Reviews

As much as I enjoyed the short film (shown here), the same goes for this feature film. In terms of the story, these young men only had a few days at the Higashikawa Resort in Japan, each arriving from different motives. Toey came here to heal a broken heart after a five-year relationship with his girlfriend, and Oat, on the other hand, to enjoy the last days before the wedding. Very nicely produced (albeit in Thai with a slow fall) and also played, especially the more mysterious Oat impressed me and the overall tone, except for the twice rather loud music, was pleasantly sad, especially the ending after a while when Toey tried to take on "the form "Oat.



Tak jako se mi líbil krátký film (zde uvedený), tak to samé platí i pro tento celovečerní snímek. Z hlediska příběhu měli tito mladí muži na sebe jen pár dní v rezortu Higashikawa v Japonsku, kam každý přijel z jiných pohnutek. Toey sem přijel vyléčit zlomené srdce po pětiletém vztahu s přítelkyní a Oat naopak užít si poslední dny před svatbou. Moc hezky vyrobeno (i když thajsky s pomalým spádem) a i zahráno, především tajemnější Oat na mě zapůsobil a celkové vyznění, až na dvakrát dost hlasitou hudbu, bylo příjemně smutné, především ten závěr po čase, kdy Toey se snažil na sebe vzít "podobu" Oata.

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Another manga made into a movie, this time a Korean adaptation, and as the reviewers before me have already said, it's a very cute comedy that caresses the soul and puts you in a good mood. And the four main characters give it the right twist and even though it was originally aimed mainly at Japanese girls and women, it has already entertained many viewers around the world, including me.



Další zfilmovaná manga, tentokráte korejská adaptace a jak už hovoří recenzenti přede mnou, jde o hodně roztomilou komedii, která pohladí po duši, navodí dobrou náladu. A čtveřice hlavních hrdinů tomu dodá ten správný šmrnc a i když původně byla především směřována na japonské dívky a ženy, pobavila už mnoho diváků po celém světě včetně mě.

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It is a completely original film, where I was especially attracted by the main character - actor Cha Seung Won. The uniqueness and strangeness of the combination of the two themes and the main character completely overcame everything, and I rate it very highly overall, and I don't mind at all that the theme is combined like this (a tough cop and an operation on a woman) and many viewers probably won't take it. I definitely recommend it to others.


Je to naprosto originální snímek, kde mě upoutal především hlavní hrdina - herec Cha Seung Won. Jedinečnost až divnost spojení dvou témat a hlavní postava naprosto přebily všechno a hodnotím celkově velmi vysoko a vůbec mi nevadí, že námět je takto skloubený (drsný policajt a operace na ženu) a mnozí diváci to asi nepoberou. Pro ty ostatní určitě doporučuji.

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This film is not intended for ... most Central European audiences. It was made for Japanese people (rather, for Japanese women), and quite precisely according to the yaoi manga of the same name, and that's why those who don't get the Japanese style of humor from the manga should go look elsewhere, otherwise many people will have a seizure, so I don't recommend the film to local users.
My rating is slightly above average. I tried to look at the picture through Japanese eyes, to perceive what can make the inhabitants of this country, where they live to the highest average age in the world, laugh. In this context, the film is really funny, cutely naive, with a manga-like character, and I would never have thought that this piece, which I would have "punished" five years ago, like the users here, could entertain and warm me like this. With Tsuburaya, I was totally freaked out by the resemblance to Takumi-kun from the fine 5 part Japanese series (we have it here), but they are only so similar. But Tsuburaya's rival - Ozaki (Tomita Sho) got me as an actor, who in my opinion was really worth eating. I will not look for negatives, because I think that I would harm the film with a one-sided view of the viewer from Europe, and in fact they did not want to film it otherwise, the Japanese, after all, there are as many of them as a hundred capital cities of the Czech Republic ....



Tento film není určen pro ... většinu středoevropských diváků. Byl vyroben pro Japonce (spíše pro Japonky), a to dost přesně podle yaoi mangy stejného názvu, a proto ti, kteří nepoberou japonský styl humoru z mangy, by měli jít hledat jinam, jinak chytnou mnozí záchvat, proto film zdejším uživatelům spíše nedoporučuji.
Mé hodnocení je mírně nadprůměrné. Snažil jsem se dívat na snímek japonskýma očima, vnímat to, co obyvatele této země, kde se dožívají nejvyššího průměrného věku na světě, dokáže rozesmát. V tomto kontextu je film skutečně zábavný, roztomile naivní, mangovsky postavičkový a nikdy by mě nenapadlo, že toto dílko, které bych ještě před pěti lety "trestal" podobně jako uživatelé zde, mě dokáže takto pobavit, rozehřát. U Tsuburaya jsem se úplně lekl podobou s Takumi-kunem z jemné pětidílné japonské série (máme ji zde), ale jsou si jen tak podobní. Herecky mě dostal ale Tsuburayův rival - Ozaki (Tomita Sho), který byl dle mě opravdu k sežrání. Zápory hledat nebudu, protože si myslím, že bych filmu ublížil jednostranným pohledem diváka z Evropy a vlastně oni to ani jinak Japonci natočit nechtěli, vždyť je jich tolik, jako sto hlavních měst Česka ....

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I recommend the film to those viewers who are looking for a deep experience, because when they gradually penetrate into the characters and their fates through the long beginning, the film absorbs them and they find that they have touched something wonderful and several victories and awards for the then two teenage representatives of the older characters (Tong + Mew) just confirms it, although in my opinion it is not a purely BL film. Tonga's mother - Sunee is also a prominent character in the film, sometimes I thought that she is perhaps the most important character with worries about her sick husband, lost daughter and son, whose sexual orientation is coming to the surface and she won't even have grandchildren. Gradually, however, the fates of the individual characters wrap up, until everything finally culminates, and not only at the end. The last scenes are very touching and in connection with the family drama and despite the sometimes a bit lengthy shots and sometimes a minor touch of processing, it still leads me to the conclusion that this is one of the best Thai films of those years.

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The very depressing film surprised me considering I am not used to this topic from Taiwan. Full of alcohol and drunken stupor (mother, as if deranged younger son Rat), cigarettes, then disability (prostitute Ya Ba), dysfunctional families. Nevertheless, in my opinion, the acting was probably the strongest point of the film (already mentioned, but also the elder son of Shanghe, Ren Shuo). I also didn't mind the sound-music. Processing was the worst for me. I understand that the creators wanted to "darken" the sex scene between Shangh and Shue a bit, but half of the scenes in the movie are so darkened that it hurt my eyes, so I think, not this movie again, at least as a demonstration of very solid acting. Taiwanese Chinese is spoken in the movie and not Mandarin.


Hodně depresivní film mě překvapil na poměry, kdy nejsem na toto téma z Taiwanu zvyklý. Plno alkoholu a opileckého otupění (matka, jakoby pomatený mladší syn Rat), cigaret, dále zdravotní postižení (prostitutka Ya Ba), nefunkční rodiny. Přesto herecké výkony byly dle mě asi tou nejsilnější stránkou filmu (už dříve vyjmenovaní, ale i starší syn Shanghe, Ren Shuo). Rovněž zvuk-hudba mi nevadil. Zpracování bylo pro mě nejhorší. Chápu, že tvůrci chtěli trošku "ztmavit" sexuální scénu mezi Shanghem a Shuem, ale takto ztmavených scén je ve filmu polovina až mě z toho bolely oči a tak si říkám, tento film příště už ne, max. jako ukázku velmi solidního herectví. Ve filmu se mluví taiwanskou čínštinou a ne mandarínštinou.

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Right from the start, it was obvious that Koreans belong to the more northern Asian races and many have very high cheekbones (not all of them), which squeeze the eyes into two slits. Both boys were likeable from the beginning, just friends from school fooling around. The girl seemed a little goofy to me at first, but that's how the story wanted it to be. And suddenly it happened that a friend turned out to be a friend. Very nicely, simply and truthfully rendered in a few minutes and together with the music and processing at a very solid level, I am pleasantly surprised in the end and thank karcikarl for his further translation and selection of a pleasant film.


Hned na začátku bylo vidět, že Korejci patří už k těm severnějším asijským rasám a mnozí mají hodně vystouplé lícní kosti (ne všichni), které stlačí oči do dvou štěrbin. Oba kluci byli od začátku sympatičtí, prostě přátelé ze školy blbli. Holčina mi zezačátku připadala mírně praštěná, ale takto to děj chtěl. A najednou se stalo, že z kamaráda se vyklubal kamaRÁÁÁD. Hrozně hezky, jednoduše a pravdivě vykresleno v pár minutách a spolu s hudbou a zpracováním na velmi solidní úrovni jsem nakonec mile překvapen a děkuji karcikarlovi za jeho další překlad a výběr příjemného filmu.

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Those Taiwanese never cease to amaze me. First, erotic scenes of five men who have gathered to have sex with each other through a dating app, of which Sun is the most shy (the main character of the student) and Roger (the host) the "erotic-acting" best, later a cinematic "dissection" of this action from the psychological point of view of these actors (through small dialogues, silence) and followed by a beautiful panorama of Taipei at night. Exactly as a reviewer on one world server called it: "softcore art house". Overall satisfaction from me and whoever thinks about the film and doesn't just skim the surface and the lessons we all know well, namely that sex and love don't always have to go hand in hand, even if they are closely and inherently related ... and that it's what the creators wanted to convey and I appreciate that through the skin of eroticism and the "slow down" in the second half.




Ti Taiwanci mě nepřestávají překvapovat. Zprvu erotické scény pěti mužů, kteří se sešli zasexovat si spolu prostřednictvím seznamovací aplikace, z nichž Sun je ten nejostýchavější (hlavní postava studenta) a Roger (hostitel) "eroticko-herecky" nejlepší, později filmové "rozebrání" tohoto jednání z psychologického hlediska těchto aktérů (prostřednictvím malých dialogů, ticha) a následováno krásným panoramatem nočního Taipei-e. Přesně jak to nazval recenzent na jednom světovém serveru: "softcore art house". Ode mě celková spokojenost a kdo se nad filmem zamyslí a nebude klouzat jen po povrchu i poučení, které všichni dobře známe, a to, že sex a láska nemusí být vždy ruku v ruce, i když spolu úzce a neodmyslitelně souvisí ... a to je to, co chtěli tvůrci sdělit a toho si cením přes slupku erotiky a v druhé půli i "zpomalení".

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The film is an adaptation of the manga of the same name by the author Hideyoshico, for which she won several awards at the Chil Chil BL Awards 2012. For me, it's a perfectly fine Japanese-edited film, sophisticated, well-paced and excellently acted by both main protagonists. Even to the point that I really believed Momose that even though it's his first love, he acts like a proper seme and tried to almost "rape" Yashiro according to the yaoi without ever doing it and it came from inside the character without that he could somehow influence it. A very good episode indeed, in which, surprisingly, this time I was disturbed a bit by the music, which was not to my taste, to underline the emotionally correct scenes.


Snímek je adaptací mangy stejného názvu autorky Hideyoshico, za kterou sklidila několik ocenění i na Chil Chil BL Awards 2012. Pro mě naprosto fajn film japonského střihu, vychytaný, mající spád a výborně zahraný oběma hlavními protagonisty. Dokonce tak, že jsem Momose-mu opravdu věřil, že i když je to jeho první láska, tak se chová jako správný seme a pokusil se dle yaoi Yashira téměř "znásilnit", aniž by to někdy dělal a vycházelo to z nitra postavy bez toho, že by to mohl nějak ovlivnit. Opravdu velmi dobré dílko, u kterého mě překvapivě tentokráte trošku rušila hudba, která nebyla dle mého vkusu, aby podkreslila pocitově správně dané scény.

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A film that lances the rage and exasperation that can mark a family relationship

At the centre of this very touching social study are a mother and her daughter. They share the apartment mentioned in the title of the film. Besides that, their bond is rather loose. Indeed they could be as well some random flatmates – some that don't get along well. The more Yi-jung (Im Jee-ho) tries to win her mother's affection, the more fiercely Su-kung (Yang Mal-bok), the latter, rejects her.

It's nearly embellishing saying that the relationship between the two is tense. They can't communicate without being passive aggressive or snappish. Yi-jung clearly gets on her mother's nerves, but there doesn't seem to be a particular reason for it. Her mere existence seems to provoke Su-kung. Their mutual frustration unloads itself from scene to scene. One of the first confrontations escalates when the two argue, Yi-jung leaves the car and Su-kung in anger steps on the accelerator and hits her daughter from behind.

As a spectator we could have been prepared for this. The camera sits in the car, we have the same perspective as Su-kung watching out of the front window. We feel the tension, we see the contracted muscles of the protagonist. Still her reaction comes unexpected. Why doesn't she come down as most other persons in her situation would have? But no, she really does it. And this is a feeling that stays with the audience during the whole film.
Su-kung doesn't match our expectations. She does not act like we would like a mother to behave. She contradicts the, in most societies nearly holy, ideal of a mother. There is no trace of tenderness towards her daughter. At one point, Yi-jung says to her colleagues from work that she believes her mother would be capable of killing her one day. That evokes an embarrassed silence among the present ones. And they are heavily relieved when they suppose it was only a joke. But in reality it's not that easy.

Yi-jung's situation is desperate. It is difficult for outsiders to relate to her. The love of a mother is considered by most as one of the few things in life on which we can count unconditionally. It is sure a taboo to scratch this certitude. We feel pity for Yi-jung. She has nobody to whom she can turn to. No father, no friends. She longs for affection. In the relationship with her new colleague at work, it appears clear that she doesn't know how to cope with closeness. At the slightest sign of friendship, she tries to hold on to it with all her might. With the result that she scares away the person in front of her.

Director Kim creates with Su-kung a very complex character. She is not only selfish and childish, it is also clear that life wasn't easy on her and that, as a single mother, she faced a lot of criticism from society. She built a cold façade to protect herself. For her friends, she is an entertaining bird of paradise. They envy her supposed freedom. But at the same time, they can't hide the fact that they look down on her. For them not having an intact family life is like failing life's purpose.

Being the portrait of these two women, the cast is of essential importance. Yi-jung is played by Im Jee-ho with a lot of sensitivity. She shows the fragility of the character and the scars that leave its unanswered needs. Still Yi-jung is not a victim, she knows she has to part ways with her mother and finally finds the courage to do so. Even though at some points we would like Yi-jung to react a bit more, to be more combative, we can relate to her at all moments. And this is exactly due to the capability of the actress. It was indeed not easy to stand up to her counterpart. Yang Mal-bok as Su-kung is namely a force of nature. She has recently played in the series “Squid Game”. She manages to evoke contradictory emotions in the spectator. Her character has something despicable, but also touching. Yang whirls through the film like her character through her life. In the moment of calm, we see in her eyes the deep sadness that lies in Su-kung.
Even though the “The Apartment with Two Women” lasts for 140 minutes, it doesn't feel particularly long. This is thanks the precise script containing a density of narrative motifs. The pace of the film is basically calm and not excited, but still each scene has its statement. The framing is well balanced, the camera under the responsibility of cinematographer Moon Myoung-hwan follows the protagonists closely. But it still keeps a certain distance that is necessary to reflect on your own life experience and the evoked emotions.

There are several apartments that are of importance in the film. The first one is the one shared by mother and daughter. Private space is difficult to obtain there for them. The rooms are very close to each other, there is a lot of personal stuff piling up and giving the impression of suffocation. Little light comes in, and the dark furniture supports a gloomy atmosphere. In contrast to the women's apartment, the flat where Su-kung wants to move to with her new boyfriend is brighter and bigger. Also the home of Yi-jung's colleague, even though small, is much more friendly than Yi-jung's and Su-kung's.

Concerning the décor and the setting, director Kim shows the same sensitivity as for the development of her characters. She creates a particularly intimate movie, which is at the same time uncomfortable and often besetting, but also immensely touching. “The Apartment with Two Women” is bewitching. A fantastic first feature from a talented young director, that hopefully will produce more.

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At first it doesn't even look like an erotic film, but everything develops. I was impressed by the actors of the main roles and also that the erotic scenes were very solidly and convincingly processed, which were really erotic, soft. And very truthfully, no sarcastic kisses and the actors (not porn actors) had to really slap each other, body to body, I was surprised by the Japanese "cheeky" tongues. That's why I give the highest rating to the acting for the persuasiveness. I already liked less the enforcement scenes full of violence, cruelty, torture, but that's my problem, not the movie's problem, brrr. The sound was also solid, classical music, sometimes piano, very soft, sometimes almost inaudible and surprisingly well colored the scenes where it was appropriate. And indeed, the link from tomase106 is with both versions at the end, the blanc version ends at 1:10:37 and the noir starts, but it has no subtitles, so I prefer karcikarl's links.
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Zezačátku to ani na erotický film nevypadá, ale vše se rozvine. Zaujali mě herci hlavních rolí a též, že byly velice solidně, přesvědčivě zpracovány erotické scény, které byly opravdu erotické, soft. A velice pravdivě, žádné štítivé pusinky a herci (ne pornoherci) si museli pořádně máknout, tělo na tělo, překvapily mě japonské "šmejdivé" jazýčky. Proto za tu přesvědčivost dávám nejvyšší hodnocení právě za herecké výkony. Už méně se mi líbily vymahačské scény plné násilí, surovostí, mučení, ale to je můj problém, ne problém filmu, brrr. Zvuk byl též solidní, klasická hudba, někdy klavír, velmi jemná, někdy téměř neslyšná a překvapivě dobře podbarvila scény, kde se to hodilo. A opravdu, link od tomase106 je s oběma verzemi na konci, verze blanc končí 1:10:37 a začíná noir, ale je bez titulků, proto raději doporučuji linky od karcikarla.

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The Japanese series continues with the third film, where the first clouds form between the Takumi - Gii duo. But I still confirm that this series is not for everyone and requires an open mind and that the rules set in the first part are followed here. It is still a fragile Japanese product, where the processing and sound (music) were nice, the reviewer in front of me is apparently deaf and the main motto is love between two boys. But ... in addition to the shonen-ai motifs from this third volume to the last, there is already a yaoi motif, albeit to a limited extent ...
In the third year of school, Takumi is no longer accommodated with his love Gia. After returning from the US, he has changed, including his appearance, and is appointed the head of the student dormitory on the third floor. Gii becomes cold towards others, but also towards Takumi, He even suggests that they stop seeing each other for a while. Takumi's contact phobia is back in full force...



Japonská série pokračuje třetím filmem, kde vznikají mezi duem Takumi - Gii první mráčky. Stále ale potvrzuji, že tato série není pro každého a vyžaduje otevřenou mysl a že se zde dodržují pravidla nastavená v prvním díle. Pořád se jedná o křehký japonský produkt, kde bylo pěkné zpracování i zvuk (hudba), recenzent přede mnou je zřejmě hluchý a hlavním mottem je láska mezi dvěma chlapci. Ale ... kromě motivů šónen-ai od tohoto třetího dílu až do posledního je zde už i motiv yaoi, i když v omezené míře ...
Ve třetím ročníku školy již není ubytován Takumi se svou láskou Gii. Ten po návratu z USA se změnil, včetně vzhledu a je jmenován šéfem studentské koleje ve třetím patře. Gii se stává chladným k ostatním, ale i k Takumi-mu, Dokonce mu navrhuje, aby se přestali na čas vídat. Takumiho kontaktní fobie znovu nastupuje v plné síle ...

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In my opinion, the fourth part of Takumi-kun did not slip in quality, even though it devotes most of its time to the Misu-Shingyouji pair. He still sensitively and in traditional Japanese describes the stories of the boys at the Shidou boys' school, actually we are in a closed "circuit" where no girl performs. The acting is very solid and I have to appreciate that this time Misu-Shingyouji's meringues are juicy and full.


Čtvrtý díl Takumi-kun nijak nesklouzl dle mého názoru s kvalitou dolů, i když nejvíce času věnuje dvojici Misu -Shingyouji. Stále citlivě a japonsky tradičně popisuje příběhy chlapců na chlapecké škole Shidou, vlastně jsme v uzavřeném "okruhu", kde nevystupuje žádná dívka. Herecky velmi solidní a musím ocenit, že tentokráte pusinky Misu-Shingyouji jsou šťavnaté a plné.

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I think the final part of this Japanese series was the most solid in terms of acting, and the story of the main character didn't bind so much anymore. The music was good as always and used sensitively where it should have been. Just a little thing - the creators didn't teach Takumi even the most basic thing about how to properly pull the bow on the strings when he "played the violin", but it's a minor thing. In this last volume, the yaoi elements clearly predominate (but only subtly) over the shonen-ai. I don't know why the creators changed the cast of both main heroes after the first part, on the contrary, I liked the actor Gii-a from the first part much more in terms of acting and appearance.
When I was preparing for this series, I wanted to read the reviews to prepare a little for the series. The only reviewer covered all five volumes but they gave me nothing at all, they are totally about nothing, to rate why he gave the sound sometimes 2 sometimes 3, they do not express themselves at all and the Japanese style of yaoi and shonen-ai manga that was made for a Japanese audience and not for a few scumbags from Central Europe, messing with fairy tales.
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Závěrečný díl této japonské série si myslím, že po herecké stránce byl nejsolidnější, rovněž příběh hlavní postavy už tolik nesvazoval. Hudba byla jako vždy dobrá a použita citlivě tam, kde měla být. Jen drobnost - tvůrci nenaučili Takumiho ani nejzákladnější věc, jak tahat správně smyčec po strunách, když "hrál na housle", ale je to nepodstatná drobnost. V tomto posledním díle už převažují jasně prvky yaoi (ale jen decentně) nad šónen-ai. Nevím proč po prvním díle tvůrci sáhli po změně hereckého obsazení obou hlavních hrdinů, mě se naopak představitel Gii-a z prvního dílu líbil herecky i vzhledem daleko více.
Když jsem se chystal na tuto sérii, tak jsem si chtěl přečíst recenze, abych se na sérii trošku připravil. Jediný recenzent se věnoval všem pěti dílům, ale nedaly mi vůbec nic, jsou totálně o ničem, k hodnocení, proč dal za zvuk někdy 2 někdy 3, se nevyjadřují vůbec a japonský styl yaoi a šónen-ai mang, který byl vyroben pro japonské publikum a ne pro pár zabedněnců ze střední Evropy, si plete s pohádkami.

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