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The theme of love is universal
"The theme of love is universal, regardless of gender orientation." This is how Adolfo Alix Jr., the director of 'Unlocked', the Filipino anthology filmed in 2020 with iPhone about homosexual relationships during the confinement caused by the pandemic in Manila, responded when answering how he came up with the idea of telling these stories.Scripted by the director himself and Jerome Zamora, each episode of the series, which at the time became the most viewed in the history of the LGBT+ streaming platform GagOOLala, addresses a different queer story, cast, and genre, but they all share the same context: how the Covid-19 pandemic has altered the already difficult lives of the LGBT+ community in the Philippines.
"During the early days of quarantine in Manila, I had LGBT+ friends who were trying to understand the 'new normal' while navigating the realities of the pandemic. So, I thought about developing stories where the pandemic can be a circumstance that prompts us to examine their relationships, like a kind of purge, whether it's physical distance or developing paranoia about the situation."
In the words of the Filipino director, people become more vulnerable to the stressors around them. In the circumstances caused by Covid-19, each individual was able to share more time with their loved ones and, locked in the confines of a limited space, they were able to unlock emotions and realities that put their relationships to the test, while at the same time they faced fear not only of contracting the virus, but also the feeling of uncertainty, often like their relationships.
In this way, the idea arose to create a series in which love would be the link that would connect the nine episodes of the anthology, since its characters reflect a variety of queer relationships that jump off the screen and resonate with viewers.
Family love, romantic love, long-distance love... Although the anthology uses a realistic and bittersweet tone, it shows the strength of human connections with our loved ones in difficult times. That is the main message that the series conveys.
It also reflects the atmosphere of uncertainty that prevailed during the pandemic. With lives disrupted and held hostage by quarantine, people became more vulnerable to the stressors around them, from limited mobility and work-related stress to the complex relationships they have with their partners, family or friends.
Knowing that stories like those reflected in the series are not only specific to Manila or the rest of the Philippines, Portico Media, the group behind GagaOOLala, gave the green light to the project.
With solid performances, in all the stories I liked the script, despite some holes. For example, in episode 4 I didn't understand what really happened to Mr. Greg's husband, whether he died or left home; while in 5, I couldn't understand how Ivan's mother knew what he did for a living and why put it out there that way, but overall it's a great series.
Given the limitations of filming during lockdown, some of the episodes, while fascinating and relatable, are rough around the edges, making them sting even more with thematic pertinence.
The anthology demonstrates that the LGBT+ community's journey is not all sunshine and rainbows. There are many experiences that remain locked in memories and experiences. 'Unlocked' opens our world to the trials and tribulations of a community, already repressed by society, and how they triumphantly overcome them.
The main conflict that the small four-person team led by Adolfo Alix Jr. faced was filming during the confinement. With safety as their top priority, they filmed all episodes using an iPhone, using familiar available locations, and working closely with the actors because they wanted them to be comfortable and safe.
The beautiful and emotional music by Mikoy Morales and Alex Diaz contribute to the recognition that while the stories are framed in the realities of the LGBTQ+ experience, the accessibility issues they address go beyond their niche market.
Each episode has the names of the characters as its title. The debut episode, 'Andrew & Brix', tells the story of a middle-class young man named Andrew (Markki Stroem) who, heartbroken due to a recent breakup, invites Brix (Mike Liwag) on the first night of quarantine, a rent boy she met online, to have a sex encounter. As the night progresses, their conversations open up many possibilities: healing and connection, lust and love… and probably moving on. Is Andrew ready to commit again to someone like Brix?
The episode stars Ardel Presentacion as Andrew's ex-boyfriend.
This episode was followed by 'Calvin & Drake', starring with convincing aplomb by Oliver Aquino ('Tale of the Lost Boys', 'Jino to Mari') and Miguel Almendras (Junjun from the popular BL series 'Hello, Stranger'), two young lovers since college, who are forced to learn good and unattractive things about each other as their increasingly toxic relationship unravels during lockdown.
The third episode, 'Eli & Frankie', the main characters played brilliantly by US-based Angeli Bayani and Angelina Kanapi, is about a young mother trying to reconnect with her lesbian lover who is now living a quiet life abroad.
The fourth episode, 'Greg & Harold', is about an old teacher named Greg (Joel Saracho) who is teaching online classes during lockdown and whose life will change when a young stranger (Ross Pesigan) shows up at his door and asks to borrow money your bathroom for a quick shower.
The fifth episode, 'Ivan and Jack', sees Jerould Golde Aceron (exceptional in his award-winning performance as a hermaphrodite in 'Metamorphosis'), playing Ivan, a boy who, desperate to raise money to bring his mother from Switzerland to house is forced to use his body to get the attention of his clients, since the pandemic makes it difficult for him to have decent job opportunities. When you go viral online for your "noble" reason behind what you're doing, are you caught in a dilemma between right and wrong, as you examine your true motivation behind your actions? Is he really doing it out of love for his mother or out of love for himself? Joining this actor is Evelyn Vargas as Jack.
The sixth episode, 'Kyle & Kyle' tells the story of Kyle (Adrian Alandy), who is trying to finish his script while in quarantine. The young man begins to feel and see strange things in his apartment, even in front of his exact facsimile. Is the double a projection of himself, a figment of his wild imagination, or a manifestation of his psychological breakdown? What follows is a spiral between fantasy and reality. At his side appear Marx Topacio as Jake, and Stephanie Sol as Lani.
Six episodes were initially planned, but seeing the audience's interest in these small but emotional stories, director Adolfo Alix Jr. wanted to expand the number of original episodes to nine.
In this way, the seventh episode, 'Luke & Matt', tells the story of Luke, a young man who loses his father to Covid-19 and now has the opportunity to reconnect with his father's lover. The visit brings back memories and pain that both of them experienced in the past. Can they finally forgive each other and put past sins behind them?
The episode stars Vince Rillon, the Filipino actor who leads the cast of Brillante Mendoza's Netflix series 'Amo' in the role of Luke, and top model Kirst Viray ('Mulawin vs Ravena', 'Ang sa Iyo ay Akin').
The eighth episode, 'Neo & Omar', is director Adolfo's vision of the current BL trend with a teenage romantic story full of nostalgia starring child actor Miggs Cuaderno and Savior Ramos, the son of actor Wendell Ramos, in his first acting role: Neo (Miggs Cuaderno), a shy and mute young man, and Omar (Savior Ramos), a mischievous teenager, are forced to live together by their frontline parents during the quarantine to keep them safe. Their cat-and-mouse banter evolves into a kind of budding bromance, complicated by the accidental possibility of an innocent kiss.
'Unlocked' ends with a very special episode, 'Pancho, Quinn & Ryan,' which marks Markki Stroem's return to the series after starring in its controversial first episode. This episode follows a gay couple consisting of Ryan (Miggy Campbell) and Quinn (Markki Stroem) in an open relationship with Pancho (JC Tan), suddenly faced with a reality during the pandemic: everyone is unhappy with the situation. The "trio" tries to reconcile their feelings for each other. What follows conveys the complexities of the men's complicated relationship that abounds in love, pain, secrets and lies.
Thanks to its popularity and good reception by the public and critics, 'Unlocked' was nominated in the "Best Drama/Feature/Quarantine-Themed Program" category at the Content Asia Awards, part of the Content Asia Summit, one of the leaders of entertainment and events in the sector in the region.
I recommend everyone to see this significant anthology because, in my opinion, it manages to integrate the struggles of the characters in each story into the series as a whole. On the other hand, it shows a side of relationships that resembles real life in the midst of quarantine. Situations that certainly did not romanticize the confinement, and showed a spectacle that thousands of people faced, which is maintaining a relationship, or managing to get out of it, in the context of the pandemic, be it love, family, friendship...
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Their world turns upside down when Yates (Markus Paterson), Grey's crush, returns from the United States. Grey's heart races at the chance to rekindle his old love, but his plans are derailed when Yates unexpectedly confesses his feelings for Jonas.
By enlisting Gray's help to win Jonas's heart, Yates puts Gray in a love triangle he never saw coming. As the plot unfolds, Gray is faced with a crucial decision: support Yates in her conquest of Jonas or take the opportunity to rekindle her own love story and prove that love knows no stereotypes.
This is another film about a boy (or three) facing his sexuality and searching for love and happiness. In reality, a film that dealt well with this topic would be novel, but that is not the case. And what bothers me the most is that it is directed and written by Iván Andrés Payawal and Ash Malanum, respectively, the filmmakers of 'Gameboys', 'Gameboys: The Movie', among other series and films, and the lovers of series and feature films LGBT+ Filipinos (and universals, why not?) recognize what this means.
What bothers me the most is that it stars Tommy Alejandrino, whom I loved in his role as Nikko in 'The Day I Loved You', Kiel Aguilar, who stole my heart playing Dave in 'Osmosis' and Jerome in 'Our Story', and Markus Paterson, who still steals my smiles and sighs since I discovered him in the role of Simon in 'Hello Stranger: The Movie', three actors who, with a better script and better constructed characters, would have made the film hit the mark.
'Pretty Boys' is a simple story with fairly flat characters. The girl in love with the confessed homosexual, the three declared homosexual boys who are not sure of anything or are too silent or declare their love so superficially that they do not move anyone, the members of the technical team of the play who contribute nothing to the story... All very topical and, deep down, a reflection of a reality.
The problem is that such a serious topic requires being treated in another way, at least with credible characters. Furthermore, the story seems to be in a nebula, since the protagonist's objective seems to change with each scene; and suddenly, everything happens in the last four, maybe two minutes, leaving only dissatisfaction.
The film is entertaining, but it doesn't contribute anything because not even the director knows what he wants to tell.
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If in 'Find You in the Crowd', a 2017 short film, which marked the debut of Chinese screenwriter and film director Zhang Yun He ('Until the Autumn Wind Start', 'Love Ever After'), he explored homophobia, homophobia internalized, the love triangle and unrequited love, in 'Find You In The Dream' he returns to his thematic obsessions and addresses sexual repression, the relationships of close friends and the school environment, always having homosexual characters as protagonists.
In this latest short film, also from 2017, the Chinese filmmaker exposes repressions as the worst punishment that a person can receive or promote, by portraying a young man who lives sexually tied and repressed.
During the film, Zhang Yun He explores themes such as internalized homophobia and the repressed desire to live sexuality freely.
Seeing the wishing bottle shattered, Qiao Ke feels that his heart was broken and that both he and his lover had lost their lives.
Starring Wang Qinhua, Jiang Yuqi and Zhang Caili as Qiao Ke and Jiang Yunan, respectively, in just over 21 minutes, this sad film tells us about the memories of Qiao Ke, a young repressed homosexual who does not accept his true nature, and Today, eight years later, he still regrets not having been able to express his true feelings to Anan, his classmate in high school, with whom he has always been in love, but he will no longer have the opportunity to confess his love.
Also known as 'Hu Meng Shaonian Shì', 'Sudden Dream' and 'A Dream of Youth', the short film, written by Xie Wanrong, Baggio and Zhang Yunhe, guides us through the memories and thoughts of the protagonist, who expresses his pain and sadness for being a young man repressed by the fear of being who he really is, and for living a double life by hiding his true sexuality and refusing to recognize that he is in love with his dear friend.
Qiao Ke will believe at some point that Chen Donger, played by actress Zhang Caili, is also in love with Nam, but she is the supportive friend that every gay should have by their side.
Since its public release, it has received good reviews, especially from specialists in this type of American cinema themes, since its presentation at film festivals in New York and Los Angeles, for the coldness and rawness with which the story is told. However, others maintain that it is a reality that in many cases is worse.
The cinematography, color palette and music as a whole reflect the tone of the film and expose the moods of the characters.
Also worth highlighting is the use of monologue. Qiao Ke guides the viewer on an introspective journey, revealing the relationship he has with his best friend, the boy he is in love with. Along the way, the protagonist discovers himself and questions himself for not having been sincere.In short, it is one of those films that talks about feelings, the passage of time and regrets. It is a story that shows a very everyday intrinsic truth in the lives of many homosexuals in the world, which manages to captivate the viewer. It is based on a creation that is far from great artifice, but that wins with that minimalist aspect.
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An exciting and sexy story that portrays sexual awakening in adolescence
Yang Yong Ning enjoys the last days of summer alone before returning to classes for the upcoming new school year. Suddenly, he best friend Ji Yijie, who has not seen him for a long time, calls him and invites him to have fun and walk through the streets of Taipei at midnight, the only witness of the love and sexual awakening of the two teenagers.From the dramatic and youth genre with LGBTIQ+ themes, 'Beats Per Minute' (午夜節拍 / Wu Ye Jie Pai, Wu Yeh Chieh Pai) asks us a question: can romantic love arise from friendship?
In his second short film, screenwriter, director and editor Lin Guan Chen portrays the queer perspective, the main trait that identifies today's youth.
As he did in 'Shift Gear' (2022), the Taiwanese filmmaker focuses on the LGBTQ+ community and how Generation Z can face their confusion in this chaotic world, in the effort to contribute to overcoming the heteronormative paradigm, leaving a priori behind binary according to which one is by default a boy or a girl, homosexual or heterosexual; in short, to understand sexuality as a broad spectrum.
'Beats Per Minute' tries to capture these new ways of conceiving identities and transmitting the processes that the protagonists experience when assuming, expressing and experiencing them.
In its almost 20 minutes, the short film exposes the obvious physical attraction between the two young men, while they talk about girls and making love with them, perhaps in an attempt to deny their true feelings.
Yang Yong Ning makes it very clear right away: he is in love with Ma Ji Yijie. That's why he secretly steals photos of him while he pretends to take snapshots of the stars, dances for him, plays constant pranks on him and suffers in silence when he discovers that they could separate when his friend has to leave to live in Canada, as is his mother's wish.
On the other hand, for the young man who, from his words, appears to be heterosexual, this feeling towards his friend is a new and unexpected experience. However, he does not hesitate to be the first to kiss him.
And yes, the attraction between the two protagonists will end up crystallizing when Yang Yong Ming also kisses his friend.
Tung Wang's cinematography helps to successfully portray the charming sparks between the two young actors and the beauty of the Taiwanese capital.
Although at the beginning of the century, queer fiction was defined by transgression and reaffirmation, as a form of resistance in a very hostile environment, this short film reclaims adolescence as the period of doubts and fears. Instead of associating it with transgression, the queer attitude is associated with vulnerability, tenderness and the willingness to get closer to the other.
Without ignoring fears, insecurities and vulnerabilities, the short film builds from fiction a warm, optimistic and luminous universe to embrace the queer experience of the two protagonists.
Produced by Yi Juyng Lin, 'Beats Per Minute' is a film that manages to portray what it is like to live in the closet during adolescence and that reminds us that LGBT+ people also deserve to live a love story. It is, in short, an exciting and sexy story that portrays the sexual awakening in that period of a person's life that lies between childhood and adulthood.
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A story of healing, love and the fusion of two opposite worlds
No one can resist the charm and cuteness of pets; Regardless of whether it is a parrot, rabbit, dog or kitten, they win your heart and little by little they end up being part of the family. Most human beings enjoy spending time with their pet, which is not surprising since while you indulge in the moment, your brain feels happy and secretes "the happiness hormone."'Love is Like a Cat' (사랑은 고양이처럼), also known as 'Sarangeun Goyang Icheoleom', the romantic comedy from South Korean director Kwon Nam Ki ((권남기), revolves around Piuno (Mew Suppasit - 'What The Duck ', 'TharnType' and 'TharnType2: 7 Years Of Love'), a well-known Thai star who doesn't like animals, and her romance with Lee Dae Byeol (Chu Jimin, known as JM, from the South Korean idol group JUST B), the director of a pet daycare.
Every time he crosses paths with an animal, Piuno remembers a traumatic episode he experienced in his childhood that makes him not want them around. Pets do not awaken that feeling of love or tenderness in him. He suffers from zoophobia. He is aware that this phobia is considered an irrational act of human beings, but he cannot help it.
It has been suggested to him that his "illness" can be treated with professional help, since he can find the necessary support to overcome the trauma and gradually manage to coexist with the animals. But he has not paid interest to the matter, thinking that it would not be of much use to him, and he has moved on with his life.
However, when he finds himself threatened by those who wish to see him brought down, there is only one thing he can do to save his reputation and his career: work at a pet daycare in South Korea.
Putting aside his severe dislike for animals, Piuno begins working alongside Dae Byeol, who will help him find ways to overcome the trauma that first inspired his hatred of animals. This is how he will end up appearing in a reality show set in a pet cafe in Seoul.
But these will not be the only surprises that the protagonist encounters: as his heart begins to soften, unexpected feelings begin to arise for the young owner of the daycare center. What will happen between the cold and enigmatic actor who doesn't believe in love, and the outgoing and romantic pet daycare owner when their lives intersect?
Lovers of the BL genre in general, and of Mew Suppasit, in particular, will be pleased with the reappearance of the renowned Thai actor, singer and producer in a romance drama between two boys of the same sex. On the other hand, JM, his co-star, shows his youthful charms and the dreamy aura of the idol, as well as his talent as an actor, in this, his first appearance in a drama.
In addition to the aforementioned actors, on screen we will see GeonU, also a member of JUST B, also in his acting debut, playing Gi Min, one of the pet daycare workers; and Kim Kyoung Seok ('Hot And Sweet' and 'Someday Office'), as Jun Hyuk, a friend of Dae Byeol and one of his biggest followers. These secondary characters play a very important role and contribute intensity and complexity to the conflicts.
With a seductive cast, in addition to wonderful chemistry, the direction, cinematography, writing, music and staging transport the viewer to a dream and fairy tale universe in which everyone involved, including the Animals, especially dogs, contribute their own, to achieve a series capable of marking a milestone within the genre, as it escapes stereotypes, and shows human beings with their nuances and in various circumstances. The narrative maintains a good rhythm that enhances the emotional closure of each episode and the series in general.
All these details give an idea of the story told to those who still do not know it, a narrative firmly based on the love stories between two young men of different personalities, countries, professions, languages and cultures, but determined to sustain their idyll against all obstacles. , prejudices and cultural, linguistic or temperament divergences. One looks like a dog, while the other looks like a cat.
What an actor lacks because he is new to these issues, the other provides, due to his extensive experience. It's fascinating to watch the couple navigate their uncertain feelings. One of the main reasons audiences will admire the series is the simplicity and relatability of the story, as well as the good visuals.
Once the romance escalates, 'Love is Like a Cat' shows one of its greatest strengths. The series has the ability to create many tender moments between the two young people. We will see them flirting in the garden of the animal nursery and kissing in the sunny corner of the clinic room, under the knowing gaze of their friends, including the four-legged ones.
Every affectionate interaction is like a treat for BL fans, making these scenes even better thanks to the beautifully polished visuals. The public will witness the generous abundance of romantic images. The cinematographer captures every intimate look and every loving gesture with pinpoint precision.
Dae Byeol is a well-defined protagonist. He knows his work and loves animals. He is sincere, responsible and faithful to his friends, both those who bark and the others who accompany him on this journey of taking care of pets and falling in love with a famous television star. His qualities create a memorable character with nuances. His charm emerges once the performer gains confidence in the role he plays. Just then the couple's chemistry strengthens, going from being a little embarrassing at first to building a more comfortable and deeper relationship.
In comparison, Piuno's backstory will also draw the viewer's sympathy with high marks. He likes it more and more, especially when he overcomes the somewhat mysterious, reserved, fearful attitude when encountering the animals for which he has always felt rejection, when leaving behind the weight of the circumstances that forced him to move away from his comfort zone, and when you begin to adapt to the people, the language, the customs, the culture of a foreign country.
The series explores the couple's bond physically, emotionally and spiritually. When I think about how Piuno and Lee Dae Byeol started the story of "strangers to friends and friends to lovers", both of them, side by side, went on an eventful journey. They overcame personality clashes, misunderstandings, and even cultural and language differences. Best of all, there's a lot of cute BL content.
One of the strong and striking points of the series is the fusion of two worlds. Piuno and Dae Byeol come from two different countries and cultures. Their universes will collide when their paths cross. Everything that separates them will not be an impediment for the two main characters to get closer, fall in love and begin a journey in search of happiness.
Each episode aims to ensure that the viewer is not disappointed, that they remain hooked, that they have a closure that lives up to expectations. The technical and artistic teams worked to achieve it. The arc of the characters, their development, as well as the events and conflicts, are very coherent.
The script, the depth of the themes addressed, and the aesthetics with which they are presented, the attention to detail to be as realistic as possible, the convincing performances, with a cast made up of established and young actors and actresses, determine, among others , the elements that mark the success of 'Love is Like a Cat'.
'Love is Like a Cat' is a story of healing and love. In addition to the entertainment factor and the fun and tender interactions between Piuno and Lee Dae Byeol, the series tells a story about overcoming trauma, opening your heart, and falling in love.
The inclusion of the adorable animals will provoke a positive reaction from pet lovers and the general public.
This is one of the four joint Thai-Korean BL projects from Hanyang Studio, from the same WeTV Original production, 'Peach Of Time'. The remaining dramas are 'Eccentric Romance', 'Wuju Bakery' and 'The First Love Manual', scheduled to premiere in 2024.
This collaboration between the two countries demonstrates once again that BL series defend the correct formula to sustain and consolidate the genre with the aim of satisfying an audience that craves authentic and moving love stories.
Personally, I liked the way the plot was executed, subtly exploring the characters' personal stories.
This romantic comedy is designed and taken from the script to the images with the potential audience being fans of the romantic genre in general, since love is universal and knows no genres, as well as fans of romances between boys in particular, and makes it clear that its objective is to portray love, acceptance, self-discovery, sexual diversity, the search for happiness, the influence of reality shows on viewers, the perception of the image of actors and idols by the public. , the pressures of the entertainment industry on artists, the challenges that come with being a queer person in today's world, themes explored through the dynamics of the characters.
Conceived to move people and involve audiences, through the main story and secondary plots, the series proposes to generate controversy about other dominant, current and universal elements, such as the tumultuous relationship between father and son, the love of animals and how they influence children's behavior, workplace camaraderie, sexual exploration, positivity, self-validation, and maturation issues. There are cultural debates and topics related to veterinary medicine and animal adoption, which helps make all the stories relatable.
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How much and in what way will our own decisions and those of others affect us?
One of the most complex and uncomfortable topics in human relationships is infidelity, but our worst qualities, decisions and actions are a great tool for cinema, which can turn even the most twisted relationship into an emotional, deep, complex story. and explosive, which divides opinions and leads us to explore what we do not dare to see in ourselves.Infidelity is ugly and painful, and can be traumatic for many people, but it becomes interesting and arouses curiosity when it is a "tragedy of others", the kind that movies show us, and it is also a good way to learn about more about the subject, the reasons that lead us to betray our partner and the way we deal with all that.
'Spring Like a Lover', by director, screenwriter and editor Daisuke Shigaya, is a 2017 Japanese film that proposes an unusual love triangle between three homosexual men whose lives fatefully intertwine.
Kazu (Konosuke Furuya) distrusts her current boyfriend, Shin (Tact Igarashi), a moody photographer, because she believes he is unfaithful. After an argument, Kazu revisits her ex-boyfriend, Takashi (Kazuki Kawakami), but discovers that he is now married to a woman and is unaware that this man is the one Shin has been having sex with behind his back. After the reunion, Takashi rekindles his feelings for the person who once shared his bed.
In this story about sex, betrayal, obsession and toxic relationships, the lives of these three men become complicated after the infidelity of one of them towards his partner. Of course, no one deliberately wants to harm others, but that is exactly what they end up doing.
One night, Takashi tries to have sex with Kazu, but Kazu immediately rejects him, not wanting to be involved in a relationship with a married man, and returns to Shin's house.
In Kazu's absence, Shin goes out to the terrace where her boyfriend has a beautiful caged songbird and deliberately tries to make the bird fly out of the cage. When he doesn't succeed, he leaves the door open.
In this short film that explores the universality of human emotions and poses a question: How much and in what way will our own decisions and those of others affect us? When reality breaks through, this complicated love triangle leads to tears, confrontations , breakups and violence.
After returning home, Kazu and Shin's reunion allows them to reconcile and strengthen their relationship. However, Takashi has not been able to forget Kazu, so he confesses to his wife about his sexuality, and she breaks up with him, but not before accusing him of betrayal for not having been honest with her.
Kazu is the most empathetic character of the three. Because he cares about Shin, he is able to activate a protective instinct in him. She loves her boyfriend, so she will seek to prevent him from suffering the consequences of her own actions and decisions, even if the price is high. He has seen how the photographer is heading towards a precipice and since there is nothing he can do to stop him, he appears frustrated and helpless. The image in the bathtub is, in addition to being heartbreaking, symbolic in this sense.
Shin is not a good man who messes up and makes a mistake. Both the script and the film are responsible for emphasizing that she is deliberately unfaithful to her boyfriend, and this fact will unleash all the subsequent conflicts. In addition, he violates people's privacy by taking photos of them in the streets without their consent, so he has to flee when he is caught in the act, because although in Japan it is not a criminal offense to photograph people's faces in public, it can be a crime. a civil offense if the person who has been photographed finds or fears that their image may be published anywhere.
On the other hand, Shin shows a cruel and violent face, not only for hitting Takashi, but for retaliating against Kazu in the bird for abandoning him and leaving the house. Even so, the strong emotional control she has over her boyfriend is evident.
Between arguments, crying, beatings, nude scenes and explicit sex, the 33-minute duration of the footage passes, which should not be analyzed, evaluated, labeled and classified as BL. There is a tendency among lovers of the so-called "Boys Love" to classify as such any love relationship between boys on the screen, and when they discover that the audiovisual shows a more complex dynamic, with characters with diverse nuances, circumstances and conflicts that surpass those of the genre of their preference, they accuse that this is not what they want to see, that they do not understand the film or television proposal, and they advise others not to see the artistic product, but not before giving low ratings on platforms where they are discussed. and analyze these dramatizations.
'Spring Like a Lover' is not a BL genre film, but an LGBT+ themed drama. The viewer should not expect to find here a tender and light romance between boys of those in which the audience is more interested in knowing the height of the step from which one of the protagonists will fall into the arms of the other to be happily ever after, in instead of living an experience closer to real life.
That is why 'Sprint Like a Lover' does not shy away from presenting damaged, broken, unfaithful, lying and miserable beings, as well as betrayal, infidelity, dysfunctional relationships, violence in the couple, breakups, pain. It does not shy away from showing romantic lives that are flawed and in complete anarchy.
If Shin's infidelity has an impact on the couple and on Takashi, the latter is the living reflection of human misery, selfishness, hypocrisy and limitless cruelty in demanding sex from Kazu in exchange for Shin's freedom, in addition to accept money from Kazu to drop the charges against her boyfriend.
The three men carry the entire weight of the film, without ignoring the brief presence of Takashi's wife, and are capable of transmitting emotions with gestures, silences, screams and looks in a performance as subtle as it is extraordinary, closing an intense, heartbreaking film. and very emotional.
The ending does not surprise fans of dramas that explore relationships with all their contradictions, conflicts and realities. Shin's infidelity causes his own ruin and that of the other two men.
"No one is an island, complete in himself," the poet John Donne wrote centuries ago. That is why Shin's actions influence both his own life and that of the other two characters, and end up affecting them directly. By being forced to assume the consequences of their own decisions and those of others, they see their worlds destabilized and condemned to a spiral of many other equally erroneous and destabilizing acts and decisions.
It is then that the viewer can understand the message of the film: the importance of becoming aware that every decision we make and every act we perform has natural and social consequences. We are all responsible for every decision we make and every act we perform, in such a way that we can say that our life is the result of our choices and not of circumstances. While it is true that circumstances influence our reality in life, it is also important to accept the fact that what is truly determining is the way in which we choose to react to each situation that is presented to us.
Perhaps somewhat underrated at the time, with the passage of time it has gained public understanding, but it must be seen because Daisuke Shigaya knew what he was doing with this film of rebellious and explosive emotions. We are rational beings, which adds one more element to the mere instinctive aspect that characterizes us. The fact of being rational beings implies that we can choose the way we react to the different circumstances in life, hence the statement that our life is the result of our decisions, not the circumstances.
Observation: MDL and other platforms make a mistake by labeling Tact Igarashi as Kazu. The character of Kazu is played by Konosuke Furuya, while Tact Igarashi plays Shinji Matsumoto or simply Shin, Kazu's photographer boyfriend. The character of Takashi is played by actor Kazuki Kawakami.
The director, screenwriter and editor of the film is Daisuke Shigaya.
Please, if someone could help verify and correct the error I would appreciate it. Thank you.
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Delicacy and subtlety to, from black humor, address taboo topics: transsexuality, violence and death
Just hearing the premise makes one curious. Action films abound, but there can't be too many like 'Man of High Heels,' a moody, moving and violent Korean cop-gangster film written and directed by Jang Jin.Released in 2014, this South Korean noir film stars Cha Seung Won, who plays a homicide detective who hides a big secret.
Nicknamed Cyborg due to the metal plates on his arms and legs and his ability to make an arrest using only his formidable martial arts skills, even criminals are amazed by his toughness and physical prowess: gangster gang leader Heo -Bol (Song Young-Chang), was singing praises to Yoon Ji-Wook moments before the man appeared to beat him and his henchmen.
Skilled in hand-to-hand combat, Yoon Ji Wook is a tough homicide detective known for his ability to catch violent criminals using his own harsh methods. Revered as a legend among police officers, he is simultaneously feared among the mafia for his brutality in cracking down on crime.
However, beneath that macho and unscrupulous hard man appearance lies a secret that no one can know since the society in which he lives would not view him favorably: apparently the epitome of masculinity, Yoon Ji Wook feels that She is a woman in a man's body.
As much as she tries to suppress this inner desire, she can't fight what she really is: Yoon identifies as transgender.
The film is an intricate film noir story, and woven into the mask of the crime plot is the story of Yoon's decision to live his true life.
Upon finally reaching the point where he resolves to be a woman and decides to take the step of undergoing a sex reassignment operation and thus be able to see his teenage dream come true, he requests discharge from the police force.
This is when the turning point in the film occurs. Before having the opportunity to enter the operating room, unexpected situations begin to happen that interfere with their plans. His numerous enemies think his career change is also a perfect opportunity to take revenge. When some of his close friends are murdered and Jang-mi (Esom), a girl whose brother Yoon loved at school, is kidnapped, he realizes that he can't stand by and follow his dream any longer. How much will revenge cost him?
The members of a gang who had to go through bad times due to the actions of our narrative hero will come for him. Recognizing that it would be difficult for them to take revenge directly, they decide to endanger not only their dream but the people they love.
It is striking that in the history of cinema there has never been a film that deals with the issue of transgenderism in the way that 'Man of High Heels' does. Jang argued that he was inspired to write the script by friends who had encountered prejudice due to their sexual identities, and one of them had been forced to leave the police institution for being gay.
Furthermore, its subversion of classic action movie tropes typifies the irreverent approach of its director, who has built his reputation satirizing Korean society and mischievously modifying cinematic traditions.
With great delicacy and subtlety, the director addresses a topic that is widely carried and brought up by many people who are still full of prejudices who are not careful when it comes to pointing the finger at everything they do not know or do not understand.
'Man of High Heels' manages, with great elegance and good taste, to reflect transsexuality on the screen, and not only in an illustrative way but with a message to all those who dare to judge people who suffer this desire in their flesh.
On the one hand, the protagonist nails his role like very few other actors could have done. Cha Seung Won exudes masculinity from every pore. That is why it surprises many to see him dressed as a woman.
Reading comments from MDL users, one can notice the large number of people who are surprised to learn the premise of the film, and there are those who attack it because "I don't like it" and "I don't understand" or they simply attack it because they consider the way in which transsexuality is approached is crude.
The film is not only about seeing one of Korea's most mature actors transvestite, but also that 'Man of High Heels' debunks the idea, especially in the West, that South Korean cinema goes to the saga of what is produced in the rest of the world. Due to its story, its originality, its staging and, above all, its ability to surprise the viewer, Jang's film speaks for itself about the quality of the cinema of that Asian nation.
This is a film that will keep the most demanding viewer of the action genre in suspense, but seeks other audiences by incorporating the LGBT+ component. This is a violent film with a brutal staging loaded with scenes that will remain fixed in our retinas as a warm memory for life.
This film not only succeeds in the genre but stands out. The opening fight scene is a classic, beautifully choreographed with wit and crazy fun.
'Man of High Heels' begins with a bang that sets the stage for what is to come and introduces the protagonist whose presence is equally explosive and heartbreaking.
The film challenges our perception and reveals discrimination, love and acceptance, as well as tears in our hearts.
If someone believes that everything has been said, add that it is a different film in its history but that manages to combine all the ingredients and resources of an authentic Korean gangster film, with action scenes from the first to the last scene.
This is one of Cha's best performances, one that you can't help but get emotionally invested in.
But there's even more: this is a drama that will make your heart pound and make you feel restless in your seat and you will even want to help the tough homicide detective eliminate the gangsters without suffering a scratch, save his loved ones and until it makes it easier for you to get to the operating room on time.
This is a layered, multidimensional film about a real person, with a real career and reputation, real friends and colleagues.
This is a film that invites the transgender community to be smarter about accepting serious attempts to tell a nuanced transgender story.
'Man of High Heels' manages to dismantle all the concepts regarding what masculinity is supposed to be from the first sequence, without separating the humor from the action – sometimes crazy, but always precise.
A film full of messages and symbolism in every shot under masterful direction, a noir film emerges in all its expressions, an exquisite and suggestive black humor to address taboo topics such as transsexuality, violence and death itself, in a humorous way.
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The struggle of LBGTQ+ people and the representation of stereotypes in Thai cinema (I)
'The Iron Ladies' ('Satree lek' - 2000) is a comedy-drama film written by Visuttchai Boonyakarnjawa and Jira Maligool.Based on the true story of a Thai men's volleyball team competing in the 1996 national championship with a squad made up primarily of gays and kathoey (transgender people), the award-winning film explores the struggles that are still present in the Thai LGBTQ+ community through through comedy, despite Thailand's international image as a country open to gay and transgender people.
In the greatest of storytelling traditions, Youngyooth Thongkonthun's debut feature is a true fairy tale with a happy ending, and marked a milestone in LGBTQ+ representation in the media, resonating recognition from international film festivals like the Festival Toronto Film International and several others.
Set in 1996, two gay amateur volleyball players, Chai (Jesdaporn Pholdee) and Mon (Sahaphap Tor) seek to participate in a championship despite being discriminated against.
Mon, who becomes the leader of the team, was a very talented player who constantly failed to be selected for various teams because he was gay. Chai, Mon's best friend, also experienced the same treatment but was always optimistic about things.
Their chance comes when Coach Bee is selected to form a winning team and she announces that the team will be open for everyone to try out. But when he selects Chai and Mon to be part of the team, some of the homophobic players quit in protest.
Bee then asks Mon to find some of his friends to join the team. They select Nong, a gay army sergeant; Pia, the transsexual star of a cabaret show; and Wit, whose parents don't know that their only son is gay.
Written by Strand Releasing. 'The Iron Ladies stars Jesdaporn Pholdee, Sahaphap Tor, Ekachai Buranapanit, Giorgio Maiocchi, Chaicharn Nimpulsawasdi, Kokkorn Benjathikoon and Anucha Chatkaew.
Cinematography was handled by Jira Maligool and editing by Sunij Asavinikul.
Most of them are gay and kathoey, except for one cishet (cisgender and straight) man who struggles to be accepted into the team. All of them must find their inner strengths and come together to face these challenges and participate in the national championship.
Through humor, Thongkonthun touches on sensitive topics that would otherwise have been difficult to cover at the end of the last century and the beginning of this one. It was then the era of depicting homosexuals and transgenders in the media under the old-fashioned cliché of the comic friend or villain, which even today persists on Thai television, but The Iron Ladies reveals the depth of these generally superficial characters.
Based on stereotypical representations of homosexuals (very flamboyant, feminine, happy, fearless), the film uses clichés that were common in the 2000s and are still prevalent today, and takes the stereotypes, gives them depth and appropriates them.
The film stands out for reflecting the struggle of LBGTQ+ people: while the team faces various challenges, each member of the team represents, through their own story, a societal problem that the community faces.
The cast does not fail to make their characters relatable and real within their banal and limited representation, as they mimic the tropes surrounding the representation of LGBTQ+ people in the early 2000s.
Through silly or quick comments, the film's dialogue skillfully addresses the struggles and hurtful comments prevalent in society towards LGBTQ+ people. Through absurd but witty scenes, the characters reflect and talk about love interests, being loved as a transgender person, buying items at a market, making friends, participating in sports, and being discriminated against. All this wrapped in a background of comedy and extravagant shots with vibrant electro music.
'The Iron Ladies' manages to generate controversy and reflection among (inter)national audiences about the representation and behavior towards the LGBTQ+ community.
However, the film is a predictable and over-the-top cliché in every way. Is it worth our attention? Absolutely yes, as it is a piece of history and contextualizing it will give you another view of the stereotypical image of Thailand. However, be aware of the large amount of hyper-shouting.
Note: The review of the sequel to 'The Iron Ladies' 2003 can be found, in MDL, on the page dedicated to this film on said platform.
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Speaking in baseball terms... this is not your thing
Phukan (Akarawat Prathumthong), Paper (Natthaphak Witsiri) and Bell (Sasikarn Singsi) are students at the Faculty of Architecture, Art and Design. To complete an assigned task, they must join a team of three people to develop a school project together as part of the final evaluation of a subject.Phukan will confess to his friend Bell that he is attracted to Paper, but is not sure whether or not he should declare his love, but he will soon discover that the boy has also developed feelings for him.
The first question one must ask is why there are few students in a classroom at one of the Thai Colleges of Architecture, Art and Design. And from this question, others arise: how in this short, which has no great pretensions, are the two main boys, especially Paper, much more handsome and attractive than his study partner, not perceived as attractive people by their colleagues? feminine? Why aren't they popular with girls? How is it possible that there isn't a fight between the few females in the classroom to have them on their respective teams? Only Paper's table neighbor will invite him, very timidly, to join him, but most likely it will be for the comfort of sharing nearby seats. While Bell, obviously, is already a duo with his friend Phukan, so the only thing missing is the incorporation of another person to make up the required shortlist.
If they are already assigning tasks, it is assumed that the course, even if it is the first year of the degree, has already made some progress. Anyway, by now the students should know each other, at least by their names. How is it possible that they have to resort to text messages in a digital chat to know how to call each other and also serve as an introduction to the viewer?
While they visit museums, exhibitions and art galleries and write the assignment, without the viewer realizing it, which demonstrates the little connection achieved between him and the characters, Phukan's love for Paper blossoms, only to discover that the latter has been loving him for some time. secret.
The actors in 'As Always', a short film by Thai filmmaker Patcharaporn Thiangsantia, do not achieve the necessary control of their bodies and voices to convey the emotions of their characters. Theirs are not empathetic characters, capable of allowing viewers to connect with them and their experiences. The audience does not feel and understand the emotions of the characters, so the emotional connection is null and void. This is where the failure of the audiovisual lies, in addition to its poor script.
Positive emotions such as joy at discovering love (another emotion), humor and happiness (as ways Bell reacts when learning about his friend's sexuality, or when the two boys mutually declare their love for each other), are not transmitted; nor negative emotions such as anxiety, sadness, insecurity, fear of rejection. Likewise, ambiguous emotions, such as surprise at being reciprocated, and hope, are not externalized.
In this minor work of the BL universe, repeated clichés, boring scenes, a non-existent chemistry between the lovers, and childish actions, are its main characteristics in a romance with little to prove to fans of the genre.
The short lacks a convincing plot and shows little imagination, contributing little to the genre, which has come a long way in recent years; If anything, the discovery of two new and potential talents within the BL, but with a lot to polish, as well as demonstrating the rich architectural and plastic arts culture of Thailand.
If what you are looking for is a declaration of love of fireworks and butterflies fluttering in the stomach, of those that are born under the influence of emotions, intoxicated with the nectar of the first months, those in which the loved one seems to be a perfect being and hormones awaken the most lively and intense passions... I repeat, if that is what you are looking for, speaking in baseball terms, pick up the bats and balls and turn off the television, this is not your thing.
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The harsh reality of Thailand without makeup
This audiovisual product represents the harsh social, economic and political reality experienced by the Thai population. It talks about its problems and contexts, generally adverse, and becomes a reflection of that Asian country.The film shows topics such as illegal immigration for political, religious, ethnic or sexual orientation reasons; political, administrative and police corruption; police violence and crime, physical elimination of activists and members of the LGBT+ community, border militarization, dysfunctional families, bisexuality, racism, racial discrimination, politically motivated murders, homosexuality, economic problems, prostitution, political activism, stripper , violation of Human Rights, phenomena all reflections of Thai society. I highly doubt that for one reason or another any member of Thai society escapes seeing themselves reflected on the screen.
And facing all these problems there is Sorn (Ud Awat Ratanapintha), a Burmese refugee who, with the hope of a better life, seeks refuge and forges a new identity as a sex worker in Thailand. The protagonist will end up involved in a client's risky plan that endangers his life and that of other people. The diversity of conflicts he faces, his psychological complexity and emotional evolution, add layers to the narrative and weave an intriguing web that keeps the viewer in suspense during its hour and 36 minutes of duration.
The artistic maturity of its main performer protects a remarkable wisdom forged through the experiences lived on the film set. His ability to convey emotions, in a genuine way, cements his position as a leading actor in the Thai film and television scene. Far from seeking grandiloquence, you immerse yourself in your characters with the simplicity that characterizes those who understand that true art lies in authenticity.
From her first appearance on the big screen with the feature film 'Mary Is Happy, Mary Is Happy' (2013) or as a girl with dramas such as 'Hormones 1' (2013) and 'Hormones 2', in 2014, to her participation in television productions such as 'Cat Radio TV Season 1 and 2', '#HATETAG' (2021), 'Bad Genius' (2022), 'Quarantine Stories' (2020), of which in addition to being an actor he is the director and screenwriter; or in the 2022 documentary JMJ: Lesson 25, in which you participate as an actor and director, you have shown how versatile and capable you are of connecting with the public.
With 'Doi Boy' it is not the first time that he has faced the challenge of playing a leading character. Also in the drama ThirTEEN Terrors (2014), and the special Project S Let's Say Goodbye, from 2018, he had already been placed in front of the responsibility of leading plots. However, taking on the lead role in a film like this involved new challenges, and for the actor, it was a crucial step in his career.
Pae Arak Amornsupasiri as Ji, and Aelm Bhumibhat Thavornsiri, who plays Wuth, are the other two main characters.
The way in which social criticism, border problems and issues related to sexual orientation and male prostitution are represented in the film is not coincidental. In his first work, the documentary 'Boundary' (2013), its director, Nontawat Numbenchapol, already addressed the reality of the local population on the border between Thailand and Cambodia never before recognized in Thai cinematography.
Interested in social issues, in his second documentary, 'By The River', he visualized the situation of the villagers of Klity affected by lead water contamination. With this documentary, for the first time a film of that nationality won the Special Mention at the Locarno International Film Festival.
'Doi Boy' is not the first film with which the filmmaker analyzes issues related to sexual or gender identity. With the hybrid docu-fiction #BKKY, from 2016, this renowned documentary filmmaker and cinematographer visualizes stories of 100 teenagers interviewed in Bangkok about their loves, their dreams, and their coming of age just after graduating from high school. With it, he won the Jury Prize for best feature film at Lesbisch Schwule Filmtage Hamburg, Germany.
Despite a solid premise and good performances and general direction, the film does not reach perfection because it is based on an underdeveloped script, with aspects that deserved further exploration.
Beyond its positive aspects, Doi Boy can be perfected, like any artistic creation. The absence of unique characters like Sorn, Ji and Wuth and the practically non-existent presence of stories like this in Thai and Asian cinematography in general could work in its favor. However, these same positive qualities cause the film to be undervalued by followers of the BL genre, but as a thriller and drama it works well.
'Doi Boy' is a forceful justification to talk about Thailand far beyond the false and illusory representation, both in cinema, television and other national media, of a country as a sexual paradise and freedoms for members of the LGBT+ community and the rest of its population, equally discriminated against for political, ethnic and racial reasons. The film is a reflection of what hurts millions of human beings both in that nation and in the world. That is why I am grateful that it does not have a made-up ending and shows reality as it is until its ultimate consequences: those gray areas of the existence of the Thais shown in 'Doi Boy' are not really reflected in the BL dramas from that region of the planet.
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Boy meets robot
Boy meets robotTechnology has entered the world of cinema and television for many years now with the presence of artificial intelligence (AI), defined as the ability of a machine or a computer program to think, learn and act like a human being. Although she has sometimes played villainous roles and sometimes played heroine roles, there is no doubt that she has always, or almost always, played a leading role.
Examples of the above are: 'Her' (2014), 'Ex Machina' (2015), '2001: A Space Odyssey' (1970), 'Ghost in the Shell' (1996), 'Minority Report' (2002) , 'Blade Runner' (1982), 'War Games' (1983), 'The Perfect Man' (2021), The Ultimate Boyfriend (2008), The Bicentennial Man (1999), among other films.
The human being and the machines... the machines and the human being. From the moment I read the synopsis I asked myself questions that I had already asked myself before and to which I have no answers: Will machines replace us one day? Will we end up 'humanizing' artificial intelligence? Will we have to live in fear of being subjugated in the future? Will humans be vulnerable in a context of total dependence on technology? Do robots have wants, dreams and needs?
The premise of the man-robot relationship is the impetus for directors and scriptwriters of BL series to take advantage of the opportunity to give their followers, for the first time, a drama that portrays a romance between a human being and an android.
From the Taiwanese production company Vidol, Anti Reset will not present us with AI on this occasion as villainous and alien robots determined to control and destroy humanity, as T-800 from 'Terminator' (Arnold Schwarzenegger) tried to achieve. Nor will it bring us wonderful C3PO and R2D2 or the endearing WALL-E to delight us.
It will show us a total antithesis of the "robots are coming to destroy us" thinking, as it will move away from the basic concept of AI to bring us closer to a more conventional narrative associated with another genre, romance. This interesting story portrays one of the many perspectives that exist on the relationship between a human and an android.
The creators of BL series have decided to up the ante. Only in this way is the production of a drama that will not be the classic 'boy meets boy' romance but 'boy meets robot' explainable.
One of the protagonists is a substitute for the human being. The robot and the person it cares for and with whom it will fall in love, will take us into a multitude of moral arguments that surround the series, while we see a futuristic narrative arc that, without a doubt, will end up conquering us.
The drama tells the story of Chu Yi Ping (Wu Ping Chen), a man without emotions and few social skills who, after dislocating his hand in an accident at school, accepts his uncle's proposal to be taken care of by Ever 9 (Huang Li Feng). While the experimental intelligent robot is being secretly evaluated to decide whether or not it is suitable for coexistence with humans for the purpose of curing the emotionally disabled, it keeps company with a reluctant Yi Ping, who will soon discover that Ever 9 complements its deficiencies.
At first, Yi Ping has a hard time interacting with the robot. Although at times he is almost convinced of his humanity, he always ends up remembering that he is nothing more than a programmed machine. Interacting with Ever 9 will allow you to break your prejudices about robots and at the same time better understand human needs.
While the robot's capabilities are being evaluated, the relationship between the two young people goes beyond “normal” and Ever 9's apparent humanity begins to attract Yi Ping. Thus, he will look for a way to help the android go out into the real world with him, to live a life together.
To pass the time, Yi Ping asks Ever 9 to make a wish and complete the wish list together, but before completing it, Ever 9 breaks down. The repair only takes a week. But when he returns, his attitude towards Yi-Ping has completely changed. After the reboot, Ever 9 rushes to complete the wishlist and pretends to be bored with Yi Ping and actively asks for a return. Yi Ping doesn't know what's wrong with Ever 9, because he has learned from him how to be human and experience love. Can't you learn to be together all your life? Is the promise to never separate void?
'Anti Reset' is a romantic perspective on the love between robots and humans, it is an incredible reflection on the scope of the growing robot and artificial intelligence industry. While man wonders what the dangers that technological advances represent, this BL arrives to make us think about the emotions and the relationship that robots will have with humans in the future beyond their practical usefulness.
This series is set in a world that could easily be our future reality. So, we must open our minds, since together with the two protagonists we will delve into what love really is and what it means, through an atypical relationship.
The script, while not perfect, benefits from the performances of Huang Li Feng (Stay by My Side, The Ambiguous Focus, Kinematics Theory, The End of Our Youth (2016) and Wu Ping Chen (Stay by My Side, One Afternoon, Komorebi), giving a subtle and different twist to the characters of a plot that, otherwise, would seem too familiar or trite.
The two main characters will go through the different phases of a relationship that, although it is not a typical romance, covers universal themes, but the biggest dilemma that Yi Ping will have to face is whether we are prepared to fulfill our most intimate desires. and fantasies or if, on the contrary, we prefer that a love that was born platonic remains that way.
I remember an Asian film close to this one for the introduction of artificial intelligence, 'Customized companion' (订制男友, Dingzhi nanyou), the Chinese BL and science fiction romantic drama directed by Kuo-Liang Fu in 2017, in which he talks about love between two boys, who use a phone app and summon a personalized virtual companion in the hopes of finding what they have lost in each other.
'My Heartless Boy', one of four stories in the 2023 Thai BL 'Moments of Love', starring Fort Thitipong Sangngey, as Fort, and Pie Saranvut Nittayasuthi, as Pie, addresses a love relationship between a human and a machine which must also be discontinued.
'Anti Reset' is undoubtedly a proposal that brings originality and freshness to the futuristic analysis of the relationships between human beings and artificial intelligence.
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The plot follows Neil, a singer with an extraordinary voice who, after losing his brother Matt (Chin Tai Yu), the keyboardist of the band "Magnet", in a tragic car accident, is devastated and announces his retirement from the stage. leaving his fans, including a young boy called Sea, with shattered dreams.
Six years later, Sea, who is now a virtuoso musician and a second-year college student majoring in Marketing and Digital Management, receives an invitation to work with none other than his idol Neil.
However, the time that has passed has not healed the wounds in the soul of the proud, extroverted and loud Neil, who now deals with problems of anxiety and stage fright, but neither has it managed to heal the spirit of the introverted and reserved Sea, who has not been able forget the young man who one day in the middle of the street, with the guitar in his hand, knew how to calm his heart in a moment of discouragement thanks to his emotional singing and melodious voice.
Will love be the force that helps them heal their wounds? Will music be the only vehicle that unites them? Can they make the world hear their new shared voice?
Screenwriters Ke Ying An, Huang Szu Mi and Zou Wan Zhen raise these questions as the guiding axis of the Taiwanese series, co-produced with Thailand, while giving some answers through the actions of their characters. And although Sea initially rejects being part of the band to relaunch Neil's career, he will discover that if he does not go on stage the record company will not renew his contract and "Magnet", the duo he has admired since adolescence, will be history.
When Neil and Sea meet again, they still don't know that an unforeseen romance is about to burn under the bright Taipei sun.
Although it is not free of clichés and conventions, the Taiwanese version of 'Begin Again' manages to keep the viewer's attention due to its authentic emotional outline supported by its credible characters and situations.
'First Note of Love' is an effective romance series, as it is accompanied by an interesting topic such as fame and music. In addition, the soundtrack is unmissable due to the powerful lyrics of each of the songs.
Yes, it is true that the two main actors are not musicians by profession, and the series lets us see their few musical skills, but for the filmmakers the main focus is not the music, but the story they tell. Therefore, they put plot before details.
Solid television drama, it achieves what many series barely dream of: palpitate, live. Of course, a large part of his success was forged before he started filming: he couldn't have chosen better co-stars.
That is to say, one of its greatest successes is the efficient choice of actors and the work in the musical section. The protagonist, Tu Shancun, who plays Neil, not only gives a memorable performance, but also performs some of the songs from the captivating soundtrack produced by Warner Music, which enriches the narrative in an energetic and dynamic way, like the songs "Broken Sun", "Shatter of the Sun" and "Ain't Gonna Stop", alongside TAIYO, and Kaia Lee will delight us with "Sleepless Night", among others.
This is not the first time that his powerful and deep voice has been heard performing a song in a BL. He already did it in 'History4: Closet o You', a series in which he sings "Be with me", a song he wrote.
Tu Shancun puts on the suit that suits him best and gives a very credible performance, and manages to convey the passion and internal struggle of his character with conviction and charisma. His interpretation in both the musical and dramatic scenes contributes to the authenticity of the story.
However, the musical skills of the protagonist will not be the only thing that stands out, because Tu Shancun is an actor who says everything with his eyes, with his gestures, with his entire body.
For his part, Michael Chang, the actor who plays Sea, also succeeds in facing his insecurities, fears and past traumas, and constantly testing himself. This, while strengthening the ties that will unite him inextricably with the street singer that one day by chance he meets as a teenager.
Michael Chang's Sea is something worth seeing: his face, his expressiveness, his ability to unforcefully reveal a wide spectrum of feelings, from his initial insecurity to the most infinite joy on stage and in his interactions with Neil. They are the consequence of a fine interpretive work that more than one established actor would envy.
The exceptional chemistry of Michael Chang and Tu Shancun on screen is the winning formula of a story that privileges both music and a love story - a deep and true love - above everything else.
Both will unite their destinies, since Neil needs to find himself in his own strength, and Sea needs to trust in her strengths to shape and achieve her dreams. For both of them, music is that magnetic compass that finds them, unites them and challenges them to give their best.
And in this sense, Neil will play with the initial letter of their names: «I am North, and you are South. We are a natural couple…” Just as the North cannot exist without the South and the South without the North, one cannot exist without the other.
'First Note of Love' stands out for its acoustic constructions and its modern musical approach, as well as for its suggestive lyrics that accompany the experiences and emotions of the characters. These songs not only function as a powerful tool of communication, effectively expressing what dialogue may not be able to convey, but they also enhance dramatic moments with emotion and highlight the richness of the characters' experiences. Don't lose sight of the original songs that make up the series.
Having praised the protagonists and, of course, the script that makes them such close and adorable characters, it must be said that 'First Note of Love' is a very beautiful series, which can make us remember some other audiovisual due to the importance of music for the main characters as a means to get out of a difficult situation.
The result is a kind, moving and addictive series that speaks to the viewer's heart without hesitation, skillfully mixing love and music, a combination that always works.
From their first scene, the viewer wants them to end up together. Something that, of course, we will have to discover in the next 10 episodes of about 30 minutes long.
The excellent supporting actors (all fair, harmonious and harmonious) stand out in their performances. Among these are Liu Min Ting ('Guardian') as Reese, the manager of the record company to which Neil belongs and to which Sea will join, and Thai actor Jame Kasama Kranjanawattana ('Big Dragon', 'Gen Y', 'Gen Y 2') as global superstar Orca. The two make up the second pair of lovers, both in the series and in real life.
Also starring are Kaia Lee as Ting Fei, and Lee Ying Hung as A Liang, who will also sigh in love, as well as Amanda Liu as Hsiao Mei.
From producers Jay Lin, Derjk Wu and Samantha Jian, the most valuable thing about 'First Note of Love' is its power to capture the essence of longings and the battles to achieve them, while providing us with an unforgettable soundtrack that becomes a fundamental pillar of the narrative.
The first episodes are truly amazing. There the strongest ties are formed between the characters - the birth of the relationship of friendship and love between the protagonists but also their relationship with Reese, the band's manager -, between the series and its audience, between the narration and his tone.
There is a scene in the fourth episode where Neil and Sea share the scene to play and sing an old "Magnet" song. And although at one point Neil's nerves betray him, Sea knows how to get him out of the mishap. Back, the camera never leaves the stage as the duo perform. He follows the performers, surrounds them, accompanies them. At times, the camera is positioned from the audience and, at other times, it chooses the point of view from the stage, which allows us to reflect both Neil's generosity towards the novice composer and musical arranger who plays the keyboard at his side, and his admiration for his new partner, as well as Sea's shyness when facing a huge audience and the emotion that overcomes him when he knows he is appreciated by a music veteran who returns to perform before the spectators after so many years of silence.
Filmed at a precise tempo, this scene – which has the most beautiful song of all those performed in the series, "I Believe" – exudes with absolute naturalness Sea's transition from caterpillar to butterfly, the artist's return to the stage after the trauma suffered, and records the birth of the couple's artistic and loving bond.
Simultaneously, the camera steps behind the scenes of a show, the adrenaline generated by a live performance, and, metamorphosed in the eyes of film viewers, invites us to the unique experience of feeling part of the show. With this scene alone – which is worth the entire series – Lien Chien Hung reminds us that he is a great director.
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Therapy and love in the Kansai dialect
From 'Gokusen' (2002) 'to Kimi wa Petto' (2003), 'Ichi Rittoru no Namida' or 'Hana Yori Dango' (2005) or, more recently, 'Otonari ni Ginga', 'Watashi ga Himo wo Kau Nante ' or 'Sweet Moratorium', and many more, Japanese dramas have captured the attention of audiences around the world with their splendid landscapes, the richness of that nation's culture, the way they approach romance, as well as the physical attractiveness of its actors and actresses.Although many recognize in them the same formulas used over and over again in the plots of Korean, Chinese, Taiwanese, Filipino and Thai series, these works captivate the viewer due to the exotic components of the narrative, the precious photography, the use of the sets, the makeup, the hairdressing and the costumes, but, above all, for the possibility of viewing an idyllic and even unreal representation, on many occasions, of a country with an ancient culture and with an aura of mystery for the inhabitants of other regions of the planet.
For decades, the representation of homosexual couples and erotic scenes between men in television audiovisual productions was scarce, if not nonexistent, in correspondence with a policy of showing only the traditional family model and censoring any attitude or preference that escapes from the conventional, in nations such as Japan, Thailand and Korea, where LGBT+ people continue to be discriminated against today.
However, BL plots, the abbreviation of Boy's Love, originally defined as "male love from a female perspective", managed to make their way and prevail in markets in Japan and Taiwan, where there are numerous manga and anime stories with romance themes between guys.
BL have become both entertainment and a cultural, social and political phenomenon, for visualizing the struggle of LGBT+ groups in these countries.
Thailand is a separate case, since the BL of this country has as its purpose the profit of television companies and talent agencies, promoting advertisements for the marketing of various products, such as cosmetics, and the exaltation of the country as a paradise destination for homosexual tourists.
PLOT
Sukiyanen Kedo Do Yaro ka' ('好きやねんけどどうやろか') is a worthy example of the glamor characteristic of Japanese BL productions. Like so many others, it falls on a fairly well-worn theme in the universe of Japanese and Asian romantic dramas in general: Hisashi Soga, a divorced office worker who has been transferred from Tokyo to Osaka, surrenders to the love of Sakae, the 26-year-old years, owner of Tamae, a small restaurant located in the alleys of downtown Osaka that serves delicious and cheap home-cooked meals. The two will have to overcome a series of obstacles and overcome the obvious differences between them to stay together.
Kasae, who speaks the Kansai dialect perfectly, is friendly to everyone equally. Their cozy shop is always bustling with people. One day, Hisashi Soga goes to eat at his restaurant. Kasae can't take her eyes off his every move. Moved by his attitude, he falls in love with him.
Soga, who has not yet gotten over the divorce, only thinks about working, mastering Osaka speech so he can communicate better with the locals, and getting through the day. One of the things he enjoys the most is going to Sakae's restaurant and eating the delicious food he makes. Soga doesn't know that Sakae sees him as more than just a regular customer.
This series, practically responsible, along with so many others, for the consolidation of the BL genre in the Japanese drama market, addresses the complexity of the situation that heterosexual men face when they fall in love with a homosexual. And so a relationship that begins as a game of cat and mouse, or a simple friendship, little by little evolves to become something very special. Sakae has loved Soga since he met him. It's love at first sight, but Soga is heterosexual, in addition to having a recent divorce. As they spend time together, Soga will begin to develop feelings for each other.
From the first scenes, the connection and rapprochement between the protagonists becomes a reality. Sakae is more open to establishing romance, but Soga, who heals his broken heart, has only been in Osaka for a short time and has not yet gotten used to life in the area, much less loving another man, will find it difficult to recognize that He has fallen in love with his new friend. The relationship will take time and will to build.
The audience is faced with a simple love story between an office worker recovering from a divorce and the owner of a restaurant who cures him with food, walks around the city, games of squash and lessons in the Osaka dialect and, above all, with lots of love.
The sparks between them are undeniable as their relationship blossoms. It is deeply moving to witness loving couples whose unchanging feelings must coexist in a world of changing realities.
Kan Hideyoshi, in the role of Matsumoto Sakae, displays all his charisma and attractiveness to play a kind and hard-working young homosexual. Meanwhile, Nishiyama Jun's Hisashi Soga personifies the typical, heterosexual office worker, attracted by the smile, grace, kindness and flirtation of a homosexual man.
The television adaptation of the eponymous work by the famous Japanese writer and illustrator Chiba Ryoko, published in 2013 by Kaiousha Publishing House, is titled in English 'Although I Love You, and You?'.
The director, Shibata Keisuke, and the screenwriter, Morale, give us a media product with an undeniable communication effect, which is already being a success both for BL fans in Japan and beyond its borders.
Since I read its synopsis, several questions crossed my mind: Is Soga bisexual, a gay who deep down hides his homosexuality or a heterosexual who falls in love with a man? Will these two very different people have a future in common? What can connect an athletic type from Naniwa with a cultural type from Tokyo?
The chemistry of the protagonists and the delicacy of the story are gratifying. The audience, whether interested in BL themes or not, will definitely enjoy the romance between the two actors.
Social networks and Japanese media are echoing and, since its premiere, they have selected the five best charms of this drama. Although there may be several while the series is broadcast, these are:
1. The look of popular actor Kan Hideyoshi, who showed great acting skills in his role as Sakae.
2. Nishiyama Jun's believable portrayal of office worker Soga.
3. The construction of Soga's sexuality from heterosexuality to homosexuality, giving complexity to the story.
4. The music used that reflects the mood of the protagonists.
5. The detailed account of Sakae's feelings for Soga.
The opening theme is "I'll Be There" by GENIC, with lyrics written by its members Joe Nishizawa and Atsuki Mashiko. JBL lovers will be pleased: Acchan, the actor who plays Yoh in the 2023 series 'My Personal Weatherman', is co-author of the song that rolls the opening credits of 'Sukiyanen Kedo Do Yaro ka'. Precisely, the piece talks, as in the drama, about a boy who falls in love with a boy who speaks the Kansai dialect.
Many of the scenes take place in an office or office workers spend time inside a restaurant, with a young chef preparing food, while his customers eat and drink sake. And to top it all off, the poster announcing the series features a plate of TAKOYAKI! Well, I have no doubts: we are in the presence of one of those hybrids between office BL and food BL.
This series has another original point in its favor: the tendency of Japanese BLs is to pair an experienced actor with a less experienced one. Well, this time, the main couple is represented by a very talented and experienced actor, such as Nishiyama Jun, with one of the most popular, charismatic and talented actors in Japan, Hideyoshi Kan.
While Nishiyama began his artistic career in 2006 with the film 'Forbidden Siren', which was followed by the drama 'Sushi Oji!', on TV Asahi, and from there he has developed a dizzying and ascending career until today, Hideyoshi Kan is the current master and lord of the Kamen Rider universe, with titles such as 'Kamen Rider Geats', 'Kamen Rider Geats: The Movie', 'Kamen Rider the Winter Movie: Gotchard & Geats', and many more. He also acted in 'Ashita no Watashi e' and Dekiai Cinderella'.
The manga (available now in the Kindle Unlimited catalog) from which this series is adapted is of the yaoi genre. It has kisses and sex scenes, so, considering the story and the actors chosen, experienced and professional, we should expect to see a good representation of the intimate scenes.
His time in the BL series Kiss x Kiss x Kiss must serve as an experience for Hideyoshi Kan in the genre. With him as the protagonist, the manga could very well be adapted to television successfully.
I would also like to point out that the title of the series is in the Kansai dialect, so '好きやねんけどどうやろか' would translate to 'I love you, how are you?' or 'I love you, do you (love me too)?' However, the mangaka uses 'Although I love you, what about you?' in the original translation, which appears to be a transliteration of the Japanese title into English.
This very interesting story, a sure classic of the comedy-romance genre, with a very funny and at the same time dramatic plot, invites you.
If I had to define the work in a few words, they would be: “A therapeutic atmosphere and a moving romance in the Kansai dialect.”
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"Slow Burn", Stockholm Syndrome and Love Triangles
The reasons why a person can be kidnapped are numerous, as evidenced by the world of films and television series.Perhaps the most common approach is that of kidnapping with the aim of demanding a sum of money in exchange for release. Another type of drama that centers its plot on the kidnapping of people is, without a doubt, those in which hostages are taken for various reasons: military, economic, even purely romantic, etc. And the third major category of fictional productions featuring kidnapped people and kidnappers is undoubtedly the one that directly refers to criminal psychopaths with the worst possible intentions, where the plot is always a race against time to escape or hunt down the culprit. It's very common to see in these films and series the crazy person who decides to hold passengers on public transportation —planes, buses, trains—, or isolated houses, against their will.
However, what's interesting about the Taiwanese series, directed by Chiou Hau Jou, known for his extensive production of films and series in both China and Taiwan, is that it presents us with a trope, both funny and dark, in which a kidnapper and his victim fall in love.
'Exclusive Love', which tells stories of postponed, forbidden, and even unlikely loves, proposes another very peculiar motive for kidnapping a person: a brother tries to force another to take over a funeral business he detests, and to do so he uses a kidnapper.
The story gradually reveals the motive that leads Wang Ying Xiu (Mozy Yu) to ask his friend Tang Du Zhi (played by Parker Mao) to kidnap his non-blood-related brother Wang Zhan (played by Chang Chia Sheng, in his first leading role), to force him to enter a funeral business that he has rejected for years because he is interested in becoming a professional singer and musician. It will also lead us to learn about the love that arises between kidnapper and kidnapped person in the midst of such a dangerous situation, where fear and the anxiety of reliving past traumas go hand in hand. Following in the footsteps of other BL series where victim and victimizer end up in each other's arms, such as 'Kidnap' and 'KinnPorche', among others, 'Exclusive Love' will captivate you with a romance story where the protagonists meet in the middle of a crime, but something unexpected makes them fall in love.
Although the name doesn't sound very romantic, as you delve into the story, you'll see how the spark of love slowly begins to grow between the successor of a funeral business and the character played by the actor known for bringing Xia Shang Zhou to life in the BL drama 'You Are Mine'), here a funeral director who commits the kidnapping.
However, what begins as a plan to force someone to accept being the business successor of a company ends up changing the lives of these two people completely. Literally: Wang Zhan not only falls in love with his kidnapper, but his love is reciprocated, and grows as he also begins to "love the dead".
For fans of the Enemies to Lovers trope, and more precisely, Stockholm Syndrome, watching the couple of Wang Zhan and Tang Du Zhi is a true joy, as there is nothing more exciting in this type of story than the moment when victim and perpetrator finally admit their feelings.
But it's the "slow-burn" trope that governs and shapes the two romantic relationships in 'Exclusive Love'. While the two main characters have long desired each other, clearly in love, it takes them a while to take the first step toward being together. In them, the romantic connection, emotional development, and real, true feelings develop gradually, through shared moments, deep conversations, and challenges they overcome together.
The writers recreate the development of feelings within the narrative to the point of exhaustion. But in my opinion, they have a reasonable excuse: the main characters have enough traumas that prevent them from acting on their feelings. Specifically, Tang Du Zhi experiences a trauma from his youth. He blames himself for indirectly causing the death of his parents and the disability of his brother in a tragic car accident, precisely on his birthday.
Being in a relationship with someone who carries past traumas isn't easy. Tang Du Zhi must first overcome them in order to accept the love that knocks at his door. Wang Zhan will have to be patient, understand, and accompany his loved one through this difficult process.
But there will be a third trope throughout the series: the love triangle. The cat-and-mouse game that runs vertically through the protagonists' relationship is exploited by Ian (played by Sun Mai Jie), a friend of both, who, attracted to Wang Zhan, tries to get him to set his sights on him.
Meanwhile, the story between Tu Jing He (Pu Ching Heng) and Zhang Yi Qing (Hsv Wei Tse), both making their acting debut, also simmers.
Tu Jing He and Zhang Yi Qing have a strong friendship that has been solidified since their student days, so their mutual longing gives rise to a slow burn. Their secret crush is threatened by the latter's arranged marriage. His parents demand that he marry, so they set him up on blind dates in search of his son's future daughter-in-law and wife. Zhou You Ning (Cindy Chi) is the third point in this love triangle, which risks turning into a love square (or rather, the definitive birth of a typical two-person relationship between the two boys) when the girl chosen to marry Tu Jing He shows interest in the female wedding choreographer.
"SLOW-BURN"
In most romantic series and films, true love is all about the spark. The protagonists often have little time to forge a solid connection. In these cases, the strength of the relationship is often measured by the speed with which two people can "connect". For this reason, audiences are accustomed to seeing love stories that develop fluidly, quickly, and at breakneck speed after only a few weeks or dates. Screenwriters champion the premise: "when they know, they know".
But not all love stories develop this way. In others, the characters take their time to go from being a "couple of friends", even enemies or strangers, to being in love. When love triumphs while simmering, it demonstrates not only that perseverance has truly led the loving couple to feel the purest love, but it also showcases the often overlooked power of the "slow burn".
The relationship between the two main characters is a slow burn because they both begin as friends after the events that led them to meet and interact with each other, and there was no initial element of passion, infatuation, or physical chemistry.
Meanwhile, the secondary couple's relationship takes a while to blossom because while Zhang Yi Qing and Tu Jing He have had a platonic connection since their high school years, various internal and external factors, such as peer pressure, doubts, misunderstandings, and family demands for one of them to get married, have caused their romance to take years to blossom. Here, heartbroken wedding planner Zhang Yi Qing helps his old friend Tu Jing He plan the wedding, but in reality, he wants to sabotage it.
Both relationships have a solid foundation in friendship, trust, and the experience of a love that deepens as the connection progresses. In both relationships, it seems more like a friendship with a small spark of attraction or passion, than a great flame of attraction and passion with a little bit of friendship.
Although the two relationships don't have the spark of love at first sight, although they basically spend a lot of time yearning for/denying each other's feelings while circumstances keep them apart, once that little spark turns into a flame, it's worth the wait.
In my opinion, slow burns are most successful when paired as a subtrope beneath an overarching story that provides obstacles for the characters to deal with.
From the script to the put on screen, the series delivers on its premise: between the funeral and the wedding, the four protagonists say goodbye to the pain and misunderstandings of their past and redefine love and life.
WHAT MAKES THEIR STORY SPECIAL?
The series has raised both pro and con voices on social media. In addition to the strong performances, a story that blends drama and romance, and also includes some thought-provoking life lessons, fans praise it for its narrative containing elements of drama, trauma, grief, and healing; for the attraction exerted by male protagonists with a strong, virile energy; for the chemistry between the actors; for the heated exchange of glances between the members of the two main couples, which apparently have raised the temperature among viewers.
However, it has found detractors among those who find the delay in consolidating the two romantic relationships as the 12 episodes draw to a close excessive; and for its violent content, such as forcing someone to overcome their fears in an unorthodox way; and for the handling of characters traumatized by everything related to blood and death. Unlike other kidnapping films, in this case, Stockholm syndrome manifests itself so quickly that the viewer doesn't have time to believe the boy is being kidnapped by a stranger. Moreover, the slow-burning romance leaves viewers in suspense, wondering if and when the love interests will actually unite.
Co-produced by LINE TV and Neptune Tianxi in collaboration with Poseidon Films and Advantage Global, 'Exclusive Love' is (ostensibly) the "first BL drama about funeral director etiquette", whose originality the creators seem strangely proud of.
With a visual aesthetic dedicated to highlighting the beauty of Taiwanese landscapes, the gloomy and somber spaces associated with death and funerals, and the shapely bodies of the protagonists, the series has been dubbed "HIStory 6 in Disguise" due to its close affiliation with the same production company and production team as the legendary BL series.
A cast that also includes Leo Cheng as employee Chi Hui Yu, among others, adds depth to the stories.
As I listen to Anson Poon's opening and ending themes "Glimmer" and "US" (想和你), respectively, "Dawn" (天亮), "Amanecer" (天亮), "Contour" (輪廓), and "Beside You" (在你身邊), I ask myself the following questions: How far can a serial love story go? How many layers of seduction and eroticism can be told? Why is it that the more unpredictable a new romance series is, the larger its audience will be? The object of desire? Why is it that the strangest, most surprising, forbidden —even improbable—loves are the ones that generate the greatest attraction?
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Shoma: like a rearing horse
Neti Suwanjinda, director of BL series such as 'Love Sea' and 'Wedding Plan', and editor of 'Only Friends', directed the Thai version of the novels "Love Storm" (พายุรักโถมใจ) and "Love Sky" in 2022. (พระพายหมายฟ้า), written by Orawan Vichayawannakul, or simply Mame, the prolific writer of boys' love stories at Dek-d.com, and co-founder of the production company Me Mind Y.With the title 'Love Storm' ('Love in the Air'), this series, about two romantic relationships, taken one from each book, which will be sustained by the handsome friends of motorcycle racers and car mechanics Phayu and Prapai, with Rain and Sky, respectively, the shy, naive and cute college kids. The characters were played by Boss Chaikamon Sermsongwittaya, Noeul Nuttarat Tangwai, Fort Thitipong Setjai and Peat Wasuthorn Chaijindar, four young actors who have managed to win the hearts of genre lovers thanks to their appearances on screen.
A very popular series, it received diverse criticism, especially among those who disapproved of alleged toxic relationships and non-consensual sexual approaches, on the one hand, and those who did not spare praise and valued it for its effective display of intimacy, realistic representation of sex, stories of mental healing, overcoming trauma and developing the couple's relationship. In my opinion, a decent romantic drama that will keep you excited if you haven't skimmed the book. Even if you've read it, it's still a very good story.
Although specialized criticism does not contradict it, it was not that big of a deal. Just a fast-paced and sexy series, which gradually seasoned its plot with accessories of motorcycle racing, college drama, senior-junior relationship, and a strong erotic touch. Depending on the latter, Noeul and Peat were there: to inflame Boss and Fort, respectively, and to make them race on their motorcycles at more than a thousand kilometers per hour in a desperation not so much to win a race, but to return to each other's arms, and the bed, of his lovers.
Japanese television decided to revive the well-known plot, now in a series with the title 'Love in the Air: Koi no Yokan' (2024), one that also arouses mixed comments for the same reasons, but has even awakened the desire to watch it on many of those who ignored the Thai version.
The series deviates very little from the Thai television original. In addition to the logical adaptations of the environment, it softens the speeches, slightly redraws the profile of the characters, changes their names to Japanese patronyms, and incorporates a plot within the university classrooms, the automotive workshop and the race track. The light and slapsticky Japanese humor or physical comedy is to be celebrated, as a form of scandalous and simulated violence that it contributes to the remake.
But at the same time, it maintains the essence and vibrations of the characters, while capturing the Japanese aesthetic and enriching the actions with its beautiful photography and soundtrack.
With a slightly more agile pace than the Thai original, which like this one brings together two novels in a series, but unlike that one, the remake must cover in 10 episodes of about 26 minutes each the content of 14 chapters of 45 minutes approximately shown by its predecessor. Thus, creators must be vigilant to avoid filler and stay focused on the central story.
Now, the motorcycle racers and cunning saviors who raise storms in the hearts of the two best friends are composed of Nagumo Shoma and Suzuki Asahi, who play Hayase Arashi and Kawai Fuma, in that order; while the university students who will let the motorcyclists steal their kisses and burn with passion are Nagatsuma Reo and Hamaya Takuto, actors who play Sorano Kai and Amemiya Rei, respectively.
The latter is responsible for awakening Shoma's goat-like sexual fury.
Rei, although she may seem a little annoying and silly to many viewers, somewhat less than her counterpart Rain in 'Love Storm', reflects precisely the type of irritating, clumsy and even childish character written in the script and the novels. Despite not being the kind of character I like to appreciate, I have to admit that the Japanese version of Rain is better than the Thai version. In this sense, the Japanese actor gives me cuter vibes than Noeul.
Naguno Shoma forges here one of the most defined compositions of his career, after playing Naoki in 'Atelier Kiss', and Komine in 'Growth Kiss', stories that make up the BL drama 'Kiss x Kiss x Kiss: Love ii Shower' , a classmate of Akira in 'Minato Shouji Coin Laundry', and Yamase Kazuma in '25 Ji, Akasaka de', all recent Bl dramas, and looks much more captivating than usual: necessary faculty to compose a character who accepts the challenge of falling in love with Rei in less than a month, at the same time subjected to extreme emotional tensions, who goes through various emotional scenarios and complicated circumstances both within and off the race tracks.
His almost permanent presence before the camera creates an effectively constructed material; with very good supporting actors (especially Higuchi Hina, who plays Furuta Rinka, a student at the university where Rei and Kai study and who from a person who liked Rei becomes his rival for the love of Arashi; and Mochizuki Ayumu as Tomaru Taiga, a haughty lover of illegal speed racing; the latter character written with grit and precision regarding his arrogance as a daddy's son and connoisseur of the world of sports motorcycling.
And if the first story is happy, fun and sweet, that of Kai and Fuma is dark and sad, since the young university student suffers from sexual, physical and psychological harassment and abuse by Kurosaki Gan (Tajima Yusei), a violent man who Together with his henchmen, he pursues Rei's friend to make him suffer. Kai won't know how to deal with this situation. Why do you reject his approaches and flirtations? Will smoking be the same as your stalker? If I told you the truth, how would Fuma react? Will he be able to count on Fuma's help? Will Kai manage to overcome his trauma and be happy next to the handsome motorcycle racer?
This is the second, a story as beautiful and moving as the first.
In fact, praise must be given to its experienced creator, Tomori Atsuki, an all-rounder in Japanese commercial television fiction, who, in addition to being an actress (she does not intervene in the drama as such), is a screenwriter and director, and manages to effectively film the remake of the Thai original , introducing successful and slight changes.
With only two episodes viewed at the time of writing the review, I will wait for the series to progress a little further, or even conclude, to issue new evaluations.
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