeles (UCLA), as part of its 2014 China Screen Biennial: Spectrum, and awarded at the HK International Film Festival in 2014, 'Boss, I Love You' is co-produced by its two protagonists Li Quan and Lu Yulai.
Graduated in 1989 from the Photography Department of the Beijing Film Academy, after directing 'East Palace and West Palace', Zhang Yuan returned with a same-sex love story in 'Boss, I Love You'.
Known internationally for directing 'Mama' (1999), a combination of documentary and fiction, film and video, which was the first Chinese independent feature film since 1949 and is credited with launching the "Sixth Generation", as well as the "Urban Generation", Zhang Yuan made a series of "underground" films, often inspired by local countercultural movements, such as the indie rock scene 'Beijing Bastards', from 1993, the film 'Sons', from 1996, or the gay subculture, in which 'Boss, I Love You' is inserted.
Starting with 'Seventeen Years' (1999), the Chinese filmmaker made several successful feature films, among which 'Beijing Flickers' stands out.
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When devotion becomes obsession
Franco risks his life and freedom with years in prison when he begins stalking Brent Barcelon, a local celebrity. The problem is that attraction gives way to devotion and this to obsession, and that complicates things, because the Filipino prostitute boy takes his desires to the limit, showing his sickest version. He may be handsome and have a statuesque body, but behind that another truth is developing.'Lodi', idol spelled backwards, is a low-budget, slow, soft-core Filipino porn film from 2017. The protagonist, named Franco, a young sex worker with a beautiful body, is criminally obsessed with a straight boy.
Finally Franco, who visibly does not regret his actions, takes the path of stalking, theft and violence, all with the goal of possessing the boy who sparks his obsession.
The protagonist, who realizes that he could never have a romantic relationship with Brent, pursues him, and discovers where he lives. In this way, he comes to occupy a position as a maintenance manager in his condominium, with the sole purpose of being close to the object of his obsession, without considering the ethical, criminal, legal consequences and harm to himself and other people.
As she commits her crimes, the director and cinematographer simply enjoy the view of her naked body for much of the film. I'd be lying if I said I didn't enjoy it too.
The film reflects the involution of a human being as he goes towards his wild instincts, the lowest, twisted and darkest. Franco does not like to deceive and manipulate his clients. Their friend Tiger (Carlo Mendoza), another prostitute, drugs them before robbing them. The protagonist of the story rejects this action.
However, carried away by his dangerous obsession, he also decides to commit the crime, and drugs and rape come into play.
As we can see in the images, 'Lodi' has an important erotic charge with scenes of paid sex and domination sex, but others are not real, as they are recreated in the imagination of the protagonist, who sees himself having consensual sex with Brent.
These explicit sexual scenes (completely removed from the universe of pornography) provide absolute meaning to the story of the protagonist and the plot of the film.
In every erotic drama there is an almost tacit rule: the irrationality of the acts must be recorded, stripping them of a moralistic perspective, but trying to unlock the reasons for the magnetism that leads its protagonists (again and again) to approach each other in the context of the forbidden and even crime. 'Lodi' starts from that guideline, and does it accordingly.
This homoerotic film is directed and written by Tim Muñoz, and stars JM Martinez as Franco and Ace Toledo as Brent.
It was made with a modest budget, which helps it succeed with its proposals.
JM Martinez shines in his role, reflecting an individual whose attraction for another boy grows in crescendo, giving way to an unhealthy obsession that leads him to commit unforgivable crimes. It only takes one sequence of the several that exist in the 79-minute duration, and which lasts just five minutes, to persuade the viewer of the monster that has been created.
JM Martinez's performance is overwhelming, considering that the best tool to reflect his character's obsession was to remain with an averted, inert gaze, with an imperturbable face despite everything he has been planning to carry out his evil plans.
The disruption generated by Brent's presence in the life of a young man who seems to have everything resolved in his life thanks to the sale of his body, is reminiscent of what occurs in other films by the director, such as 'Don Filipo', in the one in which a man becomes obsessed with dominating another to take away his heart and be able to achieve eternal youth.
For his part, the character played by Ace Toledo convincingly demonstrates that he is oblivious to what has been brewing around him such an abject being, whose actions border on the implausible, even within the codes of this story, where instinct takes precedence over any more thoughtful thought.
Both actors starred in 'Hombre', the first feature film by Tim Muñoz and after the short film 'Estranghero' (2016), an erotic film in which JM Martinez and Ace Toledo play LGBTQ+ characters with nude scenes and extreme sexual content.
The supporting cast also contributes with their realistic performances. It's filmed almost in a documentary style and that lends credibility to the whole storytelling aspect of the story.
In his third film, and with the erotic eye of Gregg Araki and Gus Van Sant, Tim Muñoz, whose scripts are in the Filipino vernacular, but always provide subtitles to reach an international audience, also portrays a reality in the world since Antiquity : a fan's devotion to his idol, but taken to unimaginable consequences.
We all, to a greater or lesser extent, feel admiration for an equal, for their peculiarities and characteristics. In many cases, this admiration can be identified with a type of behavior that in psychology is called "idolating", and refers to the assessment and recognition we make of another person, but exclusively focused on their positive qualities.
The ending is cruelty so harmonious with the general story.
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