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ariel alba
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THE FADING OF THE DAY INTO TWILIGHT IS NOT THE END, BUT THE BEGINNING OF LIFE AND LOVE
'Last Twilight' is a coming-of-age story of self-discovery that will surprise and excite you through the two young protagonists, played by Jitaraphol Potiwihok (Jimmy) as Mork, and Tawinan Anukoolprasert (Sea) as Day, whom we have already seen leading the cast artistic of “Viceversa” and “Our Skyy 2”. With this, their third leading role, the young actors seek to consolidate themselves as a ship within GMM25.Written and directed by Noppharnach Chaiwimol (Aof), renowned director, screenwriter, producer and actor who has dramas such as 'My School Presidente' and 'Moonlight Chicken', both from 2023, among others, presents us with a story that not only seeks to make LGBTQ+ people visible, but also seeks to represent blind and visually impaired people, as well as the reintegration of the individual into society after spending time in prison.
Has Aof realized the dramatic potential of blindness and visual impairment to bring us a story on the subject? The social image of blind people has gone through different phases and, to a certain extent, has overcome the usual negative and stereotypical attitudes. Television is also responsible for the perceived public image of disability. Therefore, the representation of blind people in television programs contributes to the general perception that society has of this group.
Will it be Day's destiny to inspire pity, compassion and marginalization? Will the story focus on his struggle to overcome his limitations? Will the series revolve around the facet of his rehabilitation from a hopeful perspective? Is it intended to offer the image of a person who rehabilitates himself and lives a life that tries to get closer to the most normal that his circumstances allow? Will a story prevail in which the blind character seeks social integration? How to make a story with these characteristics, when in current filmography it is rare to see the person with a disability like any other person? Isn't it due to the fact that audiovisual productions show disability as a medical issue rather than from a social perspective? How to succeed in the process?
Aof has drawn on the changes produced in the way visual disability is represented in film and television. He also knows how society has evolved in its understanding of disability.
Taking all of the above into account, it would be appropriate to ask ourselves: to what extent does the series portray a blind character from a positive perspective? To what extent does it represent, and therefore promote, the progressive inclusion of visually impaired people in society? Is one of the purposes of 'Last Twilight' to contribute to enhancing the general perception that society has of disability? Does Day have a fully developed personality or is her character fundamentally defined by her disability? Does the series reflect Day's character as a unique and distinctive personality or is his disability the main focus of the plot? Is Day's personality unique because his character expresses the desire for independence and not wanting to be pitied?
What is Day's level of inclusion in the community? (considering that this includes areas such as inclusive education, employment, residential environment, community participation, recreation and social activities). What are Day's interpersonal relationships like with the people around him? Will your character move away from the stereotypes with which the visually impaired have been reflected in film and television?
TECHNICAL-ARTISTIC ASSESSMENT
Aof makes a triumphant return behind the cameras to create an entertaining product that had a sufficient dose of credibility in its cast for this plot to revolve between cold and warmth, between detachment and tenderness, suffering and illusion, discouragement. and optimism, darkness and light, although the viewer can, at times, decipher the story for themselves, including the final twist. I don't even doubt that this is one of the reasons why 'Last Twilight' is watchable and enjoyable. It is in its own way dreamy, in its own way hopeful, thanks to Jimmy and Sea's chemistry and the questions it seeks to answer.
With a pair of irresistible protagonists and a straightforward love-overcomes-adversity story, 'Last Twilight' hits the spot for the BL fan market. Others will also be able to enjoy it. Aof tries to fight for the desire that his work show a universal feeling, that knows no genres, and is close to anyone.
Although present, sex is not the mainstay of the relationship. Instead, Aof highlights looks, words, silences, gestures as a connection of feelings. In this sense, the series moves away from a common cliché in gay-themed cinema, which rarely seems concerned with delving into the emotions of its characters from a perspective that does not necessarily imply an immediate sexual attraction.
Without superficialities or exaggerated fuss, 'Last Twilight' tells a romance without causing discomfort and trying to find a universality that brings it closer to a majority audience. The series will touch the hearts of many people because it comes with a suggestive and different narrative when we talk about love stories and gender issues.
The mixture of captivating fiery and total trust between the two men is represented in the photograph, totally serene and at the same time always active, but very subjective.
There is no doubt: the public is faced with an irrefutable fairy tale that can win many followers due to the lyrical way of capturing the concerns of youth. Its episodic rhythm allows us to easily access this story about identity and sacrifices, about breakups and reunions, about pain and hopes.
The series cleverly emphasizes the sensual aspects of a coming-of-age story. Strokes of humor, tearfulness, self-improvement, sacrifice and fantasy give a welcome texture to the softness of the romantic novel. Audiovisual in general works despite its formulaic layout and loose ends.
This ambitious series, well shot, without shame, manages to maintain the charm of a plot made to please lovers of the genre. Premiered on November 10, 2023, the entertainment production company is committed to continuing to be a pioneer and leader in the creation of BL series, both originals and adaptations, with 'Last Twilight'.
Also in its good work with the cast, in addition to the aforementioned leading actors, Aof has other well-known faces in the company, such as Tipnaree Weerawatnodom (Namtan), as Phojai, Mohk's ex-girlfriend and friend; Pakin Kunaanuwit (Mark), as Nigh, Day's brother; Premsinee Ratanasopa (Cream), as Ramon, Day's mother; Thipakorn Thitathan (Ohm), as August, Day's sports partner and first love interest; Rachanun Mahawan (Film), as Gee, Day's friend and badminton partner, Kunchanuj Kengkarnka (Kun), as On, Day's friend and also a blind person, among others.
The series follows the love story of a young athlete who has lost his sight after suffering a traffic accident, and his caregiver. When Mhok, burdened by debt, agrees to be the caretaker of a blind boy named Day, they will both know true love. The two characters maintain a complex relationship, since each one is tied to a problematic reality.
The protagonists of this youth drama that promises and at times declines with a predictable course of events, brim with charisma. The story, which could have been told better, has plenty of heart. I would criticize him for saying that he is rich and he is poor, because to political correctness it would seem like just another melodrama.
Not exempt from melodramatic clichés, the program is original. Its director avoids the pitfalls of the typical audiovisual production of homosexual initiation, and presents us with a beautiful and tender story that will inevitably make you fall in love. Mohk and Day's relationship demonstrates that many people in the LGBT+ community are united by their sexuality, but they are also united by love, and it is a love that they have fought for and won.
Playing on the series' title and the name of one of its two protagonists, contrary to the fading of day into twilight, the effervescent nature of young love is deftly captured in 'Last Twilight'.
PLOT
Day, a player on the Thai national youth badminton team, has begun to lose his sight after suffering a traffic accident. Faced with the impossibility of having a normal life, he accepts Mohk as his caregiver because he senses that Mohk does not feel sorry for him. As the young people begin to get to know each other and get closer, Day will know that in approximately 180 days he will lose his vision completely.
Day considers that his disability represents a burden on his family and society, as he is unable to take care of himself. Hence the need to have care personnel and supervision by a psychic. He believes himself incapable of living a successful life. That is why he permanently abandons his studies and sports, and withdraws from his friends, from whom he hides his blindness.
Day has been rejecting all of his previous caregivers, because he does not want a person by his side who treats him like a sick person and feels sorry for him. After losing much of his vision and thus his autonomy, Day begins to treat everyone with disdain and turns his warm and kind personality into a colder and more distant one. He practically lives locked in his room and maintains contact only with his mother, on whom he is very dependent, his brother and his friend On. He blames Night for the tragedy he experiences. He will meet his father, as he divorced his mother when Day was still a child and was raised without his father's presence.
“I don't know what he looks like, all I know is that Mohk is the only one who doesn't feel sorry for me. “It doesn't make me feel like a disabled person,” says the character played by Sea to those close to him, while Mohk reads him the novel that gives the series its title and they strengthen ties.
That's why Day opts for the mechanic who was involved in a fight and just got out of jail after serving a one-year sentence for a misdemeanor. He will hide the fact that he has a criminal record and that is why he cannot find work in his profession.
Mohk will understand the challenges that a blind person faces.
This is how Mohk will initially become Day's mentor, guide and protector. He understands, like no other person around him, his need to relate to the physical and social world. It teaches you techniques to orient yourself and move in space, as well as to acquire habits of personal autonomy. His primary priority is for Day to know and accept his visual situation. For this, communication and complicity between the two is vital. He judges that Day needs empathy from his peers, above all.
His eyes are going to be Day's eyes. Your voice gives you confidence. Mohk will be in charge of creating soundscapes that will allow Day to imagine the world around him. Their hands, intertwined or attached to the rope as they run, create an imperceptible route that Day automatically makes his own.
Mohk is the first to discover that he is in love, but he keeps his love a secret. Some of the reasons why Day may feel insecure about himself will be the same reasons why Mohk begins to love him.
This relationship will be tested when August, Day's friend, reappears and enters his life once again. The dormant feelings are reborn and Day will confess to Mohk that he has had feelings for his sports partner for a long time. Initially, the caretaker will help Day chase August, but August will end up recognizing that he sees Day as just a friend.
That's when Mohk will confess his love, but Day is still heartbroken. It needs time to heal. The bonds between the two protagonists will continue to strengthen as one cares and the other grows as a person, until Day finally opens up to love. Physical attraction will soon turn into a deeper emotional bond.
From two different worlds, although, at first glance, they do not seem to be the most suitable person for each other, little by little they will get along until they forge a friendship as solid as it is unexpected. This will give way to an unusual love relationship that makes sparks fly and light up the night.
Mohk would become to Day the same as the rose to Antoine de Saint-Exupéry's little prince: although it resembles the other roses in every way, his rose is unique because he has chosen it. And like the fox in that novel, it will allow itself to be “tamed” by its caretaker. Mohk will take responsibility for what he has tamed, while Day will take responsibility for his rose. The strategy used will be the same one proposed by the fox. They will sit on the floor at first a little far from each other. They will look at each other out of the corner of their eyes and say nothing. But every day they will be able to sit a little closer...
By domesticating it, then, they need each other. Mohk will be unique to Day, while Day will be unique in the world to Mohk. This is how Day will come to understand that happiness must be understood as a reward and not as an end. As the main character in 'The Little Prince', Day will understand that no one is ever happy where they are.
Mohk will be someone capable of taking care of everyone, not just Day. She recovers her sister's car, her only legacy when she died, and defends Pohjai from her abusive boyfriend and gives her shelter in her house. He will take care of her unborn child. Meanwhile, he will find work as a chef to prove that he can protect Day. Pohjai will become an accomplice in the passion shared by these two boys.
For Mohk there will only be one situation in which he feels unable to help his lover: he cannot save Day from completely losing her vision. Day will compensate, if it can be said that way, for his dedication and love, choosing his face as the last thing he sees before being totally blind. Mohk will cry out of rage and helplessness at not being able to help him under these circumstances. However, their destinies will be inextricably linked forever.
The trite phrase “love at first sight” has no place in the relationship between the mechanic turned caregiver and the blind athlete. In matters of love, the first has more experiences, while the second is a self-conscious person because, on the one hand, he has never been able to see the face of the boy he loves, and on the other, this is his first love experience, which he would have to add that the same is with a man.
The two characters are totally different, but that won't stop them from loving each other. In addition to the differences in social classes, one of them is still suffering from disappointment in love, while the other, a heterosexual boy who is very popular with women, is not happy because he has not been able to find the right person. They both need to regain the strength of love.
As they find love in each other, Day also gains independence, gaining self-confidence. That pathetic and pitiful person who believed that because of his disability he would be incapable of living a successful life, ceases to exist. In other words, stop being your own worst enemy. Smile again. Little by little, his bitterness will give way to joy and the desire to see all the sunrises.
But Day will face a dilemma: would he allow a beloved, free-spirited person like Mohk to end up tied to a disabled person? Was I being selfish? Wouldn't the right thing be to let him go so he can live his life without a burden like he is? “You want to push me aside even knowing that I love you. Grab your dreams and live them with me. Don't let them survive us,” is the message from Mohk, who sadly sees how the boy he loves abandons him. Will they travel different paths? Will the same love separate them? Will Day understand the meaning of the phrase “What is essential is invisible to the eye,” said by the fox to the little prince?
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Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko 3
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From that moment on, he decides to dedicate all his energy to fighting against that reality, to preserve his heterosexuality at any price and not to let himself be carried away by the seductive reality in which he lives... until he falls in love with a boy, Kikuchi (Asahi Itō). , who rejects him just at the moment when our protagonist declares his love for him.
Directed by Ryuichi Honda and Tatsuya Aoki, and scripts written by Izumi Kawasaki, the series has two previous seasons: the first, premiered on TV Asahi in March 2021, and the second broadcast in March 2022.
Erina Koyama returns to take charge of the music. Meanwhile, the seven-member dance vocal group GENIC performs the theme song: "New Game!!".
The drama is not exactly a BL series but a parody of the genre, celebrating and subverting the most common Boys Love tropes.
Will the protagonist manage to fall in love? Will Kikuchi return to Mob's life, after rejecting him to return to Igarashi, her handsome boyfriend? Will Mob open his mind again after the initial setback and finally find love in a boy? Will Mob prefer to continue being a supporting character? Will he let the other couples, including his brother Ayato and his boyfriend Toujou, be the center of attention while he chooses to stay out of it? Will he decide to maintain his identity as a passerby or will he once again become the protagonist of the BL world?
The drama is a live-action adaptation of the manga series "Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko" (絶対BLになる世界VS絶対BLになりたくない男), created by Konkichi (紺吉) and initially released in November 2018 on pixiv Comic, and subsequently published by Shodensha's Feel Comics FC Jam label, currently reaching four compilation volumes.
In addition to the actors already mentioned, the cast is reinforced by Yūtarō Goto in the role of Ayato (excellent in the LGBT+ romantic comedy-drama 'Zenra Meshi'), playing the role of Mob's younger brother; Akihisa Shiono as Toujou, Ryō Sekoguchi as Hatano, Wada Hayate as Mayama, Yuya Tominaga as Jōji, a schoolmate of Mob, and many other Japanese actors and actresses.
The introduction of many secondary characters and guest artists, as well as irrelevant plots, which do not contribute much to the general approach, in order to keep the audience entertained, works against it. It is common practice in most series, but sometimes it gets twisted.
And here, to make matters worse, these gloating largely undermine the cohesion and coherence of the proposal. In fact, the creators did not hesitate to violate the initial conceptions of some secondary characters, in order to adapt them to the emerging needs of the narrative.
Let's hope that in this installment the shot is rectified and it manages to close with sufficiently attractive conclusions to sustain the expected adventures of the protagonist, which will surely be taken up in a later season.
However, the viewer has had to forgive many inconsistencies and more or less drastic or hasty solutions, of various characters and conflicts, and especially of the initial approach, since the series does not manage to fully embrace the madness of the original premise present in the sleeve. It is true that, for example, it manages to make fun of the BL topics contained in Konkichi's work, but the drama in all seasons has stayed with the most conventional ones and has left aside the truly ridiculous ones that would elevate the final result.
I am referring, for example, to everything related to attractive male ghosts that one can only get rid of by hiring the services of an exorcist (equally attractive, of course), something that also happens frequently to Mob in the manga, but It has not been incorporated into the series, and this has an impact on the story.
It is also regrettable that while the manga is made up of very short chapters that go to the essence of the main plot, in the series, despite the fact that each episode has an average duration of 25 minutes and is divided into two segments, it is not possible to the same effect of immediacy that it would have if they were a series of short sketches.
This season may hold surprises, associated with the fate of the character played by Inukai Atsuhiro, a charismatic and ductile actor who in moments of humor achieves hysterical reactions, exaggerated expressions and clownish gestures, but in moments of greater drama he reinvents himself in gesture and restraint.
If someone asked me: What's so special about the series? I would answer that I can't help but compare this one with the previous two seasons:
- A romantic drama that radiates a humorous vibe from the first season.
- A series that sacrifices its humor to show more romance and sentimentality in each installment.
- A comedy that draws attention for its exaggerated reactions and scenarios, such as Mob employing the strategy of "sacrificing" anyone who is nearby instead of being the new love interest or target of the young people in love who surround him and who try to win him over, or the frequent extravagant moments such as finding an attractive stranger unconscious on the street and suggesting that others take him home to recover, something that Mob admits happens to him several times a month and that always happens long wishing him that someone else would take care of the young man and that they would be happy together.
- A protagonist who gains maturity in each season, especially by abandoning his initial outright rejection of BL and gaining understanding of the loves between boys.
- Greater romantic interaction between the characters than in previous seasons.
-The idea of Mob continuing to break the fourth wall.
- It offers a unique possibility of making the public enjoy a plot so absurd that it gives rise to a multitude of ridiculous and quite funny situations that mercilessly mock all the clichés and common places of mangas and BL series.
- Inukai Atsuhiro's solid performance and his extraordinary expressive force.
- The hope that the many supporting actors and guests will become more memorable characters by having greater developments in their personalities and backstory.
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More than friends in a homophobic country whose army punishes homosexuals with triple humiliation
'Just Friends?' (친구사이? / Chingu sai?), a South Korean short film that follows two young people who are not just friends, but something more.Starring Lee Je-Hoon and Yeon Woo-jin (sometimes credited by his former stage name, Seo Ji-hoo), the short film follows the secret romance between Seok Yi, a college student who works part-time at a restaurant and faces the dilemma of whether to leave school to focus on his culinary aspirations or fulfill his mandatory military service, and Min Soo, a young soldier who is serving in the armed forces.
For some time they have planned to enjoy a romantic weekend, and Seok Yi travels to the city near the South Korean capital where the military base is located to meet Min Soo again and be able to carry out his plans, but they will not go as planned. While they are enjoying their meeting, Min Soo's mother appears, who has also gone to visit her son and is unaware of the bond between the young people.
When the mother (Lee Seon-joo) asks him about their relationship, so as not to reveal the truth, Min Soo replies, "...we are just friends."
With his mother, Min Soo has a close relationship. We'll see how she playfully makes fun of him, asking him if he's not going to sleep on her chest, and reminds him that he used to call her "boob mom," and he responds that's how he acted when he was little, and then confesses to Seok Yi , who sleeps next to him after missing the last train, who as a child used to sleep on his mother's chest to cheer himself up.
In this way, Kim Jho Gwang-soo, as writer and director, is weaving a story in this short film of the youth romantic comedy-drama genre with an LGBT+ theme that, released in 2009, aims, in addition to telling us about another cycle of release coming out of the closet, showing, with naturalness and simplicity, the relationship between gay men and their families in a conservative society where parents consider any homosexual act a crime.
It is also proposed to denounce homophobia within the Army and South Korean society in general, as well as to make visible the risks, including criminal ones, to which homosexuals are exposed in the military forces of said country.
The denunciation of institutionalized homophobia in the army is shown in a very subtle way. After arriving at the military base in Cheorwon to meet her boyfriend, after traveling from Seoul, Seok Yi has to fill out a contact form in which she must state, among other details, what relationship she has with the person she is contacting what a visit
Elated to be able to see Min Soo after a while, when answering this question in the official document he writes the word "lover". Realizing the risks that his mistake entails for both him and the soldier, he tries to obtain a new form to write "friend" and thus circumvent any suspicion about the type of relationship that both maintain, but when he fails to obtain it, he is forced to carefully cross out what is written and in its place draw the other word.
Homophobia will haunt them throughout the short film, which lasts about 30 minutes. The fear of suffering from it if they are exposed as homosexuals is shown in various ways, and the two lovers will have the urgent need to hide their homosexuality to comply with what a conservative country with strong patriarchal and heteronormative traditions demands of them.
For example, Seok Yi strikes up a conversation with Chae Eun (Lee Chae Eun), a girl on the bus in which he makes the trip and with whom he will be very careful to avoid pronouns when referring to her boyfriend. He will show her a homemade cherry candy he made himself to share with her boyfriend. However, at the moment he delivers the gift to Min Soo, he notices the presence of the girl, who is watching the lovers from a nearby table. Seok Yi's hasty reaction is to snatch the dessert from Min Soo's hands and put it back in a bag, as he had assured the young woman moments before on the road that it was a gift for her partner.
Internalized homophobia as an accompaniment to homophobia is also reflected. Seok Yi will reject Min Soo when he approaches him to kiss him in public and will not shake his hand in the street so as not to be a victim of hatred and intolerance, and will tell the girl who returns with him to Seoul: " Today I also hate being a man!" This is how he expresses feeling harassed and excluded by his loved ones and society.
In its second part, 'Just Friends?' It is filled with joy, enthusiasm and hope. While Min Soo sings a sad but hopeful song to her mother that reflects the feeling that despite liking men she will become happy with the person she loves, we will see the two lovers reunited again, after Min Soo obtains a period of leave from military service.
He will go to look for Seok Yi at work and both will walk the streets of Seoul showing their love in public.
Min Soo has found the exact words to describe the person he will introduce to his mother: "I want you to meet my boyfriend."
The lovers are ready to combat the discrimination that awaits them, after acquiring a mutual, shared feeling that allows them to overcome the feeling of shame and self-exclusion.
'Just Friends?' It has a happy ending that proudly celebrates the love, identity and struggle of homosexuals for their freedom and happiness, and it is something to celebrate doubly, since the short film is a pioneer in South Korea by reflecting a homosexual relationship in a country where Today, in the 21st century, there is resistance to recognizing equal marriage, and even more so against the backdrop of that country's army.
South Korea is a conservative society and the only developed economy in the world in which consensual sexual relations between two men are a crime under military law, and if discovered and charged, every officer or soldier potentially faces a triple humiliation: a sentence penal, an exclusion from the army for unworthiness and a forced coming out of the closet in the face of society and his parents, who describe themselves as "conservative and devout Christians", as the short film clearly reflects on Min Soo's mother.
Intentionally and intelligently, Kim Jho Gwang-soo places one of his protagonists involved in the army of a nation in which, according to article 92.6 of its Military Penal Code, soldiers who have homosexual relations face two years in prison and forced labor if convicted by a court-martial.
Based on his own personal experiences as a gay man, the director and screenwriter expressed, "I wanted to create a real gay film with 99.9% purity, after observing that many Korean films in the past contained misleading depictions of homosexuals." Kim also stated that after completing her 2009 short, 'Boy Meets Boy', which focuses on a first romantic encounter of two teenagers, she wanted to create a successor that involved more mature themes.
Produced by the company Generation Blue Films, in collaboration with Korean Gay Men's Human Rights Group Chingusai, which shares the same name as the film's Korean title, 'Just Friends'? It had its world premiere at the 14th Pusan International Film Festival on October 10, 2009. Before its theatrical release on December 17 of the same year, it was screened at the 35th Seoul Independent Film Festival. The following year, the work was screened at film festivals in Italy, the United States, Japan and Hong Kong.
With music by Kim Dong-wook, photography by Kim Myeong-Joon and editing by Nam Na-yeong, the film, due to its subject matter, has been involved in a rating and censorship controversy.
Before its release, the Korean Media Rating Board (KMRB) called the film's trailer "harmful to youth." In November 2009, KMRB gave the film a "restricted to teens" (19+) rating, citing "sexual situations" and "risk of imitation."
This decision generated criticism from artists, intellectuals, and politicians, who argued that the KMRB was reviewing homosexual-themed films with different criteria than heterosexual-themed films.
In September 2010, the film's producers, Generation Blue Films and Chingusai, filed an administrative contentious lawsuit against the KMRB, asking the Seoul Administrative Court to cancel the film's classification. The court ruled in favor of the plaintiffs on September 9, stating that the film "provides understanding and education about minorities." Despite this, 'Just Friends?', 15 years after its release, continues to be condemned by the most conservative members of a society who still claim that the film contains scenes that "would provoke sexual curiosity in young people."
'Just Friends?' has other values, being Kim Jho Kwang-soo's second film work as director and screenwriter, the second collaboration between this filmmaker and screenwriter Min Yong Keun, and presenting for the second time Min Soo and Seok Yi, two characters that the The previous year he introduced them to form the protagonist couple of the short film 'Boy Meets Boy', also following up Min Soo in 'Love 100°', another short film he authored, from 2010.
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Slow-burning love and a tangible chemistry that goes beyond the screen
Legend has it that thousands of years ago humans were made up of two people. That being had two heads as well as two pairs of arms and legs. His wisdom was delirious, his reasoning was precise, and in his body two hearts beat with harmony and fullness. The person was happy because he lived in love with his counterpart, but one day he defied the gods and received the most severe punishment: being separated from his other half. He was condemned to search for the one who was taken from him in order to feel whole again.From that moment on we wander the world looking for the ideal person, the perfect partner who will complement us.
What if love is not in that stranger but in someone very close? What if your childhood friend, the one who accompanied you since you were a child in childhood games and pranks, or who was a little older in high school or university, could be the perfect match? Couldn't the love of your life be that friend who has been there all the time, by your side, the one who listens to you, the one who knows you well, the one who gives you advice, a hug in the moment of triumph or a shoulder in the moment of pain and sadness? It may seem strange, but if he has been there for so many years to support us, maybe he is also there to love.
If there is a recurring trope in film and television, it is the movies and series of best friends who fall in love, something that is also very common in real life.
With this premise, Ayaka Kato, the director of the Japanese BL series 'My Personal Weatherman' and 'Zenra Meshi', called on the screenwriter Takeshi Miyamoto ('Perfect Propose') to work together, as they did in 'Old Fashion Cupcake' , to adapt and give life, in real action, to the characters and events of 'Kare no Iru Seikatsu' ('Living With Him'), the popular original manga by Toworu Miyata. Koji Nomura also joined in writing the scripts. Together they created a drama that exposes the complexities of love, painting a vivid picture of a relationship that evolves over just over a decade.
NBC Universal Entertainment Japan's romantic comedy-drama tells the story of two childhood friends who reunite after a few years apart and realize they have feelings for each other. As they navigate the challenges of early youth and the expectations of their respective social circles, they must decide if they are brave enough to risk everything for a chance at love.
The narrative, as the title suggests, offers snapshots of a life together, weaving together the shared experiences of Kazuhito and Ryo. Over the course of 10 half-hour episodes, the series encapsulates the bittersweet exploration of young adulthood, highlighting fleeting but impactful moments that shape their relationship.
In a total departure from his role in the 'Kamen Rider' franchise, Sato Ryuga, in his first leading role, plays Kazuhito Tanaka, a young man with a sparkling aura, good personality and physical appearance. This young man has had feelings for his friend Ryota for many years. There was a past between the two when he was a member of the baseball club, which could be the key to their union and attraction.
For his part, Sakai Sho, a Japanese social media influencer who turned to acting by participating in the film 'Tokyo, I Love You' and the series 'Jeanne no Sabaki' and 'Takara-kun to Amagi-kun' , the latter also from the BL genre, plays Ryota Natsukawa, a housewife-type boy who is good at household chores, such as cooking and washing clothes, with an honest and expressive personality.
They are both best friends since childhood and total opposites. Ryo, who in high school was part of the "normal" group, today longs to be independent from his parents and living in his own house while studying at university will give him the desired freedom. Meanwhile, Kazuhito, the one from the "popular" group "As he goes through high school, he is in need of a place to sleep. The turning point of this story begins when the two friends meet again.
Upon reconnecting, Ryota recognizes that, despite his perfect appearance and pleasant personality, Kazuhito does not have a girlfriend. Curious to know why he hasn't found his better half, he tries to point out his flaws from a girlfriend's point of view. But you can't see any imperfections.
This is how he proposes to have a date, with the pretext of finding him an ideal girl. However, Ryota finds his heart fluttering at Kazuhito's kind words and actions. As the two deepen their relationship and Ryota gets to know more about the young man with whom he shares a roof, he wonders if he is in love or if it is just a deep feeling of friendship.
As they share time together and the old friendship seems to have been rekindled, the spark will fan their hearts. Little by little they are getting closer. Kazuhito is the one who takes the first step, declaring his old and undying love to Ryo. He suddenly finds himself in the middle of a crossroads: not knowing whether or not to love his friend, or whether he is right or wrong. How can you find the answer to this great enigma?
As they deepen their friendship, love simmers. They will need time for everything to develop. The series shows us how little by little two souls recognize each other and a beautiful feeling is created in their hearts. Will they be ready to take the next step?
The interplay of love and memories of the past drive their individual and shared narratives. The uncomfortable initial encounter matures into meaningful dialogues, fostering the expected physical interactions on the part of the audience. Lovers of the BL genre will gladly receive this story about best friends who fall in love, for the innocence and development of their characters and for the dramatic and even fun situations that are generated when they discover that they are in love.
Kazuhito and Ryo are the clear example that shows that opposites attract, and that they can be very happy together. The reunion and living together under the same roof shakes the lives of the two young people. These events trigger a story marked by the complexity of human bonds, an aspect that, although typical of the romantic genre, in this work delves into love, friendship, discovery, acceptance, family relationships and reflection on complexities of being an LGBT person today.
The audience will obtain a lot of information about the hidden feelings and thoughts of the two, mainly those of Ryo, which will be revealed through the conversations of the protagonists and the evocation of the moments lived long ago since they met until their lives He set them on different paths. The viewer will find it nice to see the two of them together. The way their lives are told is actually very enjoyable and seems authentic. The flashbacks will help you travel to the past to learn that there was always something special between them.
The stories of the secondary characters offer the viewer even more information about their love story. The plot arc develops throughout the drama: the friends will meet again to become lovers and will have a very romantic ending.
There's something undeniably touching about watching two best friends fall in love. However, everything can be unpredictable when this happens. Will things work out because they know each other and have a deep enough connection to embark on the journey of love? Or, on the contrary, will one of them, or both, not take the step for fear of breaking the friendship? This is precisely a dilemma in which we can all be at some point.
Sato Ryuga is the star of the show. As Kamen Rider Geats, his transition into a romantic role as the young college student who falls in love with his best friend is believable. He has a strong screen presence and those romantic scenes can delight the audience.
The dramatization presents a peculiarity in its conception: it is a look at homosexual youth in a conservative society with strong patriarchal and heteronormative traditions in which discrimination against LGTB+ people persists and gay marriage or equal marriage is not recognized.
In order to bring together current generations and members of the LGBT community who are increasingly interested, some in understanding relationships between people of the same sex in a changing society and others in seeing themselves reflected in various audiovisual content and formats, the director He guided the production under certain influences from cinema and serial products of the moment. The creative photographic work, the use of lights and the unique transition curtains show a relationship with the plot.
'Kare no Iru Seikatsu' also surprises with one of the most original presentation designs of the latest JBL dramas, where even a minimal detail denotes intention, insight, while revealing identity elements of the work. Music, an essential complement in fiction, also fits like a perfect piece in the scenes, especially the romantic ones.
However, the true essence of the series lies in the tangible chemistry between the two characters. His portrayal of Ryo and Kazuhito's quiet, fun, and tender relationship transcends the screen, filled with raw emotions, chaos, and affection.
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Disappointing because manipulative
When will BLs reflect the real diversity of the LGBT+ community in Thai society?Something missing from 'To Be Continued' is a convincing explanation of why Ji has rejected Achi for over 10 years.
It is evident that while Achi fully accepts her sexuality, Ji hides it and does not want to acknowledge it. That's why he approaches a girl, but still doesn't decide to make her fall in love with him. It can't be any other way: he is gay. He hides his homosexuality and denies his love to the person he loves. He is a victim of internalized homophobia.
Ji knows his place in an inhospitable world, but he doesn't dare to position himself in it. Ji lives in a world built by and for the heterosexual man. He lives in a heteronormative society that still discriminates against homosexuals, harasses them, persecutes them and excludes them.
Ji, like the other members of the Thai LGBT community, is a man who lives surrounded by heterosexual stimuli everywhere. And everything that goes beyond the "normative" is viewed with suspicion and incomprehension and even hatred. Anyone who dares to feel differently runs the risk of being separated and excluded from the group. As an animal of habit, Ji is afraid of the unknown, he doesn't really know how to act when faced with what is different from him and those who are like him. That is why he chooses to sacrifice his love to try not to be attacked, cornered, ignored.
In series like 'The Promise' a boy hides being in love with his friend, but his decision not to confess his love is justified for fear of breaking the relationship between the two, but he also damages the friendship by putting distance for 10 years, which It is also excessive.
But that's not the point in 'To Be…'. Here the two boys are in love. And while one is open to the relationship, the other does not dare to take the next step. They are in a world and a society that prevents them from leaving the established rules. Going outside the norm has always implied social exclusion. They know each other and love each other. But out of fear Ji does not open himself to love. The series fails to be convincing about why two men who love each other and have no other impediment than the one indicated above, can declare their love and be together.
When will the creators of BL series stop being afraid to demonstrate in their works that love and feelings have no borders?
The question is that Thai BL series have not yet decided to address the reality of LGBT+ people in that country. Until now, BL dramas tell us two very different realities. Although the "positive representation" of relationships between male characters is celebrated, in the sense that they are no longer always synonymous with tragedy or come with a strong load of stereotypes, the genre of love dramas between boys does not show representations close to the Thai reality.
BL series generally focus on “young love,” omitting the realities faced by gay men in Thailand, who still do not have basic rights such as equal marriage. This leads many viewers to misunderstand that Thailand is a gay paradise. And that is not true.
Even homosexual romance dramas are broadcast with the intention of not disturbing "the tranquility and sleep" of the most conservative sectors of the country. The episodes of the BL series are broadcast on alternative platforms through smartphones and digital devices, in order not to interfere with the usual TV soap opera programming.
When will BL series come to reflect the real diversity of the LGBT+ community in Thai society? While dozens of BL series are produced and broadcast each year, stigma and discrimination against LGBT+ people continue to occur within society. When will the creators and directors of television channels understand that making homoaffective representations in BL series more nuanced and political could bring important and positive changes in a society that is beginning to observe its diversity through television creations?
Why do two young people of the same sex, like Ji and Achi, live 10 years of their lives apart, suffering, dying in life, despite loving each other? What prevents you from living a life together, as you wish? While Achi fully accepts her sexuality, Ji hides it and does not want to acknowledge it. And I answered myself: "The reason is that same-sex marriage is still not recognized in Thailand." And he argued that Ji is a victim of internalized homophobia. Ji represents one of those hundreds of thousands, perhaps millions, of young homosexuals in the world forced to hide their homosexuality to comply with what a conservative society with strong patriarchal and heteronormative traditions demands of them.
In the South Korean BL series 'Jazz for Two', broadcast in parallel with 'To Be Continued, three of its protagonists are also victims of internalized homophobia. Tae Yi, one of its main protagonists, is a victim of the discrimination, rejection or shame he feels towards his own sexual orientation or gender identity, living, like Ji, in a society that stigmatizes and represses sexual diversity.
But the creators of the Korean series did not hesitate or mince their words when addressing this complex and current topic. By exposing the reason why Tae Yi rejected Seo-Hun, the series put its finger on the sore spot and, in addition to making internalized homophobia visible and generating debate and reflection on this issue, it denounced a homophobic society. What courage on the part of the actors, the production team and the directors of the television channels, taking into account that South Korea, like Thailand, is a society in which, despite the fact that sexual activity between people of the same sex is Legal, Gay Marriage, Equal Marriage or Same-Sex Marriage or other forms of legal partnership are not available to same-sex couples.
To argue my point of view, I allow myself a spoiler: Towards the end of the series we will learn that Ji and Achi have suffered a voluntary separation for 10 years due to "a simple misunderstanding." Let no one justify that "they lacked communication or were very young." They are the same age as Tae Yi and the rest of the young high school students in the aforementioned South Korean series. How can "a simple misunderstanding" be credible as such a crude justification for the human suffering, represented in these two young people?
Ji and Achi did not lack communication or experience due to their young age. Ji and Achi lacked the courage of the creators to address sensitive topics, such as internalized homophobia and the homophobia itself present in Thai society.
Ji and Achi lacked the courage of the creators to denounce the harassment and discrimination suffered by real, flesh-and-blood gay youth depicted in Thai BL fiction.
Ji and Achi lacked the courage of the creators to criticize the discourse that seeks to suffocate minorities by stating that being homosexual is something abnormal and depraved.
Ji and Achi lacked the courage of the creators to propose to reflect on real and tangible issues that the members of the Thai LGBT+ community have suffered and suffer, who have been affected by that intrinsic message that society constantly sends you and that tells you that You are not normal, that there is something wrong with you and that you have to hide, make yourself invisible.
It is unfortunate and very questionable to witness how BL lovers set themselves up as censors in the face of reviews like this and, feeling attacked by a critical intellectual exercise and having no arguments to refute the author's approaches, they choose, through trivial arguments, to question the sincerity of someone who carries out a critical analysis with objective criteria, without being carried away by their own tastes or passions.
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Deze recentie kan spoilers bevatten
Just a week ago I wrote a post on MDL about this story. The text can still be read. At that moment I asked myself several questions: is this the story of a wounded boy looking for “revenge” after feeling betrayed by his girlfriend? Is it perhaps the story of an escort who unexpectedly falls in love with one of his potential clients? Has Third carefully chosen Pai or is it just a coincidence that it is this boy who accompanies him and not another? Then other questions would arise: Is the viewer facing a skillful and sexy game of cat and mouse while camping? Will it be the beginning of a tumultuous romantic relationship?I must confess that the second part of the story completely changed the perception I initially had of the film. It has a terrible script and the performances leave a lot to be desired, but it has in its favor that it addresses prostitution, both male and female, an interesting topic that is little addressed in the context of BL series. The narrative is also unpredictable, since the viewer is not able to predict what will happen next. It is also worth noting the surprising twists with which they catch us from time to time.
Negative:
1- The retrospective flashback technique is used as an easy and “recurrent” resource. Its abuse means that at times the viewer does not know what the main plot is, whether what is told in so many flashbacks or the backstory. As a result, we have the main plot lose intensity and prominence in favor of the recurring memories of the two main characters.
2- Repetition of scenes in their entirety.
Movie summary (Contains spoiler):
Third is a young man who learns that his girlfriend, Ann, is dedicated, through a digital application, to being hired by women to work as a companion or scort. One day he follows her and discovers that her job also includes prostitution. Finally, Third finds out that Ann has set her eyes on a young woman, is in love and intends to start a lesbian relationship with her. Third and Ann ask to have a week apart to reevaluate their relationship.
For his part, Pai is a young man also dedicated to prostitution. In fact, his girlfriend has just broken up with him because she refused to accept him doing this job. He is reluctant to submit to his girlfriend's whims, claiming that if he depended on her he would become useless again. There is no doubt that prostitution is Pai's profession. At one point, he asks Third: “And if we want to say no when (clients) want to have sex, how do we compensate them in a way that makes them feel less bad and avoids bad reviews?”
Pai's proposal to his girlfriend is laughable, as he refuses to break up with her: “I will find a middle ground. I will stop holding hands with my clients. Just dinners, movies and walks. And I will also add a rule: do not touch any customers, especially women.”
Third hires Pai for three days to go into the woods to “watch birds,” but he really has ulterior motives. Third knows in advance that Pai works as an escort or “hand-holding” other men, that is, he is a man you pay to have sex with. And he also knows that the girl his girlfriend is having an affair with is none other than Prang, Pai's girlfriend. Third's goal is to trick Pai into following the two girls and exposing their infidelities.
When the time comes, Third confesses to Pai what his purposes are. Pai initially feels hurt because, on the one hand, he understands that he has been deceived by his girlfriend: while he demanded that she quit her job as an escort or she would break up with him if she did not comply with his requirements, she was having an affair with a woman. And on the other hand, Pai feels that he has been used by Third and is a pawn in his plan. Finally, they both surprise the girls by being unfaithful, they turn to each other for support between drinks of alcoholic beverages and they console each other.
Third is clear: He has no future with his girlfriend, with whom he is forced to break up. This is evidenced when Pai asks Third to make peace with his girlfriend, who he hasn't broken up with yet. And Third responds: “Do you want me to chase my girlfriend and make peace with a person who is in love with someone else?”
On the other hand, Ann confesses that she will stop prostituting herself for love of Prang. The love that the two girls feel for each other is palpable, so it is incomprehensible that, when they discover that they have been trapped by their boyfriends, they claim, between tears, that they have devised a plan to deceive them, offer apologies and hope to be forgiven. for them.
Could the two initial couples forget what happened and start over again when Prang and Ann love each other?
I also find it incomprehensible:
- Ann, who is a prostitute and therefore cheats on her boyfriend, when arguing with Prang about whether they should get back together with their respective boyfriends, tells him that she doesn't want to cheat on anyone or make anyone feel bad because of her. .
- Why, if the two girls love each other, do they ask to forget their relationship and return to their respective boyfriends?
- Was Ann's goal to make Third jealous, as Prang suggested?
- Third is okay with his girlfriend earning money from the dating app, but not being a prostitute?
-How could Prang know that Third would follow Ann into the forest and bring with him Pai, a person he didn't even know?
-How is it possible that the two girls devised a plan to deceive them based on information that it is impossible for them to have had when they planned to go camping?
Third accompanies Pai to the bus that will take him back to Bangkok. They say goodbye, they plan to follow each other on social networks, but at the last moment Pai gets out of the vehicle, returns to where Third is and confesses to having fallen in love with him in those days of tribulations. Third smiles as a sign that he too has fallen in love. At that moment a phone call comes in from Prang. They try to say something to them, but the call is cut off.
The ending allows us to see the emotions and feelings that overwhelm the two couples in their respective cars traveling to the capital. While the two boys talk animatedly, laughing and joking, Pai lovingly fixes the hair of Third, who is driving the car. I have no doubt that there is a future between the two. Love has won. For her part, an obviously upset Ann drives the car and Prang, also angry, tries unsuccessfully to establish telephone communication. They have lost in the game.
The director of the film, Jedi Suriyan Dangintawat, has also directed “I Wish You Love”, “Fake Love” and “Friends Forever”, stories that make up, along with others, the series “My Universe”. I have been able to see the last two. Refund Love is the only redeemable one, in my opinion, even though it lacks ambition (or taste, or subtlety, or class). Not even the sometimes pretended humor comes to compensate for its flaws.
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A story of healing, love and the fusion of two opposite worlds
No one can resist the charm and cuteness of pets; Regardless of whether it is a parrot, rabbit, dog or kitten, they win your heart and little by little they end up being part of the family. Most human beings enjoy spending time with their pet, which is not surprising since while you indulge in the moment, your brain feels happy and secretes "the happiness hormone."'Love is Like a Cat' (사랑은 고양이처럼), also known as 'Sarangeun Goyang Icheoleom', the romantic comedy from South Korean director Kwon Nam Ki ((권남기), revolves around Piuno (Mew Suppasit - 'What The Duck ', 'TharnType' and 'TharnType2: 7 Years Of Love'), a well-known Thai star who doesn't like animals, and her romance with Lee Dae Byeol (Chu Jimin, known as JM, from the South Korean idol group JUST B), the director of a pet daycare.
Every time he crosses paths with an animal, Piuno remembers a traumatic episode he experienced in his childhood that makes him not want them around. Pets do not awaken that feeling of love or tenderness in him. He suffers from zoophobia. He is aware that this phobia is considered an irrational act of human beings, but he cannot help it.
It has been suggested to him that his "illness" can be treated with professional help, since he can find the necessary support to overcome the trauma and gradually manage to coexist with the animals. But he has not paid interest to the matter, thinking that it would not be of much use to him, and he has moved on with his life.
However, when he finds himself threatened by those who wish to see him brought down, there is only one thing he can do to save his reputation and his career: work at a pet daycare in South Korea.
Putting aside his severe dislike for animals, Piuno begins working alongside Dae Byeol, who will help him find ways to overcome the trauma that first inspired his hatred of animals. This is how he will end up appearing in a reality show set in a pet cafe in Seoul.
But these will not be the only surprises that the protagonist encounters: as his heart begins to soften, unexpected feelings begin to arise for the young owner of the daycare center. What will happen between the cold and enigmatic actor who doesn't believe in love, and the outgoing and romantic pet daycare owner when their lives intersect?
Lovers of the BL genre in general, and of Mew Suppasit, in particular, will be pleased with the reappearance of the renowned Thai actor, singer and producer in a romance drama between two boys of the same sex. On the other hand, JM, his co-star, shows his youthful charms and the dreamy aura of the idol, as well as his talent as an actor, in this, his first appearance in a drama.
In addition to the aforementioned actors, on screen we will see GeonU, also a member of JUST B, also in his acting debut, playing Gi Min, one of the pet daycare workers; and Kim Kyoung Seok ('Hot And Sweet' and 'Someday Office'), as Jun Hyuk, a friend of Dae Byeol and one of his biggest followers. These secondary characters play a very important role and contribute intensity and complexity to the conflicts.
With a seductive cast, in addition to wonderful chemistry, the direction, cinematography, writing, music and staging transport the viewer to a dream and fairy tale universe in which everyone involved, including the Animals, especially dogs, contribute their own, to achieve a series capable of marking a milestone within the genre, as it escapes stereotypes, and shows human beings with their nuances and in various circumstances. The narrative maintains a good rhythm that enhances the emotional closure of each episode and the series in general.
All these details give an idea of the story told to those who still do not know it, a narrative firmly based on the love stories between two young men of different personalities, countries, professions, languages and cultures, but determined to sustain their idyll against all obstacles. , prejudices and cultural, linguistic or temperament divergences. One looks like a dog, while the other looks like a cat.
What an actor lacks because he is new to these issues, the other provides, due to his extensive experience. It's fascinating to watch the couple navigate their uncertain feelings. One of the main reasons audiences will admire the series is the simplicity and relatability of the story, as well as the good visuals.
Although slow, the romance gradually intensifies, allowing 'Love is Like a Cat' to show one of its greatest strengths. With the ability to create many tender moments between the two young people, I would like to see them flirt in the garden of the animal nursery and kiss in the sunny corner of the clinic room, under the knowing gaze of their friends, including those of four paws.
Every affectionate interaction, through beautifully polished images, would be appreciated by the BL fanatic public.
Dae Byeol is a well-defined protagonist. He knows his work and loves animals. He is sincere, responsible and faithful to his friends, both those who bark and the others who accompany him on this journey of taking care of pets and falling in love with a famous television star. His qualities create a memorable character with nuances. His charm emerges once the performer gains confidence in the role he plays. Just then the couple's chemistry strengthens, going from being a little embarrassing at first to building a more comfortable and deeper relationship.
In comparison, Piuno's backstory will also draw the viewer's sympathy with high marks. He likes it more and more, especially when he overcomes the somewhat mysterious, reserved, fearful attitude when encountering the animals for which he has always felt rejection, when leaving behind the weight of the circumstances that forced him to move away from his comfort zone, and when you begin to adapt to the people, the language, the customs, the culture of a foreign country.
The series explores the couple's bond physically, emotionally and spiritually. When I think about how Piuno and Lee Dae Byeol started the story of "strangers to friends and friends to lovers", both of them, side by side, went on an eventful journey. They overcame personality clashes, misunderstandings, and even cultural and language differences. Best of all, there's a lot of cute BL content.
One of the strong and striking points of the series is the fusion of two worlds. Piuno and Dae Byeol come from two different countries and cultures. Their universes will collide when their paths cross. Everything that separates them will not be an impediment for the two main characters to get closer, fall in love and begin a journey in search of happiness.
Each episode aims to ensure that the viewer is not disappointed, that they remain hooked, that they have a closure that lives up to expectations. The technical and artistic teams worked to achieve it. The arc of the characters, their development, as well as the events and conflicts, are very coherent.
The script, the depth of the themes addressed, and the aesthetics with which they are presented, the attention to detail to be as realistic as possible, the convincing performances, with a cast made up of established and young actors and actresses, determine, among others , the elements that mark the success of 'Love is Like a Cat'.
'Love is Like a Cat' is a story of healing and love. In addition to the entertainment factor and the fun and tender interactions between Piuno and Lee Dae Byeol, the series tells a story about overcoming trauma, opening your heart, and falling in love.
The inclusion of the adorable animals will provoke a positive reaction from pet lovers and the general public.
This is one of the four joint Thai-Korean BL projects from Hanyang Studio, from the same WeTV Original production, 'Peach Of Time'. The remaining dramas are 'Eccentric Romance', 'Wuju Bakery' and 'The First Love Manual', scheduled to premiere in 2024.
This collaboration between the two countries demonstrates once again that BL series defend the correct formula to sustain and consolidate the genre with the aim of satisfying an audience that craves authentic and moving love stories.
Personally, I liked the way the plot was executed, subtly exploring the characters' personal stories.
This romantic comedy is designed and taken from the script to the images with the potential audience being fans of the romantic genre in general, since love is universal and knows no genres, as well as fans of romances between boys in particular, and makes it clear that its objective is to portray love, acceptance, self-discovery, sexual diversity, the search for happiness, the influence of reality shows on viewers, the perception of the image of actors and idols by the public. , the pressures of the entertainment industry on artists, the challenges that come with being a queer person in today's world, themes explored through the dynamics of the characters.
Conceived to move people and involve audiences, through the main story and secondary plots, the series proposes to generate controversy about other dominant, current and universal elements, such as the tumultuous relationship between father and son, the love of animals and how they influence children's behavior, workplace camaraderie, sexual exploration, positivity, self-validation, and maturation issues. There are cultural debates and topics related to veterinary medicine and animal adoption, which helps make all the stories relatable.
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While Kai asks Jie not to travel to another country as this would mean an immense distance between the two, Jie points out that if Kai becomes a pastor the relationship would also be compromised due to the Catholic Church's opposition to homosexual relationships.
'Icarus' (伊卡洛斯的翅膀 / 'Yi Ka Luo Si De Chi Bang' is a 2017 LGBT+ themed romantic drama, written, directed and edited by filmmaker Alan Chen, which tells us through the characters and their conflicts an authentic myth of our times: that of Icarus, one of the shortest and, at the same time, most complex classical myths.
Produced by Shao-Han Wen and with photography by Meng Chen Hung, the short film tells us that Kai lives trapped with his father, a pastor played by actor Chin-Liang Liao, not on the island of Crete, but in a Taiwanese church. But when he falls in love, Jie is the sun that illuminates his life. However, the more he wants to reach out to his boyfriend, the more he falls into the embrace of the heat.
After Kai learns of his lover's plans, his first reaction is to paint Icarus falling because his wax-glued wings cannot withstand the heat of the sun. When Jie asks him "What did you think about when you drew this?" Kai responds with two questions: "When are you going abroad?" I mean, will our feelings for each other disappear?" It is evident that Kai has come to the conclusion that the path Jie has chosen may result in the end of the existing relationship between the two. But doesn't Kai's decision have the same destructive power?
However, like the story of the myth, the short film leaves us with a variety of interpretations and meanings. These include the one about young people who do not control their impulses and crash immediately, or the one that tells us about an ingenious father and his unfortunate son, both victims of their own ambition.
With Daedalus unable to save his son, many see the story of Icarus as a warning about the dangers of ambition or lack of moderation. Some interpret the story from a more positive perspective, emphasizing the importance of living life fully, even when there are consequences.
Given the backdrop of the Taiwanese Catholic Church, some might take the film text as a metaphor for what can happen to people when they stray from the path of righteousness, assuming that the Church represents this.
Others see Icarus as a symbol of punished youthful recklessness, or the symbol of the rebellion of young people with respect to their parents, but also as a symbol of the innate curiosity of youth, the attraction of risk, the pleasure of adventure, of the interest in learning, of the fever to rise to the top.
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Created to be featured on the variety show "Gozen 0ji no Mori"
'Nekutai magatteru yo', which in English would be translated as "Your necktie is crooked", by Japanese director Ikeda Ayano, is a Thai-Japanese BL short film starring Perth Nakhun Screaigh as Rokko, and Lay Talay Sanguandikul as Ratanapol.The film marks the return after four years of two of the actors who first participated as a couple in the 2020 Thai BL drama 'My Engineer', playing Ram and King, respectively.
The short film, just 7 minutes long, was created with the purpose of being presented in the variety program "Gozen 0ji no Mori" (Midnight Forest). It is a one-hour Japanese television interview program in which participants talk about a wide variety of topics that have recently happened in Japan during the Reiwa era, the current era of Japan that began in May 2019.
As assistant director of the program "Gozen 0ji no Mori", Ayano Ikeda conceived the idea of interviewing the two actors visiting Japan under the legend "Reunited in Tokyo", while a short dramatized film aired, without great claims, in which both participated, and which also served as a letter of introduction to the public.
Due to the popularity of BL in Japan, the television space has invited Perth on several occasions to talk about Thai dramas of this genre. Taking advantage of the coincidence of Talay being in that nation, he was also invited to present himself.
The short film also pays a kind of tribute to the culture of the two countries, since the story revolves around two young Thais, one of them an actor (Talay) and the other a translator of the Thai-Japanese languages (Perth). , who separated after having had a romance, because each one took a different path to build a future, and now, six years later, for work reasons, they meet again in Japanese lands and, as they are still in love, they have the opportunity to continue their love relationship.
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Love Is Like a Cat (Movie)
1 mensen vonden deze beoordeling nuttig
A story of healing, love and the fusion of two opposite worlds
No one can resist the charm and cuteness of pets; Regardless of whether it is a parrot, rabbit, dog or kitten, they win your heart and little by little they end up being part of the family. Most human beings enjoy spending time with their pet, which is not surprising since while you indulge in the moment, your brain feels happy and secretes "the happiness hormone."'Love is Like a Cat' (사랑은 고양이처럼), also known as 'Sarangeun Goyang Icheoleom', the romantic comedy from South Korean director Kwon Nam Ki ((권남기), revolves around Piuno (Mew Suppasit - 'What The Duck ', 'TharnType' and 'TharnType2: 7 Years Of Love'), a well-known Thai star who doesn't like animals, and her romance with Lee Dae Byeol (Chu Jimin, known as JM, from the South Korean idol group JUST B), the director of a pet daycare.
Every time he crosses paths with an animal, Piuno remembers a traumatic episode he experienced in his childhood that makes him not want them around. Pets do not awaken that feeling of love or tenderness in him. He suffers from zoophobia. He is aware that this phobia is considered an irrational act of human beings, but he cannot help it.
It has been suggested to him that his "illness" can be treated with professional help, since he can find the necessary support to overcome the trauma and gradually manage to coexist with the animals. But he has not paid interest to the matter, thinking that it would not be of much use to him, and he has moved on with his life.
However, when he finds himself threatened by those who wish to see him brought down, there is only one thing he can do to save his reputation and his career: work at a pet daycare in South Korea.
Putting aside his severe dislike for animals, Piuno begins working alongside Dae Byeol, who will help him find ways to overcome the trauma that first inspired his hatred of animals. This is how he will end up appearing in a reality show set in a pet cafe in Seoul.
But these will not be the only surprises that the protagonist encounters: as his heart begins to soften, unexpected feelings begin to arise for the young owner of the daycare center. What will happen between the cold and enigmatic actor who doesn't believe in love, and the outgoing and romantic pet daycare owner when their lives intersect?
Lovers of the BL genre in general, and of Mew Suppasit, in particular, will be pleased with the reappearance of the renowned Thai actor, singer and producer in a romance drama between two boys of the same sex. On the other hand, JM, his co-star, shows his youthful charms and the dreamy aura of the idol, as well as his talent as an actor, in this, his first appearance in a drama.
In addition to the aforementioned actors, on screen we will see GeonU, also a member of JUST B, also in his acting debut, playing Gi Min, one of the pet daycare workers; and Kim Kyoung Seok ('Hot And Sweet' and 'Someday Office'), as Jun Hyuk, a friend of Dae Byeol and one of his biggest followers. These secondary characters play a very important role and contribute intensity and complexity to the conflicts.
With a seductive cast, in addition to wonderful chemistry, the direction, cinematography, writing, music and staging transport the viewer to a dream and fairy tale universe in which everyone involved, including the Animals, especially dogs, contribute their own, to achieve a series capable of marking a milestone within the genre, as it escapes stereotypes, and shows human beings with their nuances and in various circumstances. The narrative maintains a good rhythm that enhances the emotional closure of each episode and the series in general.
All these details give an idea of the story told to those who still do not know it, a narrative firmly based on the love stories between two young men of different personalities, countries, professions, languages and cultures, but determined to sustain their idyll against all obstacles. , prejudices and cultural, linguistic or temperament divergences. One looks like a dog, while the other looks like a cat.
What an actor lacks because he is new to these issues, the other provides, due to his extensive experience. It's fascinating to watch the couple navigate their uncertain feelings. One of the main reasons audiences will admire the series is the simplicity and relatability of the story, as well as the good visuals.
Once the romance escalates, 'Love is Like a Cat' shows one of its greatest strengths. The series has the ability to create many tender moments between the two young people. We will see them flirting in the garden of the animal nursery and kissing in the sunny corner of the clinic room, under the knowing gaze of their friends, including the four-legged ones.
Every affectionate interaction is like a treat for BL fans, making these scenes even better thanks to the beautifully polished visuals. The public will witness the generous abundance of romantic images. The cinematographer captures every intimate look and every loving gesture with pinpoint precision.
Dae Byeol is a well-defined protagonist. He knows his work and loves animals. He is sincere, responsible and faithful to his friends, both those who bark and the others who accompany him on this journey of taking care of pets and falling in love with a famous television star. His qualities create a memorable character with nuances. His charm emerges once the performer gains confidence in the role he plays. Just then the couple's chemistry strengthens, going from being a little embarrassing at first to building a more comfortable and deeper relationship.
In comparison, Piuno's backstory will also draw the viewer's sympathy with high marks. He likes it more and more, especially when he overcomes the somewhat mysterious, reserved, fearful attitude when encountering the animals for which he has always felt rejection, when leaving behind the weight of the circumstances that forced him to move away from his comfort zone, and when you begin to adapt to the people, the language, the customs, the culture of a foreign country.
The series explores the couple's bond physically, emotionally and spiritually. When I think about how Piuno and Lee Dae Byeol started the story of "strangers to friends and friends to lovers", both of them, side by side, went on an eventful journey. They overcame personality clashes, misunderstandings, and even cultural and language differences. Best of all, there's a lot of cute BL content.
One of the strong and striking points of the series is the fusion of two worlds. Piuno and Dae Byeol come from two different countries and cultures. Their universes will collide when their paths cross. Everything that separates them will not be an impediment for the two main characters to get closer, fall in love and begin a journey in search of happiness.
Each episode aims to ensure that the viewer is not disappointed, that they remain hooked, that they have a closure that lives up to expectations. The technical and artistic teams worked to achieve it. The arc of the characters, their development, as well as the events and conflicts, are very coherent.
The script, the depth of the themes addressed, and the aesthetics with which they are presented, the attention to detail to be as realistic as possible, the convincing performances, with a cast made up of established and young actors and actresses, determine, among others , the elements that mark the success of 'Love is Like a Cat'.
'Love is Like a Cat' is a story of healing and love. In addition to the entertainment factor and the fun and tender interactions between Piuno and Lee Dae Byeol, the series tells a story about overcoming trauma, opening your heart, and falling in love.
The inclusion of the adorable animals will provoke a positive reaction from pet lovers and the general public.
This is one of the four joint Thai-Korean BL projects from Hanyang Studio, from the same WeTV Original production, 'Peach Of Time'. The remaining dramas are 'Eccentric Romance', 'Wuju Bakery' and 'The First Love Manual', scheduled to premiere in 2024.
This collaboration between the two countries demonstrates once again that BL series defend the correct formula to sustain and consolidate the genre with the aim of satisfying an audience that craves authentic and moving love stories.
Personally, I liked the way the plot was executed, subtly exploring the characters' personal stories.
This romantic comedy is designed and taken from the script to the images with the potential audience being fans of the romantic genre in general, since love is universal and knows no genres, as well as fans of romances between boys in particular, and makes it clear that its objective is to portray love, acceptance, self-discovery, sexual diversity, the search for happiness, the influence of reality shows on viewers, the perception of the image of actors and idols by the public. , the pressures of the entertainment industry on artists, the challenges that come with being a queer person in today's world, themes explored through the dynamics of the characters.
Conceived to move people and involve audiences, through the main story and secondary plots, the series proposes to generate controversy about other dominant, current and universal elements, such as the tumultuous relationship between father and son, the love of animals and how they influence children's behavior, workplace camaraderie, sexual exploration, positivity, self-validation, and maturation issues. There are cultural debates and topics related to veterinary medicine and animal adoption, which helps make all the stories relatable.
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This Is Not a Coming Out Story
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Look for safe sex and a decent chat. Through a gay dating app, he has scheduled to meet Vince, the attractive and discreet neighbor, but the sexual encounter is interrupted by the unexpected arrival of his parents, and before them he will once again restrain his deepest but most difficult desire: "come out of the closet."
However, Dino cannot prevent the brand new dildo from being seen by his mother.
Vince is willing to wait. The wait is worth it: a friendly relationship begins to emerge between the two that may very well lead to something more.
With solid performances, a beautiful script, magnificent camera work and charming surroundings, the short film 'This Is Not A Coming Out Story' (2022), by Filipino filmmaker Mark Felix Ebreo, brings us fun moments and an irresistible visual chemistry of its two protagonists: Dino, played by AJ Sison, known for his role in 'U-Turn (2020)', 'Dito at doon' (2021) and 'Love in the Ungodly Hour' (2021) and Vince, a character assumed by Jel Tarun, actor known for his role in 'Silent Cries' (2023).
The short film also tells us about homophobia.
The soundtrack fits perfectly with the film story.
With a script by Mark Felix Ebreo himself, the cast closes with the performances of Jun Nayra, known for his performance in 'Bonifacio: Ang unang pangulo' (2014), 'Darna' (2022) and 'Sandwich' (2023), and Gigi Hernandez, known for her role in 'Sandwich' (2023), 'Ikigai: Life Is a Beautiful Ride' (2023) and 'Alapaap' (2022), playing Jerome and Liz, Dino's father and mother, respectively.
Committed to bringing queer narratives to spaces to increase the visibility of the stories of people who have not yet discovered their true identity, Mark Felix Ebreo won with this short film the Best Director award at the 1st Pelikulaya LGBTQIA+ International Film Festival, as well as a Honorable Mention in the Short Fiction category at the 34th CCP Gawad Alternatibo.
Additionally, 'This Is Not A Coming Out Story' won the Cardinal Gold Award with the highest honor, as well as the award for best screenplay at the 20th CineMapua International Student Film Festival.
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In the things that pass, for those that stay
Kim Dong Ah is a teenager who seems to have been born frozen in the cold winter, and becomes obsessed with things that have not changed and are static, as if frozen, after his parents' divorce. His mother's love, which he thought would last forever, changed, and that change had a great impact not only on Dong Ah's family but also on his own life. With his mother gone, his father, wounded, became violent.In order not to hurt himself and to avoid hurting others, Dong Ah thought that it was best not to change and not let anyone into his life, for fear that one day this person would decide, like his mother, to abandon him.
With his large round eyes, poorly defined face and dark, bushy eyebrows, he has a deep voice and a dry expression and humor. He has had to leave school.
But suddenly, Song Yeon Woo comes into his life, a young man, also 18 years old, with a very warm character, who finds it natural to smile and is friendly towards others. Yeon Woo always approaches Dong Ah with a smile, and little by little he breaks the wall of sadness and coldness that he has built around him. Who is this person who seems to show everything about himself without hiding anything, but whose true feelings Dong Ah is unaware of? How is it possible that this boy, so different from him and as warm as spring, can make him feel unknown emotions? Is Yeon Woo a figment of Dong Ah's imagination?
With this interesting and intensely powerful story, Kim Yeo-rim, the writer and director of the short film 'The Winter Child', exposes how people, emotions and relationships pass over time. Time melts the frozen and freezes the melted. But there are things that human beings need to hold on to so that they do not escape.
In the director's own words, the film sends a message of comfort to those who are suffering in the midst of numerous changes, to those who hold on to something that may be painful: it is okay to let go and move on. It is necessary that painful things pass by, so that those that give us happiness and warmth remain forever, like the fire at the end of the short, in contrast to the ice/winter motifs that are maintained in most of the audiovisual.
Starring Hyun Woo Ahn and Woo Joo Hwang in the leading roles, and the cinematography by Gyu-ri Lee and Park Jeong-hyeon, the short film captivates the viewer.
The image of Yeon Woo melting Dong Ah's icy exterior and her ironclad belief that she can't change anything in her life will haunt me forever. Yeon Woo is the person who came into his life to help him come out of his shell.
However, the ending leaves me with more questions than answers: Is returning to the same beginning a good change? What is preferable: staying in one place or seeking changes that allow us to free ourselves from what causes us pain?
Waiting for the continuation…
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An unusual love triangle
Sukitomo (I Like Tomo – スキトモ), the LGBT+-themed romantic drama and shounen-ai film by Japanese filmmaker Mitshuhiro Mihara, portrays that confusing time of youth in which relationships become imprecise and the balance between love becomes precarious. , friendship and family are broken.The film, from 2007, proposes an unusual love triangle between the serious and responsible young man Aoi Tomokazu, a member of a boxing team and who is in his third year of university, Yoshiko Saitō, his best friend and two years younger, whom he sees as a little brother - although he feels something more for him than a simple friendship - and Tomokazu's sister, Aoi Misao (Komatsu Airi), who is also romantically attracted to Tomokazu and is jealous of his relationship with Yoshiki.
After his performance in 'Boys Love', of the same film genre, Takumi Saitō, star of the 'Prince of Tennis' musicals, now in the role of Aoi Tomokazu, continues in this film challenging perceptions of love, friendship and the sexuality. As in 'Boys Love', Saito acts alongside Aiba Hiroki, one of the co-stars of 'Prince of Tennis', the latter playing Yoshiko Saitō.
Released on January 13, 2007, the film was screened for the first time at the 16th Rainbow Reel Tokyo, an LGBT-themed film festival held annually in the Japanese capital, 'Sukimoto' tells us the evolution of relationship, from childhood to early youth, between the future boxer and the boy Yoshiki, who was hit by a truck while playing with Tomokazu and suffered an injury to his right leg.
This injury never fully heals and consequently he limps when he walks, a fact for which he believes Tomokazu feels guilty and treats him well for it. Yoshiki must deal not only with Misao's attempts to keep him away from his brother, but also with his own conflicting feelings.
The role played by Takumi Saitō is coherent in embodying the role of the young man so busy in boxing that he has not realized the attraction that Yoshiki and Misao feel towards him. I like his performance in this movie. I've seen some of his other work, but I really admire his art after watching 'Sukimoto'.
Hiroki Aiba also achieves naturalness playing the disabled friend in love with his best friend and neighbor, and Airi Komatsu as the 14-year-old sister who is jealous of her brother's relationship with Yoshiki, since she also has loving feelings for him.
Also convincing is the performance of Mizuki Tsuruoka in the role of Arisa Andō, Misao's best friend, who, despite her young age, has been able to understand not only Misao's loving attraction towards her brother, something she considers unhealthy, but also Yoshiki's love for Tomokazu.
The title of the film, which addresses themes such as friendship, love, family and fraternal relationships, is a play on words; «suki» (スキ), which translated from the Japanese language means "to like", and «tomo» (トモ), which refers to the name of the main character. Therefore, the name of the work could be literally translated as "I like Tomo."
With the production of Kawashiro Kazumi and Kataoka Masahiro, the director called on the award-winning Japanese photographer and director of photography Ashizawa Akiko to translate the script written by Kanasugi Hiroko into images.
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Deze recentie kan spoilers bevatten
With a personal look, the Thai actor, director, screenwriter and assistant director Aum Natthaphong Aroonnet, known for the BL dramas 'Triage' (2022) and 'Manner of Death' (2021), the film 'Dew' (2019) or His role in 'The Love of Siam (207), among many other dramatized ones, gives us the romantic drama 'Beating Again', in which, in addition to addressing the boys' passion for dance, he portrays several stories of characters belonging to the LGBT+ community, its coming out and the challenges that come with being queer in today's world.With great camera skill, sequential games and visual seduction, the director explores, among other topics, the search for one's own identity and the realization of dreams as the core of a drama that explores, as if that were not enough, many other issues such as family relationships, sexuality, love, pain, living with fear of being judged, past traumas, loss, acceptance, overcoming obstacles, the need for physical and emotional connection with other human beings, gender identity, discovery or passion for art.
Since before the first episode was broadcast, the audiovisual has awakened different emotions, especially on social networks, by inviting the audience to reflect on ourselves and on current societies, in addition to the topics represented, confront stereotypes and show human beings with their nuances and in various circumstances.
«I have been a lucky director. Since we published the trailer for 'Beating Again' and the actors and others involved in the project began to give statements to the press or through writings on social networks, there are those who say that the series is going to be liked and will positively attract the public's attention. ; Other people say that there are topics that they do not like. It is still early to predict if it will work or not. I think it is a series that is very well written. My staging, and that of the actors, was constantly trying to live up to the scripts,” said Aum Natthaphong Aroonnet.
«After editing, I liked how the chapters turned out. I have no doubt that they will move people and involve audiences. Let's let the series progress a little, to make conclusive judgments. Our goal is that the audience is not disappointed, that they remain hooked, that they have a closing that lives up to their expectations. We work for that, whether we achieve it or not. The arc of the characters is very coherent, as well as the development of the characters and the conflicts,” adds the director.
At first glance it might be easy to understand that the desire of young men to dance was not hindered by any reason, or at least human. However, 'Beating Again' reflects the incessant struggle of several boys to achieve a dream and thus fulfill a vocation regardless of the discrepancies to which they may be subjected during the process of achieving it, including the homophobic gazes of several of them. the secondary characters.
And even if your environment does not understand you, you cannot give up your passion, your talent and your vocation. The internal talent of each person must be firmly exploited regardless of the consequences that may arise for it.
Of the work, it is worth highlighting its transgressive capacity to break clichés and prejudices for a single but consistent reason: the firm attitude of young people to pursue their dream and illusion, that of being dancers and dedicating their lives to underground dance. In this way, a small group of people can have the power to create great change for the entire world through the love and passion for dance. The series is an example and a tribute to the triumph of perseverance, dedication and conviction.
In addition, it seeks to send other messages, such as respect and acceptance of sexual diversities, the spirit of coexistence between people who are initially strangers or unknown to each other, and honesty and sincerity as human values.
The attention to detail to be as realistic as possible, the convincing performances of a cast made up of established and young actors and actresses, some with experience in the BL genre, the depth of the themes it addresses, and the aesthetics with which it presents them , determine, among other elements, the quality of the series.
Scripted by Visuttchai Boonyakarnjawa ('The Iron Ladies', 2000), the Thai drama, in four episodes, presents its protagonists immersed in the world of dance in a sincere, lyrical and emotional way. While Dindaen (Oh Anuchit Sapunpohng) long ago achieved glory by becoming a dance champion, the young dancer Nai (Kang Korn Sirisorn) has a paradigm to follow in the now volunteer teacher. The character must face a conflict from 10 years ago that still haunts him.
For her part, Focus (Sophie Marguerite Indracusin), the self-confident young woman who loves dancing, after much effort, has managed to materialize her dreams of being an idol, but now she has been involved in a professional scandal and has had to return to his hometown where he will be part of a dance group with Tawan, Fae, Kai and Jidrid. To move forward, Focus will have to face his past.
If dance united Focus, Nai and Dindaen since they were children, love, friendship and passion for dance today continue to be the strong ties that unite them. The characters, like so many other young people in real life, have as their highest aspiration to be able to manage their own talents, believe in and become owners of their virtues and manage each of their potentials to achieve the goals set.
In addition to the conflicts of the three main characters, other problems will add complexity to the plot. I am specifically referring to the story of a girl trapped in a male body who, despite being overweight, likes to dance, the story of the teenager who juggles her life to balance high school studies and her passion for dancing. , and the love between two boys: Kai (Kaownah Kittipat Kaewcharoen) and Famous (Earth Katsamonnat Namwirote).
Love and dance will unite Kai and Fae, young people who also like to dance alternative dance (also known as indie dance or underground dance, the musical genre that fuses elements of alternative and indie rock with those of electronic dance music.
The public will enjoy young people while they dance to music that fuses new wave, "eurosynth" and postmodern technopop, as well as those arising from the indietronica or indie electronic movement, which is nothing more than a subgenre of alternative dance but more oriented towards indie. with great synth pop influences.
Among former member of boy group KLIMAXX and best known for his role as Long in the hit BL drama 'TharnType', Turbo Chanokchon in the Thai adaptation of 'Love Stage!!' and Talay in 'My Universe: The Camp Fire', in the latter two as the protagonist, and the actor identified for his roles as Tar in 'Love By Chance', Intouch in 'Until We Meet Again' and Seeiw in 'My Only 12' %', also in main roles, a passionate romance will emerge.
How I enjoyed, in episode 3, the scene in which Tawan, Fae, Kai and Jidrid have lunch in temple areas. At one point, Kai (Kaownah) and Famous (Earth) exchange pieces of the fish they eat and Tawan says, "So sweet!" And they try the fish and answer: "It's not sweet. It's salty," and she laughs mischievously because she was not referring to the food, but to the budding relationship between the two boys.
Jidrid suffers rejection from homophobes for being transsexual. These two are one of the topics addressed in the series, that is, homophobia and transsexuality.
I like the dynamics of the group, how the seven protagonists integrate into the community that they themselves have created, how setbacks are turned into victories, like when Famous accidentally spills a container of paint on the floor and the others, instead After reproaching him for the destruction, they pour other containers with paint and turn the place into a stage to practice dancing.
Does the theme of the series revolve around homosexual characters and their relationships with others, or LGBTI characters in secondary roles and whose sexuality does not influence the plot of the audiovisual? To know this and other conflicts we will have to watch the series until the end.
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First step in a career in favor of LGBT people
'Boy Meets Boy' is a South Korean short film of romantic, musical, youth and LGBT+ themes, premiered at the 13th Pusan International Film Festival in 2008, and since then it has given a lot to talk about for several reasons: it was the first film work by Kim Jho Kwang-soo, the first collaboration between this filmmaker and the screenwriter Min Yong Keun, and presented for the first time Min Soo and Seok Yi, two characters that he would return to the following year to form the wedding couple of the short 'Just Friend?', also following up Min Soo in Love 100°, another short of his authorship, from 2010.Since then, the South Korean filmmaker showed signs of taking his time to weave the story with the thoroughness that has always characterized him, working like a craftsman in his eagerness to recreate every detail.
The director of 'The New Employee: The Movie' (2023) has spent almost two decades building an authorial block of unusual quality in the history of South Korean cinema, full of triumphs and very few mistakes. Throughout his work he has not only made important films, series and short films, but through them he has known how to rewrite the history of his country anchored to its most recurrent film themes and objectives: such as sexual awakening, most of age, sexuality, gender identity, being queer in a heteronormative and discriminatory society towards LGBT+ people and activism in favor of the rights of this group to which he himself has acknowledged belonging since 2006.
To film the short, he based it on Min Yong Keun's script of the same name about a love crush, in a festive and magical way. The film, without spoken dialogue, describes the relationship between Min Soo (Kim Hye Sung), a boy who loves photography and is gay, and Seok-Yi (Lee Hyun-jin), who seems a little tough but still manages groom to show your soft side. It also tells us about the indecision when it comes to expressing feelings and the need to be brave and go in search of love when it has arrived at your door.
Despite its short duration and the incorporation of music, dance and a magical fantasy, the viewer manages to maintain the common thread of the story in that elegant background of love at first sight.
At one point in the film, Kim Jho Kwang-soo, wang-soo, who collaborated with director Lee Song Hee Il to produce 2006's 'No Regret,' considered "the first real Korean gay film," and has shot others gay-themed works such as 'Two Weddings and a Funeral' (2012), 'One Night Only' (2014) or 'Made on the Rooftop', and the BL series 'The New Employee', introduces a fantastic character in the form of a fairy which comes to represent Min Soo's thoughts as someone who falls in love for the first time.
Despite not having dialogues, the filmmaker manages to make the audience identify with his characters, in addition to clearly establishing the relationships between them, through looks, gestures, expressions, body language and useful inclusion of the fairy (Yeh Ji-won).
The fairy symbolically represents the thoughts and feelings of the boy who has just discovered love for the first time in his short life: the nascent passion, the sexual awakening, the discovery, the acceptance, the insecurities, the fears, the worries, the fears, excitement, enthusiasm, innocence, naivety, and expectation, all in a mixture that explodes in unison.
With a palette of bright, festive colors, and corny and strident music to identify the fairy, but restrained and romantic to enhance the mood of the characters and set the tone of the film, the director guides us towards the discovery of love and sexuality in a new and unique experience for the character.
Of an autobiographical nature, the director himself stated that he based the story told in 'Boy Meets Boy' on his first love experience.
I liked the chemistry of the two protagonists, palpable from their first meeting on the bus. They are both adorably acting actors whose performances are enough to recommend watching the film.
Also highlight the use of Min Su's film reel as a symbol of love and life, by first representing the union of the two protagonist boys, and then serving as an invisible and conductive thread that, in constant movement, like life itself, unites all the characters.
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