Reviews

Heartbreaking

I knew what this movie was about going in but I don’t think anything could have prepared me for it. It is an amazing movie, the acting is phenomenal and the cinematography is beautiful, but I felt sick watching it. This movie is very very upsetting and I don’t think any amount of warning will prepare but I will try. This movie includes on screen child abuse and on screen child sexual assault and rape as well as ableism. It is tragic and horrifying. The child actors did so well, I am not certain if they are actually deaf or not but they did an amazing job. Min Su’s “I don’t forgive him” scene was one of the most heartbreaking scenes I have ever watched in cinema. Those poor children, it is truly horrific that this is based on a true story. Gong Yoo did amazing as did the lead female actress. Overall I would very highly recommend this movie but only if you can emotionally handle it.

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Tan Song Yun, my favorite actress, was the main reason I chose to watch this movie. Despite knowing she plays the second lead, I was still drawn to it. The story follows a girl who has faced numerous hardships since childhood, yet she perseveres and continues to live her life. When another girl enters her life and offers her hope, things take a dramatic turn when she discovers that her crush is engaged to her best friend. Despite her feelings, she makes a mistake that changes the lives of all three involved. While most people would distance themselves after such a revelation, she continues to meet him, ultimately leading to their separation as she chooses to prioritize her friendship. To discover the outcome, you'll have to watch the movie. As for the fate of the first lead, it remains uncertain until the end.

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Ending is unclear

The leads were my favorite, which is why I decided to watch the drama. However, since I watched it in 2024, I found it a bit dull. Nonetheless, the story was intriguing. It revolved around a girl who wholeheartedly trusted a boy, and he reciprocated that trust. She considered him her everything, but he also prioritized his friends and interests, causing a rift in their relationship and leading to their breakup. However, the storyline became unclear afterward. It depicted a scene where after two years since their break up he called her to meet , but their meeting scene was brief, with no dialogue exchanged. Instead, it shifted to past scenes, leaving the ending ambiguous. Consequently, I felt like I wasted my time.

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A nice diversion

Im Chang Jung plays a freeloader with a streak of larceny, but overall has a good heart. He keeps running into a wanna be actress from the local bookstore who can't get him to pay his late fees. One night, by a quirk of fate, they meet and witness something that will change their lives.

It was the main cast that made me want to watch this movie, and they delivered. While the pace was pretty good, it's debateable as to whether a few early scenes were needed and could have been cut to improve pacing.

Don't stop watching when the ending credits start!

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I will never recover from this - Recommended!

This movie was just wow. It was a roller coaster full of emotions. The acting was amazing and I loved the two main characters (still do). If you ask me, will I rewatch this again? Yes, I will. Even if it breaks my heart again? Yes, I will.

20th century girl made me bawl my eyes out. It was so beautiful yet so sad. The first time I watched the movie I wasn't sure what to expect. I thought I would just be watching a sweet high school romance with A HAPPY ENDING!! It was indeed not a happy ending. When Bo-Ra finally confessed her feelings to Woon-Ho I really wished he would've just stayed even if it was just for a day. Watching them call on the phone all the time and seeing Bo-Ra age, waiting for him to come back was one of the saddest things to watch. I despised Woon-Ho for it, I thought he moved on and went on with his life in New-Zealand. Him not picking up, not messaging her, deep down I could feel it coming, but I refused to believe it. When Woon-ho's little brother, Joseph, finally broke the news to Bo-Ra, I was glad she was finally able to move on and to live her life without having to keep waiting. Even though I wished Joseph would've told her sooner, the expedition was a really nice touch to the movie and it was beautifully done.

Although I wished for it 20th century girl to have a different ending, it just shows that no matter what, you should just go on with your life and move on instead of waiting. Moving on and making the decision to do so is hard especially when you're holding on to the past and pain, but eventually it will help you to live your life the way you want to live it.

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Sweet and quirky - Recommended!

This movie was so cute! When I first started watching I kind of had my doubts about it, but once the story went on I really enjoyed it. Although I was confused about why they used Gi-Jun's face for Jong-wook. It was really weird to see him play 2 characters even though he wasn't Jong-Wook. However, I absolutely loved both main characters and their sweet and funny moments together. The last scene in the movie at the airport was really sweet to see actually. It just showed that they were indeed meant to be and that your first love doesn't have to be your soulmate. It was a cute touch to the movie. The movie is a bit slow and it had moments where my attention slipped, but overall fun movie to watch if you're bored :)

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"Human beings have the best of times as kids who know nothing"

A desperate father traversed a dusty road outside of Tokyo searching for work during the Depression in An Inn in Tokyo. Ozu Yasujiro held back nothing in this his final extant silent film. Regardless of the lack of sound, this tender and tragic story of parents struggling to provide the basic necessities of life for their vulnerable children was emotionally compelling.

Kihachi and his sons, Zenko and Shoko, carry their meager belongings in one small pack. Most days they must choose between eating or shelter. If they are lucky, they can turn stray dogs in for 40 yen. In a sprawling industrial complex, Kihachi is unable to get past the front guard to even apply for a job at one of the factories. He and his boys meet a widow and her young daughter who are in the same dire straits his family is, maybe worse. Otaka is looking for work, but as a woman, there are few available options. Late one night when Kihachi and the boys have nowhere to go but under an awning in the pouring rain, an old friend appears and takes the bedraggled family in. She helps Kihachi find a job and provides a room for them. Only a thin line stands between them and disaster or happiness.

This film was fairly realistic about the time of economic calamity. It was heartbreaking watching Kihachi and his sons mime eating their favorite meal and drinking sake on painfully empty stomachs. A father having to make the choice of whether to feed his children or provide shelter for them for the night was cruel. Zenko made a foolish choice of purchasing a hat with money he made that could have fed them. His father berated him but then turned around after being hired and spent money on sake. In the desolate fields, Kihachi and Otaka marveled at their children’s resiliency in an endearing moment as the kids developed an instant bond while playing. As Kihachi’s affection for Otaka grew, he assumed she would find respectable work as he did, though his good fortune was aided by an old friend and the benefit of being male. When tragedy inevitably struck both Otaka and Kihachi made devastating sacrifices. “Thus has a soul been saved.” Saved, maybe. But the future of the children was put into further emotional and financial jeopardy. Which further illustrated that people pushed to the edge of survival will do things that might seem immoral, especially when a parent is protecting a child.

Even though Ozu refused to have sound and spoken dialogue, the studio insisted on a musical score. The instrumental music was mournful and a touching addition. Dusty fields outside the factories provided a hopeless wasteland threatening to swallow the destitute wanderers made all the more surreal as children played among the industrial equipment. Sakamoto Takeshi as Kihachi, Aoki Tomio as Zenko, and Iida Choko as Otsune performed in numerous Ozu films and gave strong performances here. Ozu constant, Ryu Chishu, also made a brief appearance in a bit part.

Ozu painted a bleakly realistic picture of poverty and despair with moments of hope and sunshine often provided by the children. He also had his characters illustrate that despite the bleakness of their existence there were still opportunities for heartfelt kindness, laughter, and generosity. If you enjoy the films of Ozu Yasujiro or quality silent films, this is one to try.

5 April 2024

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Utterly Beautiful.

Watched it yesterday. It's one of the greatest films in my recent memory.

Everything in this film is so relatable and is very real. I cried and I couldn't stop myself from tearing up from the first 30 minutes of the movies until the very end. The message is so strong and Bilkin, Grandma and the rest of the casts just did something we call 'Magical' in the world of the acting.

Cinematography is also on point. It looked real, but also artistic and very cinematic. This will resonate in every viewer hearts for so long and the tearing effect will stay hours after finished the film.

It's not often that the people in the whole theater cried and sobbed their hearts out like this. One of a very magical moment for the whole 2 hours.

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Weird All Around

First off, this is not a horror movie and I don’t know why it has this tag on MDL.

This move was just weird, and not in a good way. It tried to incorporate action, comedy, and romance to give a meaningful message. Unfortunately, it has a bizarre mix of all three elements that did not succeed. I apricate them trying to use comedy to balance out the serious topic of suicide, but some of it was not funny. The script also did not fully explain many aspects about the world it introduced and events that were happening. However, the movie ended with a clear heartfelt message. On the positive side, the acting was great. The movie also had spectacular cinematograph, graphics, and special effects.

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100% Rewatch Material!

The heading's pretty on-the-nose, but you'll most likely find yourself doing just that, even if you're not the type of person to rewatch anything like me.

First off, I believe the production team wouldn't have been able to manifest their vision if it weren't for the cast of completely cohesive actors. Jung Jin Young and Park Sung Woong in particular carried the entirety of the movie, which isn't surprising considering the plot mostly revolves around their characters. Both honoured their body-swapped roles extremely well- high praise to Jin Young, who managed to impressively pull off the mannerisms and idiolects of a wealthy, middle-aged criminal corporate without making it awkward or cringey.

This may sound slightly comical, but I personally love how they chose to focus more on Pan Soo's love story (in Dong Hyun's body) for quite a large portion of the movie. Somehow, it reinforced his sincerity considering he was limited to confessing in a high-schooler's body, not caring about the heavy scrutiny by disturbed strangers who have no clue about his situation. And hey, it enabled a lotta funny scenes too, which is always a plus.

I loved Man Chul and Mi Sun; both took their roles above and beyond, with the former providing much of the comic relief of the movie and the latter perfectly demonstrating the sentimentalities of a single mother struggling to move on from her first-love.
The order of this review is completely freaked up but I really appreciated the use of Pan Soo to physically destroy Dong Hyun and Hyun Jung's bullies, shedding light on the common crisis of school bullying. It would've been better if Jin Young lost the fatsuit, however, rather than vanquishing the bullies and undergoing a 'massive' change in his appearance to earn further, romantic attention from classmates who otherwise wouldn't have batted an eye. I mean, considering the other two victims of bullying weren't exactly bullied for their appearance, Dong Hyun didn't have to be any different, especially 'cause he's the protagonist of the movie.

All in all, I rate the movie a solid 9.5- here's to a hilarious, oddly-touching and wildly entertaining body-swapping flick!

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The reunion with oneself

Captivating and irresistibly beautiful, '1987: Kumbida' is a romantic short film with LGBT themes, directed by Aireen Remoto, who is also in charge of photography and script from a story by KL Rico.
Released in 2020, the film tells the story of Joaquin (Glenn Mhar Balmonte), a closeted, introverted and deaf gay boy, and Isagani, or just Gani (Joseph Manuel Galapon), as his loved ones know him, an openly gay, cheerful young man. and boisterous, who dreams of becoming a well-known journalist. They will both meet at a friends party and in the middle of the long, sweet night that awaits them, the couple of Filipino teenagers make each other discover their true selves through confidences, music and dance.
As the title portrays (kumbida means "to invite"), this moving film shows us what it is like to hide who you are and who you love in the late 1980s.
Always based on the margins of the independent Filipino homosexual film movement, its director gives us a sincere and visceral coming-of-age story.
Finalist of the Gawad Sining Short Film Festival 2020, the film makes a virtue of its scarcity of means and also gives us an emotional and poetic story about the impact that one night can have on our lives. The performances are deep and well done, the young actors give themselves in a way that makes us feel a connection between both characters.
The total dedication of Glenn Mhar Balmonte and Joseph Manuel Galapon to giving life to the protagonist couple ensures that the viewer ends up totally involved with the characters, wishing the best of possible futures for these two young people, whose relationship can lead to love. Both characters become that voice for those people who are still afraid to reveal themselves.
Joaquín and Gani's story conveys their struggles and the circumstances they have to overcome for the simple fact of being part of the LGBTQ+ community. The film aims to break gender stereotypes and will be beneficial not only for members of the LGBT+ community, but for all people. Likewise, the elimination of discrimination is proposed, promoting equal rights for all human beings and the desire for acceptance, at a time of approval of the SOGIEB bill. Carrying out this effort was not prevented by the pandemic caused by Covid-19 or Typhoon Ulysses, which put the lives of all those involved in the filming at risk.
While Isagani (Gani) hangs out with his usual gang of queer friends at the house of one of them, on a typical night, Joaquin arrives at the party. Gani has been wanting to get intimate with the newcomer for some time and, despite both living in a small rural provincial town where all the neighbors know each other, he has not dared to introduce himself properly because he considers it too serious.
His friends, aware of the attraction that arouses in Gani, encourage him to talk to Joaquin and they both enjoy the festival together.
It doesn't take long for the two young men to be talking. Although Joaquin receives Gani coldly, he will soon be infected by the boy's joy and will first begin to smile timidly at him, and then soon find himself involved in a lively conversation, verbal on one's part, and through gestures and sign language, on the other hand. the other.
They will leave on a bicycle, taken at random from a yard on loan, since they did not ask the owner for it, and now pedaling one, now pedaling the other, they will continue their journey of discovery and acceptance.
Unintentionally, the night out will end up turning into an adventure that will result in something completely different than anyone could have foreseen. After hours under the starry sky, bike rides, the sudden rain that comes while they are sitting on the banks of the river, where Gani will take Joaquin to show him his favorite place, where he goes every time he wants to breathe, and to ask for a wish after the passing of a shooting star, the two teenagers will begin to get to know each other better and make all kinds of confidences.
Gani will talk about his dreams of becoming a journalist to report only with the truth, about when he arrives at university in Manila, the first thing he will do is take a bath because the capital's water "has chlorine", about his desire not to disappoint others. his loved ones, especially his parents, the need to be accepted as he is, that nothing changes in the future, especially with his family, that he owes it to his friends to have confidence in himself, the feeling of emptiness inside him "perhaps because he is gay", that he has set out to prove that "although I am different I can achieve my dreams", of his right to decide and choose, of his fears and his insecurities. In silence, Joaquin listens carefully, and as a sign that he agrees with his new friend, he will take one of his hands and bring it to his heart so that he can hear the beats well.
And they will dance under a sky that already shows the approach of dawn, to the beat of "Isang Buong Araw Kasama Ka", performed by Akom Ayalam, and Sayaw NG Buhay, by Nathaniel Cabanero.
Sharp, moving and with memorable performances, despite the youth of its protagonists and the fact that they are not professional actors, which gives greater naturalness and conviction to their performances, the film has several sequences between the actors where an intimacy is built. credible and profound that, together with several sequences of monitoring and observation of Gani's character, are the most valuable moments of the film, in my opinion.
I like how intimacy begins to boil in the heat of Gani's confessions and Joaquin's complicity, two people who face their loneliness from diametrically opposite emotional places: one who has not come out of the closet and the other who trusts that his family will. he accepts, but finally discovers that this is not the case.
'1987: Invitation', by its English title, is a film about a brief encounter that will radically change the lives of two teenagers, made from a disarming humility, set in La Isabela, in the Administrative Region of Cagayan Valley, Philippines,
In a homophobic society, like the Philippines, where there is no type of recognition of same-sex couples in the form of marriage or civil union, therefore, it does not recognize homoparental families either, the film is a small triumph. in a sea of ​​defeats, where calm and honesty take over the narrative to give us hope at the end of the tunnel.
The invitation that its own title suggests is to reunite with oneself. Joaquin rediscovers himself through Gani, and that rediscovery is what allows him to spread his wings and come out of the closet, now free of all social prejudices, cultural ties and internalized homophobia, as some of the reasons that have made it difficult for him to come out of the closet. closet.
Accompanied by brilliant performances and a solid narrative, the film, which does not have a high budget, covers the transformation of the protagonist, a boy who finally accepts his homosexuality and is not afraid to show it to the world, thanks to the arrival into his life of a neighbor. with whom he had never exchanged a word.
The importance of the film lies not so much in its themes and display of diversity, but in its deeper approaches. '1987: Kumbida', is a story full of sincerity and humility, of narrative and formal intimacy that becomes an aesthetic exercise in the search for happiness: a beautiful idyll of the reunion with oneself, and that has the ability to bring to all types of audiences the question: why are we not able to look at the love between two men with "normality"?
The film takes a look at the growing love of two different people who stop their emerging true love for themselves and each other. In this sense, it proposes to debate the dilemma of accusing others of being wrong or lying about who they are, or of trying to accept that, sometimes, what is traditional is not always correct.
'1987: Kumbida' is a mirror for society to look at itself and understand the acceptance of what is different, and to understand that love is not limited by gender or anything else.
In this sense, we are all Gani and Joaquín in our own way, since we always want to be heard, loved and accepted.

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Clean-Up (2019) - 05/04/2024.

I'm really surprised no-one has written about this movie.

Am also wondering why it didn't make it over 8 as a rating because it is really good. Could it be because it is a tiny bit slow in unfolding the story or because the actors are realistic in what they are portraying with no unnecessary thrills or effects.

Although it is about a woman that lost her son due to a bad heart as a child we don't see much of him at all - this is more about an ex prisoner she meets later on in her work environment (Sweepers) that reminds her of the past, but for "different reasons" other than her son.

SPOILER ALERT!

It seems her and her ex husband abducted him to get a large sum of money when he was about 10 years old. As a consequence of that, however, it impacted on the boy in a negative way.

It is really sad when it comes out as to what happened to him and his life afterwards and why, also, her to some extent.

SPOILER ALERT!

It kind of has an OLDBOY feel (if you've watched it) to it with the way it is filmed, also, due to what develops between the two a bit later on which is messed up yet makes sense if you look at it from both of their perspectives.

What is explored in this movie is the relationship between a victim and abductor years after the fact, only one wants forgiveness knowing what they did and who the victim is, and the has no idea until the clues fall into place...

Worth the time and effort to WATCH!

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