Reviews

once u know the story it hits deep

ngl i was confused as hell like the whole movie. timelines jumping, random internet chats, some dude floating in the ocean — i was like wth is going on. but then i looked it up, pieced it together, and damn. this movie hits deep.

it’s got that soft, dreamy vibe — like you’re floating in a nightmare but it’s somehow beautiful? the music is ethereal, the beach scenes feel like peace before everything goes to hell, and the whole thing just feels like being trapped in your own head. nothing’s ever said outright, but you feel everything. especially once you realize who’s who online and what actually happened off-screen.

though i wouldnt give it a 10/10 (even though it does have 10/10 vibes IMO) because its not good as the other movies/dramas i watch. but its kinda creative too in a way..

TRUST ME GOOGLE IF U ARE CONFUSED. HELPED ME UNDERSTAND IT!!!

it’s messed up. it’s sad. it’s cold. but it’s also so real. not in a dramatic hollywood way — in a quiet, slow, soul-crushing kind of way. definitely not for everyone, but if you like haunting, broken beauty? this might wreck you a bit.

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Three Sisters' Relationships with Men

For a film that is supposed to be about three sisters, it was more about their relationships with the men in their life than about them.

This is a slice-of-life story that unfolds in Kagoshima where people prepare for their Summer Festival, a week-long festival where shrines and streets are decorated by beautifully hand-painted lanterns. And, as expected by a film chosen for the JFF Theater, it's very well done in these two regards. The ordinary interactions between the cast, the awkwardness and the unintentionally funny things that happen, as well as the background characters and their slightly sexist remarks -- they all feel very realistic. The cityscape with its old-fashioned trams and little shops, and with the lit lanterns during the festival makes for a vibrant background.

If only it wasn't for the story.

A better title would have been "The hetero relationships of three women" -- because the film does not explore the sisterly relationships very well -- and if it does, it's always in the context of the relationships to men. Even when the two older sisters talk about being sepearated during childhood, it wasn't about their own experiences, or how it shaped their relationships as sisters, no, it was about how it was living with (or without) a father. Even when the two older sisters try to lift their youngest sister's spirits, it's with the thought in mind that she is good enough to deserve a good man.

The shop and its problems stay part of the colourful background, the familial bonds are solely defined by their talks about the men in their life. The eldest sister has no character at all (except that she is divorced and a nice person), the middle sister does have an interest outside of family, but it's mainly mentioned in the context of her meeting another man, and only in the last minutes does the youngest sister show that she has an aspiration that is solely her own (and which needs her father's approval, although the shop belongs to the mother).

I *think* this was not the writer's goal. I *think* what he or she *wanted* was to tell a tale about three sisters and her mother, their familial bond and how they decide to live independently or with a man by themselves and solely because of their own feelings, and not because they feel pressured (by outside expectations) to do it. And, yes, that might be a story that is worthy of telling -- but maybe not to the detriment of the women's own characterization.


Was it good? -- The film probably passes the Bechdel test. Barely. The lanterns were pretty though, and the slice-of-life aspect was well done.

Did I like it? -- It think the story the writer wanted to tell is not the story we got to see. I found it incredibly frustrating to watch a film about three women that was not about them.

Who would I recommend it to? -- Maybe to people who like to see women's relationships with men?

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Living Is Beautiful

This is a beautiful and important movie. A mix of war with comedy, made with soul, for the one Korea stuck in a paradoxical war and division (as we see all around the world) so this movie is perfect to understand the moral behind the Korean War, but it can be applied to everywhere where brothers fight against each other.

This is not a perfect movie, but it shines in very aspects so it even has blockbuster qualities. It has great production and visuals that hold well even now in 2025. The actors are also great. A little clumsy but that may be on purpose since this is also a comedy. The emotions are here, and as I said at the beginning, the message of the movie is noble and true. We can reflect on the tragedy of war by following 2 enemy soldiers going together through all kind of experiences. I am so glad this movie came to my way today and helped me rediscover the beauty of being alive.

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Dikit is a short horror film written and directed by Gabriela Serrano and produced by her sister Jayne. It was inspired by a lost silent film as well as the isolation incurred during the early part of the covid pandemic.

A young woman watches as a couple move in next door. The new neighbors have no idea what her evenings consist of, if they did, they would turn around and speed away. Yet they, too, are hiding a gruesome secret. One night the attached horrors will collide.

“Female creature who flew into the night hunting for pregnant women…and their wombs…craving the one thing her own body could never produce. For her body feared by many was split in two.”
I had to do a little research to figure out what the intro was talking about and the hints in the film. This was an updated folktale about the manananggal, a usually female creature that fed on pregnant women and/or their fetuses. It could split in half at the waist, leaving its lower extremities behind while it hunted. In some stories it could sprout bat wings and this character did indeed have scars on her back and waist. The screen was split, with the manananggal on the left and the pregnant neighbor on the right. No words were spoken aloud, the music and the action telling their stories. Serrano did a great job of pacing the story so that the viewer could follow both halves as they played out. The music, while simple, also created the perfect mood as both halves’ horrors were revealed.

I found the theme for Dikit hard to follow at first. In fact, I went back and watched it again. As I watched I remembered that a woman is most susceptible to partner violence when she is pregnant. In real life pregnant women’s injuries and deaths are not caused by demons. Unlike some humans who are evil, there are monsters who can transform into heroes.

7 May 2025

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The Dilemma of Choosing Between Oneself and One's Family

Xiao Lin is experiencing the development of his gay identity, a recently emerging term that has permeated societies globally. Our young protagonist has begun to realize that he could be homosexual, that he is attracted to young people of the same sex. Like many other people in this period of self-discovery as gay, precisely the first stage of accepting homosexuality, the Shanghai University student fears confronting his homosexuality under pressure from his family.
During a short vacation, he travels back to his hometown where his father and paternal grandmother are waiting for him. Under the influence of Ouyang Fu Gui, a more radical and visually more open young writer, Xiao Lin begins to accept himself. He even goes so far as to reveal to his new friend the possibility of being homosexual or bisexual (the Second Stage or Comparison Stage, according to Vivienne Cass (1979), a criterion widely recognized worldwide), and what that would mean if it were true. Thanks to Ouyang Fu Gui, he visits gay clubs while still suffering from Confusion.
Whether internally or with his friend, Xiao Lin expresses his fear about the consequences that being gay will have on his life.
However, after returning home and seeing his family's expectations for his marriage grow, Xiao Lin finds himself trapped in the dilemma of choosing between himself and his family.
Writer-director Wu Xuan, who trained in Film and Television Direction from the Shanghai Theatre Academy, films a short film that delves into the contemporary gay community, which is still on the verge of self-identification, and develops the story through a realistic audiovisual style and the perspective of young college students.
Rather than focusing on a sweet, sexy gay romance, as seen in Thai BL, the film by Production Company: Shanghai Theatre Academy takes a more realistic social context, showing their psychological processes and encounters, focusing on the plight of gay youth today.
Starring young Chinese actor Liu Haoqiong as Xiao Lin, the short film reflects on gender and the social constructs that have been built around homosexuality.

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The Match is Certainly A Go!

I was reluctant to watch this movie, because I don’t especially care for sports, games, true stories or historical shows. So, what pulled me into watching this? Yoo Ah In, my most favorite actor.

Result? I loved it! I loved everything about it! The acting, the story, the OST, and the whole production.
To start off, the viewer doesn’t have to know much about the game Go.

This true story, set in the 1980-1990’s is about a famous Go champion, played by Lee Byung Hun (as Cho Hun Hyeon) and his pupil, Yoo Ah In (as Lee Chang Ho).

It starts with Chang Ho as a child Go prodigy, being discovered by Hun Hyeon and their remarkable relationship as teacher and student as they progress through life.

What makes this true story unique is the relationship between the two Go champions. They both thought they were the best Go players around, until they played against each other, until one of the two looses, and how each one accepts the loss.

I sat at the edge of my chair, watching this true story unfold – please, don’t miss this treasure of a movie.

Thank you for reading this.

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"If you believe it, then it's real"

Director Derek Yee’s The Great Magician was set around 1920 China when the warlords were carving out their territory. Japan was angling to get a foothold by supporting various warlords with weapons. In the midst was a buffoonish warlord, his unwilling 7th wife, and a magician with more than cards up his sleeve.

Warlord Bully Lei has his hands full. In order to stay in power, he needs soldiers. In order to feed and arm the soldiers, he needs money. And money is in scarce supply. His assistant, Liu Kun Shan, is an illusionist whom he doesn’t trust. On the family front, his 3rd wife is always vying for his attention, but it is his 7th wife who will have nothing to do with him that he adores. Wife Liu Yin is only hanging around until she can find her father. Yin’s ex-lover, Zhang Xian returns to the country from Europe and sets up shop in a local inn. He is a magician and also in league with rebels planning to kidnap Lei in order to have prisoners released. Zhang wants Yin back and is determined to free her father who was his magical mentor. Liu Kun Shan is working with the Japanese and also after the SECRET SCROLL Yin’s father had possessed.

The story was okay and tended to wander around too much and honestly, was too darned long. This film could have easily been 90 minutes and not lost anything. I will admit that my kung fu movie loving heart was thrilled to see the Flying Guillotine have a guest role. And of course, you have to have a secret list or in this case secret scroll, though in this case it was a bit of a bust. The comedy occasionally veered into slapstick but not overly so.

What made this film entertaining to watch was the enemies to lovers, I mean friends, of Bully Lei and Zhang Xian. Lau Ching Wan and Tony Leung Chiu Wai had a delightful chemistry whether they were ribbing each other or conspiring together. Poor Zhou Xun’s Liu Yin was the third wheel. Aside from her amazing kung fu introduction, the rest of the film she had little of interest to do. I was disappointed she was given short shrift in the story department. Wu Gang (Joy of Life!) and Yan Ni played the dangerous but comedic foils to the trio.

The Great Magician had a little magic, a little action, and a little fun. It was lighthearted bordering on times on silly. Zhang and Lei showed that illusion and perception are part of life whether in politics or entertainment. It’s hard to trust your eyes with those skilled at weaving deception. At least 30 minutes too long and too short on significant Zhou Xun time, this film still had enchanting moments to offer.

“The truth depends on your perspective.”

7 May 2025

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Hard watch

Although this is a short film, it was a very hard watch.

The storyline seemed shallow and the acting was not great, but I feel that it could've very well had been a more wholesome relationship if the beginning had been more slow-paced.

Also, the timeline was very unclear, I couldn't tell when the settings switched from the future or to the past at times, and it was hard to tell if they were rekindled in the future or just happened to run into each other.

If the film were a bit longer, even by 10 more minutes, I think that there could have been more emotional development between the two rather than awkward silences.

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PN 3, THE MOST HILARIOUS IN THIS FRANCHISE !! :)

This is the MOST HILARIOUS n CHAOTIC movie in this franchise 😂
(Not a Scary horror).

As said in my previous Pee Nak Reviews:
Thai Comedies (Horror or Rom-Com), as usual, are always CHAOTIC ! :)
(If U are aware of Thai comedies, only then, U can enjoy this.
Bcz Every Country has its OWN TONE OF COMEDY, especially Japan or Thai comedies are not for everyone)

***
A Good Mix of Horror + Comedy + serious stories of the ghost's past and the main story.

***
Entertaining n Funny, except 1-2 scenes like making fun of the little monk (Novice kid) n Old Monk by characters First n Balloon.

Those looked insulting n very disrespectful towards Monks, though meant for comedy purposes only.

***
The Main Story is about a Cursed Golden Anklet n is INTERESTING to watch.

The intertwining of
the Main story (Cursed golden anklet n the dangerous effects of the curse like growth of snake scales over character Aod's body n finding a solution to it),
the Ghost's past (why n how it became a Vengeful Spirit n why it keeps haunting) and
the Story of Rebirth / Past lives of some of the characters (Aod, Noht, First, Balloon n the ghost, as shown in PN 2),
is Well Written.

The Ghost's past, the anklets' issue, the Naga (Giant Snake) story and the "Past lives" are beautifully blended into the Main story.

***
Like in previous Pee Nak movies,
Even here, The ghost story n the main story depict religious process n ritual like "Ordaining to be a Monk" in Buddhism and is Very Interesting to watch.

The Story of the Naga,
Boon of the Naga - "Nak" in the ordain process,
The Golden Anklets of the Naga,
the Ghost's past life and its anklets,
the Past lives of everyone etc,
how all these are related to the present Main Story (The adventures of the team in search of the temple where golden anklets are given to Naks during the ordain process thereby to revoke the curse), is Well Written.

The Haunting scenes are VERY FUNNY n CHAOTIC 😂
Even the scenes of the team trying to find a solution to the cursed golden anklets, the Buddhist Monks helping the team to ward off the ghost n to revoke the curse, are very funny :)

***
Director Mike is known for Comedy genre!
Production, Screenplay are good enough.
Locations are cool.

***
The Curse of the Golden Anklets:
Whoever steals the anklets, will be haunted by the ghost, have nightmares, develop snake scales all over their body and dies, finally.

The ghost claims the anklets to be its own precious possession (though owned by the original Naga), keeps haunting the person who steals those from it n doesn't allow the person to wear or remove the anklets, thereby disturbing the ordain process.

Intially, there is a lot of Chaos within the team, when the ghost claims that 4 of them stole its anklets - this confusion n fear among the characters about which 4 of them, is hilarious 😂

The way how PN 2 n PN 3 are related with recurring characters, is well written.
The Past lives of the characters and the golden anklet is just referred in PN 2, while it is the main story here.

***
Every Actor performed well.
Every Character is lovable.

The recurring characters n the cast, Mean, Aim, James, Pond n Tar are cool.

Aim n James as queer characters are hilarious n chaotic, as usual 😂

Plan's cameo in two characters as Naga and human :)

New cast n characters introduced here, especially Korean YouTuber n little Novice kid are funny.
First n Balloon with that young Novice are more chaotic😂

Mean is cool n plays a K-pop idol character.
Mean looks like KDrama actor Park Seo Joon ;)

Director's cameo as the one who helped them with truck.

Placement of that Insurance advertisement as a part of the story is funny.

***
In the end, the curse is revoked n the ordain process of Aod happens as planned n peacefully.

The climax scenes are Funny.
At the end of every movie, a Buddha Amulet is given to one among them n whoever takes it, faces trouble in the next movie , haha.
And here, Aod gave that to Mean's character n so he would face Haunting in PN 4, like how Aod was given that amulet in previous movie n faced trouble here :)
(In the beginning of PN 1, August was given that Amulet by a monk, he faced trouble there n in the end, August gave it to First.
And so in PN 2, First faced trouble n gave it to Aod in the end.)

In the end, where everyone screamed out of fear, when the Naga (Plan) tells everyone that they will meet again in the future, is funny n gives a hint, forms a base to next part /Sequel.

***
My RATING is 8.5 / 10

*** COMPARISON OF THE MOVIES IN THIS FRANCHISE:

Can't really Rank any movie as the most or the least favourite, in this franchise.
My Rating for all 4 is the same n liked all 4 equally bcz one with more comedy, another with subtle comedy but all have serious stories.
And so ALL 4 MOVIES ARE ENTERTAINING n FUN TO WATCH!

In terms of Comedy,
PN 4 < PN 1 < PN 2 < PN 3

In terms of Story,
All have Serious Interesting Stories.
Story of PN 1 is a simple one while the other three have twists n little complicated stories.

Also, Watched this franchise long ago n remembered these as STANDALONE n UNRELATED MOVIES n need to watch all, just to know the background and the relations of the Recurring Characters.

But now when I re-watched all 4, realised that all 4 movies are RELATED, may not be a Proper n Direct SEQUEL to each other.
But One movie's storyline is taken from a scene or concept from the previous movie. That's how they are related.

For eg;
1) PN 2's main storyline "One old Monk n Buddha with Naga hood Amulet" is discussed in 1-2 scenes in PN 1 n are elaborated in PN 2 as the main story.

2) PN 3's "Past lives, stealing Golden Anklets etc" is depicted in PN 2 n are elaborated in PN 3 as the main story.

3) PN 4's Naga n Plan's character is shown in two scenes in PN 3 n are elaborated in PN 4 as the main story.

And so Need to watch all 4 movies in the same order to understand n enjoy the franchise.

Also, it's fun to watch the recurring cast n characters in the franchise :)
Actor Tar, literally grew up along with this franchise, haha .

***
Give a try! Especially Horror genre lovers who love to watch every type n a variety of Horror concepts.

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A Powerless and The Most Powerful

This movie is worth your time. Full of fluff scenes, and amazing chemistry between the actors. Cuteness overload. I love that he is said to be very cruel and scary, but is such a sweetheart when it comes to Mayo. A family-friendly movie, so you can watch it with your kids too. The powers confused me, but the cute scenes made it nice to watch. The ending was satisfying. I love his expression softens after seeing her. he saves her like a knight in shining armour when she was in danger, couldn't stand the thought of her having a nightmare. Keep in mind, He is an elite in the military, said to be one of the cruellest people in the whole city 🥹.I'll rewatch this when I'm craving a good fluffy romance.

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Stigma, discrimination, and the necessary social changes in a homophobic society

'The Teacher', the second feature film by director and screenwriter Chen Ming Lang, following her debut with 'Tomorrow Comes Today' (2013), develops a modern and sober melodrama that intertwines two plots: a tragic love story hampered by HIV and the resistance of a society that still distrusts differences.
There is no greater truth than that which expresses that we are witnessing one of those films that doesn't shout, but pierces you. The sensitivity with which it portrays love, identity, and the pain of the unspoken is devastating in the best sense. Each shot seems to stare the viewer straight in the face, as if asking them not to blink at the discomfort... and at the tenderness. It is cinema that is felt, thought, and stored.
Of special note is the technical and artistic execution, which is raised from a close local customs, leaving the artistic aspect in the background.
Starring Oscar Chiu, known for playing Tony in the cult film 'Story in Taipei' (2017), for his outstanding performance as the lead in the drama film 'Final Examen' and his recurring role in the Netflix romance series 'More than Blue: The Series' (2021), 'The Teacher', which premiered at the Queer East Festival 2019, features honest and passionate performances.
Set in a context of progressive openness due to the legalization of same-sex marriage, the film focuses on the more personal politics of a young man who finds his voice as he experiences his first serious romantic and sexual relationship.
Its effective introduction introduces us to Kevin (Chiu, who earned a Best New Actor nomination for this role at the Golden Horse Festival in Taiwan), a young Civics teacher who seems to have a happy and enjoyable life. Outside of class, he alternates his activism for gay rights, equal marriage, and Gender Equality Education with his romantic relationship with his boyfriend Jin Wu Gao (Chin-Hao Chang, known for his role in 'Hong Se Qi Qiu' (2017), a former factory owner a few years older than him.
With a mother (played by actress Tzu-hua Ho - 'Red Horse in the Summer Sky'm, 2022) who accepts her son's homosexuality, Kevin soon leaves the family home to live with his boyfriend.
In seconds, this pleasant existence is turned upside down. Upon openly admitting in class that he supports same-sex marriage, the teacher begins to suffer homophobic taunts from his students, frequent warnings from the school principal, and calls for his expulsion from parents concerned about the growing rumor that Kevin, in addition to being homosexual, also has AIDS. Suddenly, the teacher finds himself embroiled in a controversy that pits his profession against his sexuality.
At the same time, Kevin discovers that Gao is HIV-positive and has a wife (Winnie Shih-Ying Chang, winner of the Best Supporting Actress award at the Taiwanese Golden Horse Festival for this role), two issues that Gao has deliberately hidden from him.
Thus, Kevin must deal with the social stigma of HIV/AIDS and a conservative society's rejection of his homosexuality, which threaten both his romantic relationship and his job. With all these ingredients, the director female portrays the lack of democratic openness and the need for profound changes that go far beyond the political and legislative, in a conservative and homophobic society that today, even six years after same-sex marriage was approved, is reluctant to accept diversity.
But despite these dramatic events, 'The Teacher' maintains a certain serenity and dignity, and the camera only allows us glimpses into Kevin's life, often without exposition, such as the strange scene in which he attends Gao's father's birthday banquet or the brief episode in which his wife enters the apartment with a hammer.
Produced by Swallow Wings Films and Portico Productions, the openness of several characters, as well as the demonstrations in favor of same-sex marriage and the need for Gender Equality Education, reflect the situation faced by LGBT+ people in Taiwan.
On the other hand, the main heart of 'The Teacher' lies in the relationship between Kevin and Gao, from their meeting in a public restroom in Taipei to the couple crisis stemming from the secrets one of them has kept from the other. Despite having the option of building a romantic relationship with a happy ending, Chen Ming Lang opts for an unsweetened reality. Beyond depicting an unlikely and unrealistic queer utopia, the film aims to reflect a version of real life.
Thus, the film introduces the characters into a series of events that break with the idyllic setting to expose the stigma that members of the LGBTQ+ community have regarding HIV. The film also shows the lack of understanding, fear, pain, as well as selfishness and lack of empathy. A more faithful portrayal of the truth.

Of characters and actors

The dramatic plot of 'The Teacher' is supported by an impeccable lead cast and superbly acted supporting characters. Oscar Chiu leads the cast with great naturalness, expressing his character's metamorphosis with great interpretive power.
With a performance that is absolutely true to the script, Oscar Chiu portrays his character's evolution throughout the story, from his carefree demeanor, his passion for teaching, to the most tense dramatic sequences. Ductile, with a variety of registers and great empathy with the audience, Chiu manages to reveal himself as an actor of great naturalness and freshness. His character, who appears in several nude scenes, has a magnificent arc, and his passion and anger develop harmoniously until the crude confrontation in a hospital where he goes to find Gao, towards the end. The depictions of gay sex are also quite rebellious.
His character's fate is a revolutionary political statement, especially for Taiwan. Kevin has a well-defined relationship with his mother, who loves her son and doesn't shy away from discussing his concerns with him, while Kevin doesn't dare reveal too much to anyone. "The Teacher", calm and at times not condescending, reflects this reluctance.
Although Kevin remains an enigmatic character, the actor who plays him manages to convey his frustrations and joys with subtle facial expressions. And because of this, both the character and the film feel real.
Nearly defeated by a homophobic system that requires him to disclose his health status and hide his sexuality if he wishes to continue his professional work as a teacher, Kevin is able to learn from his own lessons, ensuring that there are glimmers of hope for the LGBT+ community in Taiwan.
Tzu-hua Ho delivers a performance full of truth and organicity, with a familiar, traditional magic that rounds out his work in front of the camera. For this reason, some of the scenes between mother and son captivate the viewer with their sincerity. The veteran actress gives a good performance, without letting Kevin know how much she truly cares if her son decides to never return to the house where he was born.
The scene in which the two are walking through the market and Kevin talks to her about Gao for the first time, even showing her a photo of her boyfriend, is brilliant. Ho's face reflects such a mixture of indignation and concern that it's not entirely clear whether he cares about his son.
For his part, Chin-Hao Chang draws a character from a more measured and steady stance. Consequently, almost all of his screen time offers a sense of remaining too stable, while the audience expects more visceral action from him. The exercise of restraint is understandable, but there are moments when he could shine brighter, but he doesn't. Despite not loving his wife, despite not sharing the same bed, for some reason they remain married.
Of all the characters, he is the most distant. And the actor plays him with a charm that denotes hypocrisy. His dark side is wonderfully demonstrated in the brief scene in which he leans over a canister of nitrous oxide, inhaling its fumes as if drinking from a fountain. I would have liked the relationship between Kevin and Gao to have had more nuances than what we're given.
Winnie Shih-Ying Chang also has a complex role: she has been abandoned by her husband due to a sexuality she fully understands, but still, perhaps to comply with social norms, she wants them to conceive a child together. Her character is sincere, but even her emotional state is measured and restrained.
A sequence in which he buys and then uses a hammer discreetly shows the dexterity and strength of his performance. The protagonist of one of the film's most hilarious moments, his character remains the most interesting, as she is less of a villain and more of a pragmatic and strong presence.
The dynamic between Kevin and the school principal, Mr. Lin (Chin-Yu Lin), also deserves attention. At first, he scolds Kevin for wearing his hair too neatly and demands that he be notified about his extracurricular activities, specifically those related to his political activism for LGBT+ rights.
Later, when the teacher is questioned by the students' parents, Kevin's sexuality seems less problematic than we thought, and he is even defended by his fellow coworkers. This, along with the presence of his best friend Jo (Shih-ling Hsueh), a more radical and visually open character, offered the possibility that Taiwanese cinema could open up even more after 'The Teacher,' gifting viewers with titles such as 'The Name Engraved in Your Heart' (Kuang-Hui Liu, 2020), 'Rizi' (Tsai Ming-liang, 2020), 'Moneyboys' (C.B. Yi, 2021), 'Marry My Dead Body' (Cheng Wei-hao, 2022), and 'Dear Tenant' (Cheng Yu-chieh, 2020), to name just a few.
The cast embodies that closeness, that social reflection that seeks to connect directly with viewers.
Chen Ming-Lang also never judges the characters' actions, as we see them make their own, often very human, mistakes. Because of this distance, the film's ending is always in doubt, and when it arrives, it ends mid-sentence.

Conclusions

The film reflects the relationship between Taiwanese society and sexual liberation, as well as the stigma still faced by people living with HIV/AIDS. While exploring the personal consequences from a realistic perspective, one that does not seek to sugarcoat the fears, prejudices, and experiences of members of the LGBT+ community, 'The Teacher' promotes the necessary social changes within a conservative society that still views those who are different with contempt.

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A Tearjerker Beautifully Done

A beautiful movie that touches the heart thanks to a well-executed plot supported by the amazing cast. Definitely a Tearjerker. This movie is for you if you love slice-of-live, romance, family movies. Bonus, makes you want to visit Okinawa and eat sata andagi.

The cast members were amazing in their roles but Nakajima Yuto as the second male lead Ryusei and Inagaki Kurumi as Himari in my opinion, really stole the show. Ryusei's scenes towards the end, one with Himari and one with Miu made me cry the most. In fact, you could also consider this movie as a family movie, about the love between father-daughter and how you don't have to be blood-related to be a true family.

The story involved multiple time jumps. There were three eras, the leads as high school students, the leads as young working adults, and all the way to the current time - in 2024 in their mid-late 30s. So you might need to pay attention to follow the movie. It is still relatively easy to follow.

On the downside, other than the time jump, I would say there really should be more scenes with Ryusei because he would be a fan favorite character. In fact, the character seemed a tad too flawless because of his capacity to love Miu no matter how much time passed and despite the circumstances. Anyone would want a Ryusei in their life too.

Other than that, the house Miu and Minato lived in in Tokyo seemed too expensive for two young adults who recently moved to the city for work, with one remaining unemployed.

And as much as the illness plot is cliche, it is used two times in the movie. It is still OK and I guess that's how the writers wanted to tie the story together. I understand Minato falling sick because his mother also had the same illness. But making Miu sick just to unearth their past is a bit questionable to me - especially because we were told Miu was really sick, might not have much time to live but they really only made her look super pale, she wasn't hooked up on the machines or anything and there was no explanation on what illness she had.

The movie is based on HY's song 366 days but there were other songs used too. They were all beautiful and the lyrics were beautiful. No complaints on this whatsoever.

All in all, I understand why this movie was a surprise box office hit in Japan. It wasn't just a Tearjerker or pure romance, it had so many elements so many people could relate themselves to, and it left you feeling warm. Either you're a student dealing with your parents and young love, a job seeker trying to find your place in the world, having a one-sided crush, facing the impending loss of a loved one, there's something for everyone.

Truly, there were no bad characters and you would emphatise the decisions they made even if you disagree with them. I hope this movie wins awards, especially on the acting parts.

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a misplaced main character

I recently watched the movie, and while it was a touching story, it seemed to me that the focus of the plot was rather misplaced.

Mi Yeon aka Audrey, a graceful, middle-aged woman, leads a peaceful life running a small neighborhood noodle shop with the help of her devoted adopted son, Ki Hoon. Their bond is warm and supportive, with Ki Hoon proving to be a caring and dependable presence in her life. In contrast, Mi Yeon's biological daughter, Ji Yeon—a popular Kpop idol remains estranged from the family due to a troubled past marked by rebellion and unresolved grief. A pivotal moment in their fractured relationship stems from the early death of Ji Yeon’s father, who was tragically struck by a truck during a heated argument with her.

Despite Audrey (Mi Yeon) and Ki Hoon’s sincere attempts to reconnect with Ji Yeon, she keeps them at arm’s length. As time passes, Audrey begins to exhibit signs of memory loss, eventually receiving a diagnosis of Alzheimer’s disease. Rather than fully exploring the emotional weight of this development in the story, the narrative introduces another dramatic twist: Ji Yeon is diagnosed with leukemia. Ki Hoon is unable to be a donor to her due to their lack of genetic relation. In a moment of clarity amidst her cognitive decline, Audrey consents to the procedure, becoming the donor who ultimately saves her daughter’s life.

The film concludes with a poignant scene where both Ji Yeon and Ki Hoon sit on a bench with Audrey in the middle, now in the advanced stages of Alzheimer’s, sharing a tender moment of connection and love with the woman who shaped both of their lives.

The movie was okay, but it seemed like, yes, Audrey is framed as the main character, especially given her Alzheimer’s diagnosis, plus the movie title is Beautiful Audrey, but Ki Hoon receives more screen time, character depth, or narrative focus—making him feel like the actual protagonist.

Ki Hoon’s story was, in many ways, far more captivating. Orphaned at a young age, he was taken in by Audrey’s family and raised with care. As he matures, he becomes a kind-hearted and devoted son, choosing to forgo college, despite his intelligence, to dedicate himself fully to supporting his mother. Throughout the hardships, especially when both Audrey and Ji Yeon fall ill, Ki Hoon remains their steadfast pillar, quietly carrying the emotional weight of the family. His character felt incredibly relatable; I could genuinely sense his pain, admire his perseverance, and appreciate the quiet strength he showed in the face of so much adversity. Honestly, it felt like the film should’ve been titled Beautiful Ki Hoon instead!

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A Beautiful Mess: Wonderland Lacks Depth and Direction

I just finished watching Wonderland and honestly, it left me with more confusion than closure. Visually, it’s well done, but the logic and emotional flow? All over the place. Here are my main thoughts:

• I understood a little bit about the Chinese character, Bai Li, since she had a daughter- but even that didn't make a lot of sense. She created an Al version of herself so her daughter wouldn't know she was dead. It's a sad and emotional idea, but it wasn't really explored deeply or logically.

•The grandma and her grandson storyline made zero sense. How was she able to send money to an AI? Why was the AI grandson selfish, demanding, and materialistic? Isn't AI supposed to reflect the real person, not exaggerate flaws that may not have existed?

•The couple's story (Suzy & Park Bo-gum) honestly irritated me. Suzy’s character created an AI version of her boyfriend while he was still alive but in a coma—which should be completely illegal. I get why someone would want comfort in grief, but this man wasn't even dead. And then when he wakes up, she's distant and even rude to him for no clear reason. What exactly was she mad about?

•There’s no real world-building or backstory. We don’t know how this AI service came to be, who’s behind it, or how society even allowed this to happen. And then, out of nowhere, they throw in a similar service for pets in the final scene? That was just bizarre.

•Kim Shin’s role was vague. his story was under developed.

In the end, the movie tried to be emotionally deep and philosophical, but it skipped the work needed to earn those feelings. If this had been a drama series instead of a film, maybe the plotlines would’ve had room to breathe and actually make sense.

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