Reviews

If you like couples who communicate about their thoughts then this show isn't for you.

Kim Goeun and Jung Haein was breathtaking. I love how natural their acting is.

But.. Let's be honest if the cast wasnt that good, no one would've watch this movie.
The story is pretty meaningless, well okay yeah i loved how pure their love is but that's all. No communication (i know that was the main thing at first but then why don't have conversations like normal human beings?)
I really hated how the FL went to Taesung to learn everthing about ML. SHE COULDVE ASK AND TALK ABOUT IT ???????

Anyways the cinematography was great, music was capturing.

If you really have nothing to watch and want to watch smt. is not that serious, go for it.
But dont expect big things from this movie.

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Poetry, dance and homosexual desire

I remember that I was not able to go to its movie premiere in October 2011, because I was not yet of the necessary minimum age, but the interest in appreciating it was marked since those days, when my literature teacher spoke to us in the classroom about the poetry of the main Filipino feminist poets Rebecca Anonuevo, Benilda Santos, Merlinda Bobis, Joi Barrios, Ruth Elynia Mabanglo and Ophelia Dimalanta, and of the very artistic 'Ang Sayaw ng Dalawang Kaliwang Paa' ('The Dance of the Two Left Feet'), since then hailed as one of the great milestones of audience and critical reception on the Philippine screen so far this century.
My teacher told us in class about how this beautiful and moving film, winner of 7 Gawad Urian 2012 awards, including Best Film, Best Cinematography and Best Original Score at the Cinemalaya Independent Film Festival 2011 and the Pre-Columbian Bronze Circle Award at the Bogotá Film Festival that same year, elegantly presents poems by Filipino feminists that are intertwined with the dances featured in the 68 minutes of footage.
"The film is a technically sophisticated exploration of romantic longing that is both intellectually stimulating and emotionally engaging", the words of my literature teacher still ring in my ears.
Shortly after, I was able to see it, stored on a flash memory that we high school students who were interested in seeing a film of great cultural richness, originality and lyricism were passed from hand to hand directed by Alvin Yapan, one of the most respected film directors of the independent scene of that nation, also internationally recognized for 'Ang Panggagahasa kay Fe' (2009), 'Debosyon' (2013) and 'An Kubo sa Kawayanan' (2015).
The first thing I confirmed after watching the film is that with it the director has taken the potentially risky step of including in his script large sections of poetry by Filipino feminist writers, in addition to in-depth classroom debates on topics such as the myth of Orpheus and Eurydice and the nature of cinema.
Although there are a couple of clumsy moments of exposition towards the endings, which slightly break the spell, Yapan's strategy pays off thanks to excellent image and sound editing, overlaying charming dance sequences with well-chosen poetry readings and literary debates that say everything about the repressed emotions swirling around the main actors.
I was then able to see through my eyes what I read in the press about this film, shown as part of the Official Selection of the 2011 Hawaii International Film Festival, and which I consider to be much more than a gay film, as it manages to address gender roles and how dance and the small gestures that construct it become a means of communication and sexual expression, and an exploration of the game between Marlon, Dennis and Karen, its protagonists.
In this context, dance, poetry and desire serve as a vehicle to explore an unconventional love triangle that arises from the infatuation of a university student with his elegant literature teacher, who is about 40 years old.
With a well-crafted atmosphere of restricted eroticism persistent from the first scenes, I discovered that Marlon (Paulo Avelino), a student from a rich family who is doing poorly in his literature class, looks longingly at Karen (Jean Garcia), his teacher of that subject.
For several days Marlon follows Karen to discover that she also works as a choreographer and classical dance teacher. Eager to impress her, he hires Dennis (Rocco Nacino), his classmate who attends Karen's dance classes, whom he asks to teach him how to dance as his private tutor, without her knowing.
Wanting to get her attention, Marlon plans to sign up as a newcomer and impress Karen with his natural ability, after learning the dance moves in advance.
Urged by Karen, Dennis will inform that Marlon enrolled in her class to be close to her. Then the woman confronts Marlon. Marlon feels betrayed by Dennis, revealing his closeness to his classmate, whom he now considers a friend. By then, Marlon and Dennis have become inseparable in tackling the complexities of poetry and dance. They would even talk during their dance classes about how to make sense of the poems for the subject taught by Karen.
As he learns how his body should move, Marlon begins to understand the intersections between poetry and dance.
Marlon will come to understand how the poems are testimonies of Karen's choice to live the life of an artist who chooses to remain single, rather than marry into luxury. Her only passion is her dancing. To support her art, Karen teaches literature and choreography for block parties, weddings, baptisms, and other secular events.
Through their lessons, the two young men become closer, but Dennis begins to have feelings for Marlon that go beyond the friendship that Marlon does not reciprocate. Soon their friendship becomes strained and Marlon can't understand why. It is only through dance that Marlon is finally able to express what he cannot say in words to Dennis.
The two male actors capture all the curiosity and naivety of young people learning the rules and repercussions of attraction. For her part, Garcia quietly plays the older, attractive, single woman whose true feelings remain tantalizingly ambiguous.
Possessing a great deal of romanticism, the film focuses mainly on poetry, dance and art rather than the loveless relationship between the two male leads. Dennis, Marlon and Karen are transfigured into a medium to convey a love affair with the arts, lovingly enunciating every word of every poem, every twist and sleight of hand evoking a torrent of emotions none of them will ever be able to say.
I don't know how many times I've watched the film since then. Every time the images roll before my eyes I realize that 'Ang Sayaw ng Dalawang Kaliwang Paa' is a striking film in which the delicately constructed dance of desire becomes an indication of homosexual attraction that arises as Marlon's lessons with Dennis intensify, producing the expected result of attracting Karen's attention to the stage.
I am pleased with how the stories of the three protagonists are intertwined, each carefully told and fused together through words, shapes and movements. Art unites all three. There are almost never overt displays of physical or verbal intimacy. It is only through dance that the trio of characters shout out their most intimate and repressed desires.
Little by little I can see how Marlon's love interest moves from one to the other. The relationship between him and Dennis is not openly stated. Only through their looks and gestures, particularly during their dances, can I see the growing sexual tension. Marlon uses movement to express his longing for his dance partner. It is impressive how Alvin Yapan, who is also the screenwriter, makes use of the kineticism of each touch, of sliding and grabbing, to represent the desire that consumes Marlon.
Karen emerges as their guide, an orchestrator who never imposes herself. She embodies the feminist poetry she teaches and simply aims to reveal what we can all appreciate: a hidden passion so palpable that it gives weight to every step and posture of her performances.
At one point in the footage, Karen invites Marlon to dance with her, but in the middle of the dance, she passes him to Dennis. The dance culminates with Marlon and Dennis dancing, as a preamble to the final scene of the film, in which the two will assume the roles of Humadapnon and Sunmasakay on stage.
While the poems focus on the personal relationships between men and women involved in a power struggle, the dance performances will materialize the contest between two dancers. Who will take the lead? The one who assumes the role of a woman or the one who assumes the role of a man? In my opinion, this is the core of the film.
I find the use of Panay Bukidnon's epic Humadapnon to support gay criticism in popular literature highly interesting. The choreography explores the difference between Western and Eastern dance, one oriented towards the sky and the other oriented towards the earth.
Technically proficient, the film's scenes are carefully edited and the dance sequences, choreographed by Eli Jacinto, are beautifully shot, which is almost an achievement in itself.
'Ang Sayaw ng Dalawang Kaliwang Paa' is a dazzling waltz in the burning fires of desire. I can, as a viewer, feel the anguish that each of the protagonists feels. Ultimately, the film is a cultural triumph that highlights the achievements of Filipinos in poetry, architecture and dance.
Excellently produced despite its modest budget, the film features engaging visuals by lenser Arvin Viola and an eclectic score by Christine Muyco and Jema Pamintuan that works harmoniously with elements of poetry and dance to lend a metaphysical atmosphere to the proceedings.
I highly value how through the kinetic interpretation of the lyricism of poetry, the film becomes the first Philippine film to be adapted from poetry. In 'Ang Sayaw ng Dalawang Kaliwang Paa' dance and poetry join hands, using the works of leading Filipino feminist poets to talk about the plight of dancers and artists, particularly the marginalized ones.
Another thing to take into consideration is that 'Ang Sayaw ng Dalawang Kaliwang Paa' is about artistic pursuit and the status of artists in a third world country. Set on the FEU campus, home of Art Deco architecture, the film seamlessly fuses poetry and dance in an everyday setting, questioning the place of art and its role in our lives. The film also focuses on how the arts are taught in a country where such subjects are relegated to the background.
I will not tire of saying that with the film, for the first time, Philippine cinema explores the marriage of poetry and dance. Poetry as a more lyrical medium compared to fiction, lends itself more appropriately to dance performances. Focusing on feminist poems rather than just focusing on feminist issues, the film explores how feminists and members of the LGBT+ community share some commonalities in their advocacy activities.

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Didn't quite live up to expectations, but still an amazing movie

I had been dying to watch this movie but unfortunately it did not live up to my expectations. I don't usually write reviews and am always appreciative of other reviews for explaining things I missed or other interpretations. While I understand the amazing things about this movie, cinematography, music, and acting, I think the plot and execution was lacking for me. Maybe it is just me or I missed something, but I wanted to share some thoughts.

One of the main things was that while each of the characters was interesting and had a lot of depth, I feel like not enough time or background was given. The reason I say this is because I did not get emotionally attached to any of the characters like I usually do. I felt like Thongkam and Sek's relationship was too short lived for me to feel their connection, Thongkam and Jingna's relationship felt too sudden (I get that Thongkam was working through a lot of emotions but even so, the relationship felt very rushed and had little substance. I couldn't think of a valid why for them falling in love). Mo and Saeng's relationship was the most fleshed out and very good (though I did feel frustrated haha). And Mo and Jingna's relationship felt like it needed a bit more too as it felt like the only reason they were attached to each other was because they had been through jobs together and relied on each other for that (which isn't a bad thing, but for me it was not deep enough because "betrayal" felt a little too easy. Though if it was supposed to imply that Mo and Jingna had more of a romantic relationship, I would have like that shown a bit more. Though I feel like that wasn't the case since they referred to each other as brother and sister and I interpreted it to be more of a familial relationship.)

My other main gripe was that the social commentary aspects gelt overshadowed by the exaggerated dramatic aspect and overarching revenge plot. The revenge aspect felt a little messy and all over the place. Especially the last 15-30minutes as things felt very rushed and the whole Thongkam and Mo fight.. and how the movie ended overall. To me, the main emotion I felt was suspense and the exaggerated violence at the end felt too unrealistic, a little too illogical, and a bit predictable. I think I wished for a bit more nuance and thought provoking actions from the characters. Not sure how else to explain it..

Anyway, still really enjoyed this movie but it was not quite what I expected or hoped for.

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Shock effects and toxic bonds, both felt out of place in the storyline

Well, what happened here really? I have no idea. I am seated after watching this, kind of in trance, captivated, kind of having feeling of having witnessed something bizarre. But all of that happened with last 15 minute development.

As for BL aficionados, this one was not it in any obvious sense. Se Joon definitely had a strange obsession with Yoon Jae's validation, but there was no indication that attraction stemmed from any romantic feelings. Then on Yoon Jae's side in one scene, you will know the main one, after he meets him, he seems more sad to see Se Joon in such state than any other consequence that led to it.

So in one way or another they seemed to care for each other. Unexpected plot. Kind of unnatural. I think there was more shock value because Se Joon was not developed as a character that he ended up being. Weird movie. I do not think I like it.

A lot of loose ends. Acting was great though. Overall, meh.

Not a recommend.

Thanks for reading.

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An interesting idea, but lacking better execution

After watching the movie, I was left with mixed feelings. On one hand, the concept of transferring human consciousness into a robot is fascinating and makes you think about the nature of consciousness and identity. On the other hand, the film lacks a deeper exploration of the world in which the events take place. I would have liked to learn more about the reasons for the conflict between space stations and see a broader context of this universe.
The focus on artificial intelligence and ethical dilemmas is interesting, but since we were shown little about the world’s structure, it was hard to fully immerse myself in the story. The ending felt somewhat rushed and not fully developed. An additional 10–15 minutes for a better resolution could have made it stronger.
Despite these shortcomings, the film still managed to touch me, and at some moments, I even cried. I was especially moved by the story of the robot mother and her emotional development. The visual aspect is also worth mentioning—the graphics and battle choreography looked dynamic and stylish.
Overall, JUNG_E is a noteworthy sci-fi film that raises important questions, evokes emotions, and has great potential, but it lacked better execution.

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The film should be just named Song Joong-ki in Colombia…

It was just a normal wednesday evening when I decided that I would watch a movie. I knew about this piece for some time and it also has been in top 10 in my country so i just clicked on it and now Im disappointed.

But for the start lets name the positives of Bogota: City of the lost …
The sets overall look really aesthetic - the colours, the wild streets full of people and so on. The movie works very well with making the movie feel like it was a real Colombia (as far as I can tell). The main thing of the movie - the leading Song Jong-ki also didn’t disappoint with his skills in the “thriller”, “crime” genre. And that is about it if you ask me.

At the other hand if you tell me to imagine a “mid” movie this would be as of now on the top of my list.

Let me start with the bad aspect that in my opinion go hand in hand with the positives I named:

First the looks of the set made a good impression on me however the camera did not. It is a thing that I certainly really care about more than many people but hear me out. Every shot felt soooo boring, aside from few exceptions. The camera was still, and just wasn’t playfull at all - just concentrated on the people talking, and when they moved the camera moved and that’s it. If you have such a rich background why don’t you just film it properly? That is such a wasted potential - there were many repetitive smoking scenes, which could be at least filmed differently. Also sometimes I couldn’t just shake off the k-drama feeling - it was filmed just the same. Don’t take this the wrong way but I expect a bit more from a high-budget movie.

Next the screenwriting. I just got bored. The dialogues have no emotions in them, they just swear a lot and think this is the peak of acting as a gangster. The repetition of some words or phrases feels just forced - they always have to just remind us that we are in a Colombia, ok sherlock I had no bloody idea! The big flaw is also that the characters are flat as a piece of paper and I mean a white paper without any text on it. The screenwriter just relies on the actors but they have frankly nothing much to work with in my opinion - the actors in this movie feel like a single person, they all have kind of the same non-existent personality. Even the male lead dosen’t have chance to truly present himself and for me non of them felt relateable. Maybe that was because their whole personality was being a korean smuggler / seller in Colombia!

The story is nothing outstanding. It doesen’t even feel like the film has it honestly. There are few series of events that relate to each other but I don’t know if i can call it a proper story. That is the most evident flaw for me personally - the movie skips the most important events. Spoiler alert! For example the male leads father just becomec a hopless alcoholic but like when did it and why did it happen? Also male lead had grown into a very talented and powerfull smuggler with a load of conections on hand. When? Who knows, they even added a time skip in this case!
Maybe it is just me not really finding the movie interesting but the decisions of the characters are kind of a mystery unsolved and make no sense to me sometimes.

Lastly let’s just say it is a film you watch when you don’t want to think much. From this perespective it is fine I guess but from my perespective it has too many flaws, for a movie that i would call good. So do I think you should watch it? No, I can’t think of a audience this was meant for - the action is boring, the movie is filmed badly, the caharacters are non-existent, etc. I didn’t even need to deeply analyze this movie to tell that it is not the sharpest pencil in the case.

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girl so confusing.

This movie was seriously beautiful and the director or whoever did a great job with the aesthetics of this movie. The casting director also did great and when i found out that they are married irl, it made sense. The actors seemed very young when tihs was filmed but it was good.

I did see a problem with how confusing the film was, and after looking up a synopsis of sorts in order to better understand, but i was still a bit confused. i still found the film good.

The girl seemed very innocent and full of life/ desperation. she seemed to really love the ML which was beautiful and somewhat sad. towards the end when they were kinda bickering/ hugging each other was very vulnerable.

The ML was troublesome and kinda a bad influence on the FL, but it seemed they truly loved each other. Total opposites, but opposites attracted.

The ending had me thinking he died, but also not so idk. Either way the film was great, with flaws ofc, but still a tender and beautiful movie on tragic youthful lovers.

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"How did you end up here?"

Wen Shi Pei’s directorial debut, Are You Lonesome Tonight?, was an impressive first film. The sets and color scheme were heavily reminiscent of Wong Kar Wai. Shadows, rain, green, orange, and red lighting set the mood as much as the rundown sets. Eddie Peng and Sylvia Chang gave strong performances as the disparate main characters brought together by a husband’s death.

Wang Xue Ming is forced to take a detour late one night when a bull gets loose and refuses to move out of the road. One unassuming turn leads to cause and effect with Wang becoming entwined with the widow Liang and a group of unsavory businessmen.

The film began in the future with Wang in prison, lamenting his lack of memory of previous events. The story bounced back and forth repeatedly and you have to stay sharp to keep up with when the events were happening. Significant details unwound, revealing themselves in retelling the story from different angles. Even with those clues laid out, other secrets stayed buried.

Eddie Peng, in an unglamorous role with beaten face and unkempt hair, had the strongest performance I’ve seen him give until now. Enigmatic, and feeling guilty over the incident on a dark road, Wang kept his emotions tightly hidden. Sylvia Chang also shone as the widow who wasn’t particularly sad to lose her husband, yet also had no idea what to do with her life in an empty apartment. Wang Yan Hui as scruffy Detective Chen, had less to do, as he attempted to discover how Mr. Liang ended up dead. The stars were Peng and Chang in an unusual friendship.

AYLT dizzyingly overused the flashforward, flashback, and flashsideways for me, yet I still found the film’s style fascinating. The criminal mystery was largely left untouched, yet I wasn’t overly concerned so caught up was I in Wang and Liang’s strange give and take. At times slow, at times perplexing, and at times gorey, Are You Lonesome Tonight was an excellent first film for Wen Shi Pei.

“Do the chairs in your parlor seem empty and bare?
Do you gaze at your doorstep and picture me there?
Is your heart filled with pain, shall I come back again?
Tell me dear, are you lonesome tonight?”

4 February 2025

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A Bigger, Bolder Leap for Chinese Sci-Fi

When The Wandering Earth (2019) burst onto the scene as one of China's first major sci-fi blockbusters, it established itself as a landmark moment for Chinese cinema. Adapted from Liu Cixin’s short story of the same name, it took creative liberties to expand the premise into a full-fledged disaster epic. Now, The Wandering Earth 2 (2023) takes things a step further—not just as a prequel that deepens the world-building but as a film that refines and elevates the themes that made the first movie so impactful.

There is no doubt that The Wandering Earth 2 was made for the cinematic experience. Watching it in a theater is a must to truly appreciate its scale - I think my opinion of the film would’ve been different had I not watched it on a big screen first. The jaw-dropping VFX and booming sound effects (especially with the space elevator scene) amplified its impact in a way that simply cannot be matched by a home viewing.

When I first watched The Wandering Earth in Australian cinemas, the entire theatre was empty aside from my cohort. This time around, the entire theatre was packed, even with COVID restrictions still in place, even during the midnight screening when most people would prefer to be asleep. This giant contrast speaks to the immense cultural and cinematic impact the sequel has had, drawing larger audiences and cementing itself as a must-watch experience.

Unlike the first film, which had a more straightforward “save the Earth” disaster-movie plot, The Wandering Earth 2 delves deeper into the political and philosophical dilemmas of humanity’s response to planetary catastrophe. It explores the decision-making behind the “Moving Earth Project,” showing the desperate struggle between factions advocating for different survival strategies—whether to escape Earth entirely or to embark on the long and arduous journey of pushing it out of the solar system. This level of depth adds significant weight to the story, making it feel grander in both scale and stakes.

One of the film’s strengths is its ability to balance spectacle with heartfelt human drama. It touches on loss, sacrifice, and the persistence of hope, making it more than just a visual extravaganza. Wu Jing’s performance as Liu Peiqiang—who would later become an important figure in the first film—adds emotional depth, showing the cost of duty and responsibility in the face of global calamity.

A key element that sets The Wandering Earth 2 apart from Hollywood sci-fi is its emphasis on collective unity over individual heroism. While Western sci-fi films often focus on lone protagonists defying authority, this film underscores the idea that survival is a communal effort. This deeply ingrained collectivist philosophy—one that resonates strongly in Chinese culture—might not be immediately familiar to Western audiences, but it is precisely this perspective that gives The Wandering Earth series its distinctive edge.

This theme is also reinforced through the portrayal of international collaboration. While there are geopolitical tensions in the story, the narrative ultimately leans towards cooperation, reflecting an idealized vision of global unity in the face of existential threats.

For those familiar with Liu Cixin’s works, The Wandering Earth 2 contains several nods to his broader literary universe. The concept of artificial intelligence playing a major role in decision-making recalls elements from The Three-Body Problem, where AI and virtual reality shape humanity’s response to existential crises. Additionally, the film references real-life space projects, drawing inspiration from China’s advancements in space technology, such as the Tiangong space station and the Long March rockets.

The space elevator, a concept long discussed in theoretical physics and sci-fi literature, is one of the film’s most visually striking elements. While similar concepts have appeared in Western media (such as Arthur C. Clarke’s The Fountains of Paradise), The Wandering Earth 2 brings it to life in a way that feels both realistic and grounded in near-future science. The sequence involving its catastrophic collapse serves as a metaphor for humanity’s fragile grasp on technological ambition.

Another historical parallel can be drawn between the film’s depiction of global-scale engineering projects and China’s own history of massive infrastructural undertakings, such as the Three Gorges Dam and the South-North Water Diversion Project. These real-world projects share the same spirit of large-scale planning and collective effort seen in the film’s planetary migration project.

Final Thoughts

The Wandering Earth 2 surpasses its predecessor by adding layers of complexity, political intrigue, and character-driven drama to its already spectacular visual presentation. The prequel format allows it to expand on the universe in meaningful ways, making it more than just a disaster film—it becomes an observation on the choices humanity makes when facing the abyss. While the first film succeeded in its high-stakes action and grand premise, the second film excels in its worldbuilding and thematic richness.

For those who haven’t seen it yet, watching it on the biggest screen possible is highly recommended. The impact of its visuals, especially the space elevator sequence, is something that home viewing simply cannot replicate. The film's uniquely Chinese perspective on unity and survival gives it a refreshing take in the sci-fi genre, making it a standout among its peers.

Overall, The Wandering Earth 2 is a triumph—not just for Chinese cinema but for global sci-fi storytelling as a whole.

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