Delicacy and subtlety to, from black humor, address taboo topics: transsexuality, violence and death

Just hearing the premise makes one curious. Action films abound, but there can't be too many like 'Man of High Heels,' a moody, moving and violent Korean cop-gangster film written and directed by Jang Jin.
Released in 2014, this South Korean noir film stars Cha Seung Won, who plays a homicide detective who hides a big secret.
Nicknamed Cyborg due to the metal plates on his arms and legs and his ability to make an arrest using only his formidable martial arts skills, even criminals are amazed by his toughness and physical prowess: gangster gang leader Heo -Bol (Song Young-Chang), was singing praises to Yoon Ji-Wook moments before the man appeared to beat him and his henchmen.
Skilled in hand-to-hand combat, Yoon Ji Wook is a tough homicide detective known for his ability to catch violent criminals using his own harsh methods. Revered as a legend among police officers, he is simultaneously feared among the mafia for his brutality in cracking down on crime.
However, beneath that macho and unscrupulous hard man appearance lies a secret that no one can know since the society in which he lives would not view him favorably: apparently the epitome of masculinity, Yoon Ji Wook feels that She is a woman in a man's body.
As much as she tries to suppress this inner desire, she can't fight what she really is: Yoon identifies as transgender.
The film is an intricate film noir story, and woven into the mask of the crime plot is the story of Yoon's decision to live his true life.
Upon finally reaching the point where he resolves to be a woman and decides to take the step of undergoing a sex reassignment operation and thus be able to see his teenage dream come true, he requests discharge from the police force.
This is when the turning point in the film occurs. Before having the opportunity to enter the operating room, unexpected situations begin to happen that interfere with their plans. His numerous enemies think his career change is also a perfect opportunity to take revenge. When some of his close friends are murdered and Jang-mi (Esom), a girl whose brother Yoon loved at school, is kidnapped, he realizes that he can't stand by and follow his dream any longer. How much will revenge cost him?
The members of a gang who had to go through bad times due to the actions of our narrative hero will come for him. Recognizing that it would be difficult for them to take revenge directly, they decide to endanger not only their dream but the people they love.
It is striking that in the history of cinema there has never been a film that deals with the issue of transgenderism in the way that 'Man of High Heels' does. Jang argued that he was inspired to write the script by friends who had encountered prejudice due to their sexual identities, and one of them had been forced to leave the police institution for being gay.
Furthermore, its subversion of classic action movie tropes typifies the irreverent approach of its director, who has built his reputation satirizing Korean society and mischievously modifying cinematic traditions.
With great delicacy and subtlety, the director addresses a topic that is widely carried and brought up by many people who are still full of prejudices who are not careful when it comes to pointing the finger at everything they do not know or do not understand.
'Man of High Heels' manages, with great elegance and good taste, to reflect transsexuality on the screen, and not only in an illustrative way but with a message to all those who dare to judge people who suffer this desire in their flesh.
On the one hand, the protagonist nails his role like very few other actors could have done. Cha Seung Won exudes masculinity from every pore. That is why it surprises many to see him dressed as a woman.
Reading comments from MDL users, one can notice the large number of people who are surprised to learn the premise of the film, and there are those who attack it because "I don't like it" and "I don't understand" or they simply attack it because they consider the way in which transsexuality is approached is crude.
The film is not only about seeing one of Korea's most mature actors transvestite, but also that 'Man of High Heels' debunks the idea, especially in the West, that South Korean cinema goes to the saga of what is produced in the rest of the world. Due to its story, its originality, its staging and, above all, its ability to surprise the viewer, Jang's film speaks for itself about the quality of the cinema of that Asian nation.
This is a film that will keep the most demanding viewer of the action genre in suspense, but seeks other audiences by incorporating the LGBT+ component. This is a violent film with a brutal staging loaded with scenes that will remain fixed in our retinas as a warm memory for life.
This film not only succeeds in the genre but stands out. The opening fight scene is a classic, beautifully choreographed with wit and crazy fun.
'Man of High Heels' begins with a bang that sets the stage for what is to come and introduces the protagonist whose presence is equally explosive and heartbreaking.
The film challenges our perception and reveals discrimination, love and acceptance, as well as tears in our hearts.
If someone believes that everything has been said, add that it is a different film in its history but that manages to combine all the ingredients and resources of an authentic Korean gangster film, with action scenes from the first to the last scene.
This is one of Cha's best performances, one that you can't help but get emotionally invested in.
But there's even more: this is a drama that will make your heart pound and make you feel restless in your seat and you will even want to help the tough homicide detective eliminate the gangsters without suffering a scratch, save his loved ones and until it makes it easier for you to get to the operating room on time.
This is a layered, multidimensional film about a real person, with a real career and reputation, real friends and colleagues.
This is a film that invites the transgender community to be smarter about accepting serious attempts to tell a nuanced transgender story.
'Man of High Heels' manages to dismantle all the concepts regarding what masculinity is supposed to be from the first sequence, without separating the humor from the action – sometimes crazy, but always precise.
A film full of messages and symbolism in every shot under masterful direction, a noir film emerges in all its expressions, an exquisite and suggestive black humor to address taboo topics such as transsexuality, violence and death itself, in a humorous way.

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The struggle of LBGTQ+ people and the representation of stereotypes in Thai cinema (I)

'The Iron Ladies' ('Satree lek' - 2000) is a comedy-drama film written by Visuttchai Boonyakarnjawa and Jira Maligool.
Based on the true story of a Thai men's volleyball team competing in the 1996 national championship with a squad made up primarily of gays and kathoey (transgender people), the award-winning film explores the struggles that are still present in the Thai LGBTQ+ community through through comedy, despite Thailand's international image as a country open to gay and transgender people.
In the greatest of storytelling traditions, Youngyooth Thongkonthun's debut feature is a true fairy tale with a happy ending, and marked a milestone in LGBTQ+ representation in the media, resonating recognition from international film festivals like the Festival Toronto Film International and several others.
Set in 1996, two gay amateur volleyball players, Chai (Jesdaporn Pholdee) and Mon (Sahaphap Tor) seek to participate in a championship despite being discriminated against.
Mon, who becomes the leader of the team, was a very talented player who constantly failed to be selected for various teams because he was gay. Chai, Mon's best friend, also experienced the same treatment but was always optimistic about things.
Their chance comes when Coach Bee is selected to form a winning team and she announces that the team will be open for everyone to try out. But when he selects Chai and Mon to be part of the team, some of the homophobic players quit in protest.
Bee then asks Mon to find some of his friends to join the team. They select Nong, a gay army sergeant; Pia, the transsexual star of a cabaret show; and Wit, whose parents don't know that their only son is gay.
Written by Strand Releasing. 'The Iron Ladies stars Jesdaporn Pholdee, Sahaphap Tor, Ekachai Buranapanit, Giorgio Maiocchi, Chaicharn Nimpulsawasdi, Kokkorn Benjathikoon and Anucha Chatkaew.
Cinematography was handled by Jira Maligool and editing by Sunij Asavinikul.
Most of them are gay and kathoey, except for one cishet (cisgender and straight) man who struggles to be accepted into the team. All of them must find their inner strengths and come together to face these challenges and participate in the national championship.
Through humor, Thongkonthun touches on sensitive topics that would otherwise have been difficult to cover at the end of the last century and the beginning of this one. It was then the era of depicting homosexuals and transgenders in the media under the old-fashioned cliché of the comic friend or villain, which even today persists on Thai television, but The Iron Ladies reveals the depth of these generally superficial characters.
Based on stereotypical representations of homosexuals (very flamboyant, feminine, happy, fearless), the film uses clichés that were common in the 2000s and are still prevalent today, and takes the stereotypes, gives them depth and appropriates them.
The film stands out for reflecting the struggle of LBGTQ+ people: while the team faces various challenges, each member of the team represents, through their own story, a societal problem that the community faces.
The cast does not fail to make their characters relatable and real within their banal and limited representation, as they mimic the tropes surrounding the representation of LGBTQ+ people in the early 2000s.
Through silly or quick comments, the film's dialogue skillfully addresses the struggles and hurtful comments prevalent in society towards LGBTQ+ people. Through absurd but witty scenes, the characters reflect and talk about love interests, being loved as a transgender person, buying items at a market, making friends, participating in sports, and being discriminated against. All this wrapped in a background of comedy and extravagant shots with vibrant electro music.
'The Iron Ladies' manages to generate controversy and reflection among (inter)national audiences about the representation and behavior towards the LGBTQ+ community.
However, the film is a predictable and over-the-top cliché in every way. Is it worth our attention? Absolutely yes, as it is a piece of history and contextualizing it will give you another view of the stereotypical image of Thailand. However, be aware of the large amount of hyper-shouting.

Note: The review of the sequel to 'The Iron Ladies' 2003 can be found, in MDL, on the page dedicated to this film on said platform.

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A poorly “parked” relationship on the race track

Cinema and television, like all art that reflects the society in which they develop, have shown the trafficking of children through notable films, documentaries and television series. Numerous films and television programs expose this illegal practice and many of them are based and inspired by real-life cases.
Asian dramas are committed to bringing all genres to the public, including those in which their protagonists have a romantic bond combined with supernatural powers.
Has the fact that Thailand is a point of origin, destination and transit of human trafficking aroused the interest of Nopachai Jayanama (Peter), as director, and Kanokphan Ornrattanasakul and Issaraporn Kuntisuk, as scriptwriters, to tell us in 'Pit Babe' a story that mixes homosexual romance, sport, intrigue, action, human trafficking, fantasy and supernatural powers?
This drama, an adaptation of the web novel by _alittlebitch, winks at Thai reality: the value of child victims of human trafficking does not lie in using them as sexual slaves, in forced labor or to extract their organs for commercialization, but in possessing special powers.
Are we facing a social drama of denunciation of human commerce? I would like this to be its purpose, but consistent with its BL condition, 'Pit Babe' will enhance the romance. This arises between Babe (Naret Promphaophan-Pavel), the king of the racetrack, and Charlie (Krittin Kitjaruwannakul-Pooh), his supporter.
Will the series have a hidden message? How many of Tony's “sons” among the superpowered children are gay men today? Babe, Charlie, Jeff, Kenta, Pete, Way...? That is, the main characters with powers who were raised-educated by the person dedicated to human trafficking ended up being homosexuals. Is there a hidden message in this, simple coincidence or something of “destiny”?
Babe is a very popular racing driver and admired by everyone. His achievements in the sport have led him to be considered number one. Among his followers is Charlie, a young man who wants to be a racing driver like him. However, he does not have the money or the contacts necessary to achieve it. Therefore, he looks for an opportunity to get closer to the leader of X Hunter. When he succeeds, he asks for your help and to lend him a car so he can materialize his aspirations. The only solution he can think of is to reach a strange agreement with Babe. Against logic, he agrees to help Charlie realize his dream.
On this journey, will Babe be able to win Charlie's heart? Will he lose the race he most wants to win this time? Will Charlie be the one interested in captivating the racing driver? Will the relationship that began as a game triumphantly cross the finish line to become a real romance?
The most notable thing about the series is its exciting scenes and the attractiveness of the actors.
There is a secondary couple, made up of Alan and Jeff.
The cast also includes Supanut Lourhaphanich (Nut), as Way; Obrnithi Leelavetchabutr (Ping), as Pete; Natthapong Pathong (Benz), as Kim; Asre Wattanayakul (Lee), as Dean; Hemmawich Khwanamphaiphan (Sailub), as Alan; Thanapon Aiemkumchai (Pon), as Jeff; Michael Kiettisak (Michael), as North; Pataraphol Wanlopsiri (Pop), as Winner; Pantach Kankham (Garfield), as Kenta; Supakorn Saokhor (TopTen), as Sonic; and Vorarit Vaijairanai (S), as Tony
The chemistry between the protagonists and the bed scenes fail to lift a series whose characters are unrealistic and undeveloped. Pavel and Pooh have charisma and are attractive, but the script does not help their relationship connect with the viewer.
I must clarify that it is not that I find being 'passive' degrading. It's not that I assume that, in a relationship between two men, there is a "superiority" on the part of the one who is 'active' compared to the other who is 'passive', but the abrupt change in Babe's personality seems inconceivable to me. . This transformation comes at the same time as the loss of his powers, at the hands of Charlie.
Babe abandons his well-crafted playboy image for years. In all his previous relationships he played the role of seme or asset. In the words of the BL series themselves, he was, of the two, “the one on top.” He began his relationship with Charle by assuming this role in bed. Suddenly, without a convincing explanation, Babe becomes Charlie's uke. Babe swaps to play the role of the “bottom.” So, you would have to ask yourself: Did the loss of his precious powers lead him to be the passive one in their relationship? Didn't this move cause a loss in his character's potential?
Despite being in front of the cameras practically all the time, the actor who plays Charlie fails to connect with me emotionally. They are not facilitating emotions, but hindering emotions that are transmitted to me by a character who fails to sensitize me. By not feeling or understanding Charlie's emotions and feelings, I cannot essentially grasp whether it is love or just sex that drives him. Only his acting stands out in the sex scenes. Note that I do not say “when making love.”
The transformation of the character played by Nut, already in the final moments, is not logical either. About an obvious thing, the incurable remorse that must have accompanied Way throughout much of his life for betraying Babe for years, causing the rift between him and the man he loves, as well as many, if not all, of the problems that have hit to the positive characters by being infiltrated into their ranks, Way's evolution from evil to purity, from darkness to light is narratively constructed, sustained by the effort to achieve the viewer's identification with the traitor. It is necessary to save it, the creators thought.
Way drinks with Pete because “he wants to make the situation better.” He doesn't know “what to do next.” He does not know if “what I have always believed is the right thing.” He asks Pete why he decided to leave Dad, and Pete tells him, “Because the truth is not what I thought… I decided to leave to end the vicious cycle that Dad had created.” And he tells her that she still has the chance to choose what she wants to do. Way has been asked to show the despondency caused by guilt. Way has had the option all his life to choose the right path, but he has decided to be by Tony's side, even knowing what this means. But suddenly, some words from Pete whispered in his ear between sips of liquor and a few pats on the back invite him to “do the right thing.” And this would not be a problem if they had gotten rid of the rampant schematism in the character design and the all-too-evident desire to redeem him.
A story that fails to convince, clumsily designed characters, characters lacking development and therefore generating empathy, limitations in the explanation of the characters' decision making, poverty in the development of events and irregularities regarding changes of personality, are several of the main characteristics of the drama.
Peter throws together a few tropes and too many clichés. With fewer ambitions and fewer plot holes, perhaps the series would have become a full-throttle, full-speed car swallowing up the race track.

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The romantic comedy of two neighbors in conflict

Who doesn't like a romantic comedy, even knowing its dependence on many clichés and narrative schemes already seen? Raise your hand if you don't enjoy the kissing scenes in the rain, the happy endings, the music that surrounds the lovers at full volume, the typical corniness and such unrealistic situations, despite knowing in advance that they are sufficiently illusory. Who hasn't dreamed of a love story larger than life itself?
Can you guarantee that you would reject your "prince charming" singing to you in front of the school and making a fool of yourself for you, and surprising you with a guitar (or drums) playing your favorite song? Who doesn't like to see a series of this genre capable of offering us a ray of hope, a good dose of faith in the healing power of love and the guarantee of a "happily ever after"?
'Monster Next Door' is the Thai romantic comedy series that frames a love story with university overtones, and that draws attention not only for its warmth and humor, but also for its ability to immerse the viewer in a narrative that combines relationship between neighbors, the value of friendship, family, love for pets and the unexpected turns of love.
Based on the novel "Godzilla Next Door" (พี่เขาบุกโลกของผม) by Jiwinil, 'Monster Next Door' tells the story of Diew, a reserved and introverted first-year college student who likes to live in his ultra world private, hiding in his apartment. His best friends are a turtle named Khun Shy and his classmate Game.
But what Diew didn't count on is that his dorm life would include his neighbor, God, an attractive, kind, and outgoing senior from another college, who with his sweet lips has just moved into the next room.
Night after night, God and his friends either keep him from going to bed at his usual time or drag him out of bed with their loud parties. However, when he begins to interact with his neighbor, who is separated by a wall the width of a cigarette paper, Diew's perfect and harmonious world is turned upside down. They both fall in love: they stumble upon the shyness and wonder of first love.
And while the meet-cute, that is, when the two characters meet by chance in an adorable way in the first scenes and that becomes the beginning of their love story, serendipity does not stop uniting them in cafes, libraries and other spaces of the university or in their respective bedrooms, although there is a wall in between and without one having seen the other's face.
The supporting roles, played by Krismon Thanawat Sutthijaroen, Kade Tanapon Hathaidachadusadee, Ole Thanakorn Sangwan, Proud Urucha Sirichaiwongsakul, Pik Supawit Vichitrananda, Mhing Thatsaphon Ruengkitrattanakun, among others, bring to the story a rich tapestry of characters that enrich the main plot. Through these characters, the series manages to convey its light humor, emotional drama and, ultimately, a feeling of satisfaction and warmth to the viewer.
When a comedy of this type starts you know that at most it will entertain you. Although that will not be enough guarantee for you to stay since at any moment something may arise that will make you get up from the couch, caring very little about the story they were trying to tell us. However, in 'Monster Next Door' there is a factor that makes you want to continue in front of the screen until the final closing; and that detail for which you spend minutes after minutes and jump from one chapter to the next is none other than seeing its two protagonists.
That is to say, a key factor of the series is the performance of Big Thanakorn Kuljarassombat, an actor who plays God, who with his mix of attractiveness, generosity, humor and passion for playing music on the drums, manages to capture the essence of the romantic journey and transformation of his character. The relationship between him and Diew, played by Park Anantadej Sodsee, stands out for the depth of feelings they develop, creating a bond that captivates the audience.
Here Big Thanakorn Kuljarassombat proves himself again as an actor, after his debut in 2015 in the film 'Love Love You' and BL series such as 'Enchantment', 'Gen Y', 'My Mate Match', 'Big Dragon', among others.
What power of protagonism!, without ignoring that he was the star in his role as Ruy in 'My Mate Match', or as Suea in 'Love Songs Love Series X Years After: Our Promise… My Friend'. If anyone thinks that being a protagonist was trivial, this series proves them wrong. Big has been there in many series that we have all enjoyed, but always as the disposable character, as the third wheel, as the intruder who arrives to bother the other person and endanger the romance of the protagonist couple, so we have discarded and not taken into account. How lucky for us to be able to see him taking on this role!
On the other hand, it is the second acting job in front of the cameras that we see of Park Anantadej Sodseea, after getting into the shoes of Wayo, one of the leading characters in '2 Moons: The Ambassador'.
Perhaps the strongest point of the series is the way it is told. It is also notable how the characters are framed and described.
In this sense, the cosmopolitan university seems like a liberal queer space with some of its professors, librarians and food stall vendors presumably belonging to the LGBT+ community, and where secondary characters also support their partner establishing a romantic relationship with another person of their same gender, while others look for a partner of their own sex, since an interest is expressed among several friends of Diew and Good, but I will not say more to avoid spoilers.
As in any romantic comedy, 'Monster Next Door' makes one thing lead to another and both protagonists fall at the feet of the god Eros. Through a simple, direct premise, and a staging without much complexity, everything very effective, in my opinion, the series will make us laugh, entertain and also reflect.
Being in settings as close as the same university or with a wall in the middle, there are several opportunities for both boys to meet. However, God will respect Diew's request not to meet in person until he considers he is ready to look each other in the eyes. In this way, a beautiful friendly and romantic relationship is forged.
The series presents the usual topics of the romantic genre, giving them a different approach by having the protagonists separated by a thin wall. An easy and direct premise that, however, serves as a starting point for endless controversies that the main characters face in order to live together, while love grows between the two.
In the series, the result in the field of direction, by Kungfu Nitivat Cholvanichsiri, works thanks to that theatrical tone that is constantly represented through the simple interaction of its protagonists and the basic environments.
In summary, 'Monster Next Door' is emerging as an ideal option for those looking for a happy, tender and moving story that celebrates love and the beauty of simplicity. Although the plot does not escape certain clichés of the genre, this characteristic does not detract from its charm, but rather underlines the ability of its creators to tell universal stories with a new approach.
'Monster Next Door' is located within the large branch of love comedies for young people produced around the world, especially Hollywood, Bollywood, television in European and Latin American nations, and other latitudes. Its fun touches and carefree plot plus the use of a pleasant and pleasant rhythm manage to make the viewer watch the series without expecting anything other than what it suggests.
I am not going to say that it is a major work of television and if I analyze the different fields there is nothing that stands out. Soundtrack, script and actors simply acceptable.
However, it is a captivating story, perhaps it is the way it is told to us or the values ​​they present to us such as love, friendship, family and tenderness.
It made me smile and daydream from start to finish in the first three episodes aired and on which I based this review, and if that's not the goal of romantic comedies, then nothing is.

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"You should know, our friendship is called love"

The phrase that gives the review its title is pronounced by George to Alexander, the protagonists of 'Les amitiés particulières', the French film directed by Jean Delannoy in 1964.
Didier Haupedin, the actor who plays Alexander, was only 12 years old when he starred in the film that adapts the work of the same name by Roger Peyrefitte. The main theme is the relationship between the teenager George (Francis Lacombrade) and the boy Alexander, both students at a Catholic boarding school in the south of France in the mid-19th century.
Who would later star in films such as the Italian 'L'innocente', directed in 1976 by Luchino Visconti, and the Spanish 'Cotolay (The Boy and the Wolf)', by José Antonio Nieves Conde, and many others, will always be remembered for this performance, because it is impressive, for its young age, the variety of registers it is capable of offering, from childish joy and innocence to the expression of great inner disappointment and pain.
At only 14 years old, Brooke Shields, the American film, television and theater actress, model and writer, was filmed by the cameras of director and producer Randal Kleiser, in 'The Blue Lagoon' (1980). Already before, at 11, she got the lead role in the film 'Pretty Baby' (1978), by Louis Malle, in which she played a sexually exploited girl. Just turned 15, he starred in the drama 'Endless Love', by Franco Zeffirelli (1981).
After some minor roles, Irish-American actress Saoirse Ronan had her first leading role when she was not yet 15 years old, in the film 'City of Ember', the film adaptation of Jeanne DuPrau's novel. Immediately after, he starred in 'The Lovely Bones', directed by the Oscar-winning Peter Jackson, the New Zealand producer, screenwriter and director, known especially for producing, directing and co-writing the 'Lord of the Rings' film trilogy, as well as its prequel 'The Hobbit' trilogy.
The British 'Romeo and Juliet', a film adaptation of the play of the same name by William Shakespeare, filmed in 1968 by Franco Zeffirelli, has in its main roles the young and inexperienced Argentine actress Olivia Hussey and the also debuting British actor Leonard Whiting, who at the time of filming were 15 and 17 years old, respectively.
These are some of the many actors and actresses who began their acting careers at such a tender age.
'Love Sick', the remake of the 2014 series of the same name, brings us as protagonists two debut actors who, like those already mentioned, began their acting career at an early age, since Almond Poomsuwan Suwansatit, who plays Punn, is 16 years, while Progress Passawish Thamasungkeeti, the actor who plays Noh, has one less.
Directed by Cheewin Thanamin Wongskulphat ('Why R U?' - 2020), this director, producer and owner of Copy A Bangkok, who is credited with being the first producer of the Y series in Thailand, now repeats as director of the series, since in 2015 he directed 'Love Sick Season 2'.
Edited by Theerasan Petmai ('Addicted Heroin' – 2024) and a large youth cast, all newbies, the LGBT+-themed romantic youth drama 'Love Sick' adapts the web novel "Love Sick: The Chaotic Lives of Blue Shorts Guys", by Latika Chumpoo, to tell us a story with a simple plot that we have seen in other romantic dramas starring heterosexual or homosexual couples.
The boy who, despite having a girlfriend, is forced by his father to go out with a friend's daughter. To avoid this, he asks a schoolmate to pretend that they have a relationship and he, after resisting a couple of times, accepts, since he needs the other boy, as president of the Student Council, to intercede on behalf of the Club Music, of which he is the leader.
And for the pretend game to begin, both will need to have the help of one of them's sister, who is obsessed with the boys' love stories, and who will have to convince the father that the boy is not interested in the boys' love stories girls, but in those of the same gender. However, the fake relationship soon begins to seem real.
The problem, of course, is that friction makes affection. And, if a certain sexual chemistry is added to that from the beginning, why do we want more. Both face the discovery of their sexual orientation and problems at home, at school, with their girlfriends and friends.
This has been the premise of great exponents of this subgenre baptized in English as "faux-mance", among which stand out, among others, 'Marriage of Convenience' (1990), 'Nick and Norah: A Night of Love and Music', 'How to Lose a Guy in 10 Days' (2003), 'Holidate' (2020), 'Isi & Ossi' (2020), 'To All the Boys I've Loved Before (2018), 'Midnight at the Magnolia', 'The Proposal', 'Badly Wounded Hearts' (2022), 'Wedding Season' (2022), or the gay-themed 'Xi yan' ('The Wedding Banquet'), by Ang Lee, and 'Single All the Way' (2021), by Michael Mayer.
We all know the classic structure of romantic dramas with a fake boyfriend story: the boys meet each other, they may even dislike each other, but due to circumstances they must pretend to be boyfriends... and then they fall in love, they separate for some reason only to end... make the audience enjoy a fairy tale.
Although there have been some films and series in the genre that have attempted to break these conventions, most stick to the formula. Because? Because many of us love to see two people who initially have no feelings for each other fall in love, and if it comes with an LGBT+ twist, much better: it's not about what happens, but about how it happens, about making us leave aside our disbelief and awaken our faith in love. And in 'Love Sick', a series that has no intention of breaking any mold, the tenderness shown by the two protagonists will definitely melt your heart.
The truth is that with its message of love and acceptance, 'Love Sick', whose main component is romanticism, emerges as a delicious and tender romantic drama, with touches of humor, which is a gift for everyone, as it presents the discovery of first love by the two protagonists, who will falsely experience a courtship, which will give rise to hilarious, sparkling and emotional situations, before giving way to true love.
I n its favor, the fans were already there before its premiere, as the series pays tribute on its tenth anniversary to the first Thai BL series and also the initiator of the expansion of Asian boy love dramas to the rest of the world continent and the world. This will forever remain in my memory, the story of two ordinary boys like anyone else, who fake a courtship out of convenience and whose only intention is: the desire to live among others.
In 2014 I fell in love with the series after watching it half a dozen times. The excitement of seeing Captain Chonlathorn Kongyingyong and White Nawat Phumphothingam, playing Noh and Punn, respectively, and the rest of the youth cast still lingers.
After a long time, this week before the start of its remake I watched both seasons again, and in the process I wrote their corresponding reviews on MDL. I confirmed with joy that it still has the same effect on me as when I saw it back in the day.
Despite being newbies, Almond Poomsuwan Suwansatit and Progress Passawish Thamasungkeeti are charismatic and attractive: they perfectly sell this relationship to us and make us want them to end up together. The first makes his character the classic young man who hides his homosexuality and seems to be in love with his schoolmate, by saving photos of Noh on his phone, and takes the opportunity to approach him. Meanwhile, Noh, faced with so much tenderness and affection, cannot help but fall in love with the president of the Student Council.
'Love Sick' stands out for giving us everything one expects from this type of series, with the context of having as its setting an exclusive school for boys, full of diverse characters and a beautiful message about acceptance and discovery. It may fall a little short in the dramatic tensions department, but the tenderness of their romance more than makes up for it.
Although it is full of clichés, the story of Punn and Noh has candid moments that move and manage to bring a knowing smile to the viewer. Furthermore, looked at generously, the story invites a debate about the very nature of love, the family's reaction to their children coming out of the closet, and relationships based on mutual care that survive over time.
They are both teenagers living their first experience of love. One is a child who cannot ignore the feelings that are born and grow in his chest, and the other who, loving too, fears that his love may cause harm to those around them. They both repress their feelings. And that is what makes them so genuine and real, as they struggle with who they are and who they want to be, as they navigate their struggles to understand the limits of love, to learn to love, to discover who they truly are.
Starring actors who play two gay boys, and in which sexual orientation is not a dramatic focus, the tone of the series is festive, bright and, despite some flaws, it is deeply inspiring.
'Love Sick' may not be perfect, but it is a worthy tribute to the original series that tells a story of love and friendship between two boys who mutually discover their sexuality. It is, in short, the series that we needed to remember it and for those people who did not see the two-season drama broadcast on Channel 9 to enjoy the story.
It is appreciated the existence of a series in which its characters portray LGBT+ people in which conflicts do not prevail and also the warmth with which 'Love Sick' transmits the story it wants to tell.
The good tone of the story is rounded off by five luxurious secondary characters who elevate the dramatic moments: Lift Supoj Janjareonborn ('My Only 12%'), who assumes the role of Punn's father; Joy Dhanyabhorn Sondhikandha ('Hidden Agenda'), as Punn's mother; Pym Pympan Chalayanacupt ('Kidnap'), as Aim's mother; Tontae Tinnakorn Puwasakdiwong ('Venus in the Sky'), as the Sports day emcee, and Jennie Panhan ('The Shipper'), as Im.
All of them manage, together with the protagonists and the rest of the cast, to develop an imperfect story that continues an important path in favor of representation and diversity.
'Love Sick' may not become the BL series of the year, however, it has a certain luminosity that is worth highlighting, especially for the fact that it can demonstrate that homosexual relationships are as normal, as sweet, as heterosexual ones.
With a rich youthful vibe, the feel of the series is very young and fresh. The music helps a lot, as the soundtrack has been revised and expanded by Boy Sompob, who, as in the original series, is once again in charge of this section, and promises that listening to the iconic music again will really invoke nostalgia.
Directors and writers of the original series expand this world through the eyes of these two new boys who try to navigate trying to control their emotions and doubts, sharing with their girlfriends and friends and, ultimately, exploring their identity through 15 episodes 55 minutes long.
That is to say, the adaptation to the original series brings new depth to this story. Through the dialogues, the internal thoughts of the protagonists and numerous well-used flashbacks we will learn about all the things that the boys do not dare to express out loud, as well as those that have to do with the beautiful moments of a shared childhood, which allow us to fill in all the gaps and reveal to us the reason why these teenagers are so close to each other.
These scenes, which do appear in Latika Chumpoo's novel, were not incorporated into the 2014 series, which puts in context who these teenagers are, what ties unite them, while adding layers of tenderness that make the The link between Pun and Noh is as genuine as it is inevitable and fragile.
In short, the series is pleasant and harmless. It is true that the performances of the new actors are somewhat weak and their script could have needed some more layer of depth, especially when it came to portraying the characters. But sometimes nothing else is needed to work. And he does it.
The light plot with captivating characters full of chemistry is what makes this teen romance series, despite its flaws, perfect for distracting the mind and warming the heart.
True to the original in tone and spirit, its pace is a little faster, more polished and elegant: it's well made and the boys are promising. They are, in short, the new and future protagonists of BL series.
"You should know, our friendship is called love", the phrase with which I end the review, could very well have been said by our two protagonists.

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Being a virgin at 30 has rewards: the fairy tale with magical gay romance that will steal your heart

Since Jean Cocteau put on the screen the load of imagination, surrealism and magic, bringing romance even to the gothicism of horror films with the premiere of 'Beauty and the Beast' (La belle et la bête), based on the 1757 story de Beaumont, the film productions in which fantasy and love come together continue to amaze.
If in that 1946 film a portrait of the Beast was achieved as a terrifying, erotic and sensitive creature, capable of making Beauty fall in love, since then the cinematographic narrative has diversified, making fantasy, magic and romance go hand in hand. hand.
On that path we have films like 'Somewhere in Time', from 1980; 'Starman' (1984), by John Carpenter; 'Ladyhawke,1985; 'The Purple Rose of the Cairo', 1985), by Woody Allen; 'The Princess Bride', 1987; 'Edward Scissorhands', 1990, by Tim Burton; 'Ghost,' (1990; 'Groundhog Day', 1993; 'Ghostbusters', 1984; 'Mortal Zombie' (Return of the living dead 3, 1993; 'What Dreams May Come', 1998.
Spells to attract love, spells to captivate the perfect lover, witches on their broom throwing magic dust into the air, frogs transforming themselves into princes, mysteries, rituals, spells and magic potions capable of transforming love lives have been used in audiovisual productions whose thread Common among all of them is the imagination in their plot, unaware of limits, an exploration of the impossible that helps - and a lot - to entertain.
BL series also show stories where magical powers are mixed with interdimensional love, musical crystal balls, candies with special powers, travel through time, zombies and ghosts, mutant beings, cats and dogs that become humans and vice versa. In this way, magical visions of love have managed to cross the boundaries of genre to talk about the only thing that truly matters.
'Be My Favorite', 'My Lucky Cat', 'Absolute Zero', '30-sai made Dotei Da to Mahotsukai ni Nareru rashii', 'First Love for the Third Time'; 'I Feel You Linger In The Air', 'Tinted With You', 'Love between fairy and devil', 'Cang lan jue', 'Sound candy', 'See you in my 19th life', 'Revenant', and Heartbeat are some of them.
Based on a 2020 Japanese drama, in turn adapted from a 2018 manga series written by Yuu Toyota, 'Cherry Magic' is a tender and fun Thai BL that tells an office romance with a quirky fantasy touch, starring New Thitipoom Techa-apaikhun, as Achi and Tay Tawan Vihokratana, as Karam. The actors bring a natural warmth and authentic ease to their performances. With a relentlessly positive tone, the series achieves the perfect fusion of sensitive humor and touching sentimentality.
It has numerous truly funny moments. Contrary to the opinion of detractors of the genre, there is nothing wrong with a romantic comedy with a hit of solid and sincere fantasy, which is exactly what this series is.
Its director, X Nuttapong Mongkolsawas (who has dramas such as Our Skyy 2, Viceversa and Theory of Love, among many others), achieves one of the best series of the genre. Featuring a charismatic couple, you'll smile every episode as their fairytale romance unfolds. This fun BL drama has a lot of charm, humor, positivity and imagination within it.
This romantic comedy with a creative story, a cute couple and a joyful love relationship dynamic, tells how Achi, a shy and modest man with an office job, acquires a special power that makes him know love.
The protagonist has never had sex. In fact, he is not looking to establish a romantic relationship because he is afraid of love. He, who lived an ordinary existence and on the eve of turning 30, never thought that his life would become magical, nor that an unexpected love would be closer than he imagined.
Our hero admires Karam (Tay Tawan Vihokratana), the handsome, cool and talented office colleague at the Toyokawa company, the epitome of a being who exudes kindness and beauty at every step. In his eyes, Karam is a demigod while he is an inferior being next to him. Considered the company's best salesperson for 7 consecutive years, Karam exudes the image of being popular among women and a successful man both at work and in his personal life due to his immaculate perfection in dressing and his gentleness.
While surfing the Internet with Rock (Sing Harit Cheewagaroon), his new office colleague, he reads that there is a belief that arriving a virgin in his thirties can obtain "magical power." He doesn't think this is possible... but if it's true, how would this kind of magic choose him?
Achi will discover to her amazement that she has suddenly developed a magical power that allows her to read other people's minds every time they touch each other. This new skill completely changes your life and will bring you fun and exciting surprises. Although at first he refuses to have that ability, everything becomes complicated when she reveals to him that Karam is in love with him!
In world cinematography, possessing the ability to read minds is pursued by evil forces to take over and cause evil. Achi, who rarely exploits his powers, only uses them to help others when they have a work problem and they don't know what is happening or how to act in that case, especially Karam, and to read the thoughts of his friends. co-workers and the man she loves. Most of the time you will know what others think accidentally. He is easily afraid of having these powers.
His powers will also bring him misunderstandings, such as initially believing that Pai (Jan Ployshompoo Supasap), his co-worker, is in love with him, only to later discover that she has actually realized the secret and budding love bond between Achi and Karam and supports that relationship.
As in a fairy tale, you develop a magical ability that helps you read the minds of others, only to discover that the most attractive young man in the company, whom you always secretly admired, also has a secret that concerns you: he is crazy in love with you.
The demigod who always seemed unattainable to you because he was light years away from you, is a prince charming who dreams of spending his life by your side. It is you who are truly the prince charming of her dreams. In reality, it is you who have been unattainable for him, since he has wanted to confess his love to you for years and has not dared, and if you know it, it is all thanks to the newly acquired skills. This is the definition of a self-gratifying fantasy like perhaps none other before it.
The fairy tale is not over yet. Imagine that you are a person who undervalues ​​yourself and is full of insecurities and fears in all aspects of life, including love, but by knowing you are loved you will begin an empowering journey of self-discovery and personal growth. Imagine that you will help your loved one to let down his guard, to calm him down without the constant need to be perfect. This is what Achi will experience. On this journey, Karam takes him by the hand and they travel together.
And from the point of view of the person you love, he is willing to be for you the perfect lover, gentle and chivalrous, faithful companion, friend for life. He has silently wanted it since he met you at the company when they started working on the same day, 7 years ago. He will see in you how good you are, even when you don't trust yourself.
In every fairy tale there is a perfect couple. This is because they are kind, empathetic, sensitive and positive with each other. The two complement each other, motivate, encourage and support each other. They are the example of a happy and healthy BL couple.
As a viewer, Achi and Karam immerse me in their pure and tender romance. Perfectly, I visualize how their relationship develops from co-workers to boyfriends.
Although at first glance Karam seems superficial and distant, thanks to the power of Achi we will soon learn that he is in love with his co-worker and has the noblest feelings towards him.
Manow Waneepan Ounphoklang, PingPong Suwanun Pohgudsai and Mook Jarinee Thanomyat are in charge of writing a drama that every BL fan must see, representing characters who are not afraid to express their feelings and for moments full of innocent romantic interactions. On the other hand, it has an extremely fun secondary couple and something that is not seen much in series of this theme: there is no toxicity.
Achi confides in Jinta, her friend from college, that she has magical powers. Jinta, a romance writer with an eccentric personality, doesn't believe Achi at first, but ends up developing the same ability when he reaches his thirties, weeks later. In this way, she will be able to read the mind of Min, a young courier who makes deliveries to her apartment, and begins to fall in love with him.
For complete understanding, I like to divide the series into two parts. The first half focuses on Achi discovering his magical powers, learning with surprise that he is loved, and the rapprochement between him and Karam as she develops feelings for him. Achi will find the self-confidence to open himself to love.
The second half follows Achi and Karam as a couple, how they get along and are happy with each other. Only towards the end will some tension arise that will test the love of the two, when Achi's magical powers become a burden on their relationship and may end it.
You can appreciate his unlimited imagination in 'Cherry Magic'. The original, unique premise allows many fun scenarios to develop. Every time the two protagonists touch each other, Achi can hear Karam's thoughts about his secret crush. These scenes are handled delicately, making them fun rather than invasive.
You will run the risk of ending up liking Karam more because his inner thoughts are so pure and innocent.
In the original Japanese series, the main couple never kisses on the lips. Will they kiss in the Thai version? Will the couple's physical intimacy be left to the imagination? Like in the country of the Rising Sun, in this drama we will only have kisses on the forehead? I confess something: kisses like the ones given by Karam to Achi on the forehead will have a new meaning in our lives after watching this drama. We will long for them. We will dream of them. We will want to receive a kiss with that passion from our loved one. What's more, kisses on the lips will not be necessary as a sign of pure and true love.
Since I read the premise of 'Cherry Magic', several questions arise: Will the shy Achi be able to demonstrate his love to Karam confidently and openly? Will they be able to resolve the conflict that is already occurring in the final moments? Will they be able to reconcile their differences and have a happy ending? Will Achi know how to say goodbye to his magical powers after losing his virginity or will he cling to them so they don't abandon him? Is possessing magical power or love more important? Even though she no longer has the magical ability, will she still love Karam? Will she be able to know what her boyfriend is thinking, even without the magic power?

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Love, like life, is a series of steps, and we must start with the first one

Imagine 'Hotel del Luna' (2019), by South Korean Oh Choong Hwanm without ghosts walking through the rooms, 'Meet Me Outside' (2020), by Filipino JP Habac, without dating apps, or 'Hit Bite Love' 2023, by Thai Yuan Tin Tun Danop, with two lovers enjoying the pleasures and dangers of BDSM (something that breaks the tone of the series towards the end), and you will get 'The Renovation'.
If this setup sounds generic, that's because it is. However, the Thai miniseries of the romantic genre by Nob Sathanapong Limwongtong, director of numerous BL series, such as 'La Cuisine' (2022), 'Ai Long Nhai' (2022), 'Gen Y' (2021) and 'Gen Y Season 2' (2022), among others, manages to find some new angles and emotionally effective ways to examine those turbulent feelings that arise when two people fall in love.
There are many much more urgent and exciting Asian BL miniseries with similar plots, but 'The Renovation' more or less falls into the above-average range of this crowded genre due in large part to the authentic and nuanced performances of its young actors.
Scripted by Wittavat Sungsakijha, the short drama of two episodes lasting one hour each, revolves around Manu (Kunavut Jirattikorn), a young architect unlucky in love who seeks to heal his heart, and P (Peter Paratthakorn Duangsawang), a nerd who recently graduated abroad, who dreams of being a writer and is looking for both a plot for his first novel and true love.
Their lives intersect when P arrives at a hotel complex under renovation owned by Manu, located on Hua Hin beach, one of the most famous tourist destinations among Thais thanks to its proximity to Bangkok, with a reservation confirmation and previously paid stay via social networks, waiting to find inspiration for his first novel.
While Manu assures that there could have been an error in the reservation system and that, as a solution, he could disburse his money through the same payment mechanism, but it could take around fifteen days, P will claim that he likes the atmosphere of the hotel, even being under renovation, so it doesn't bother you to stay in those conditions.
Without staff to attend to him, P will demand that Manu himself, as the owner of the resort, be the one who receives and cares for him during the days of his stay.
And although that is a perfect and quiet place to vacation or wait for the muses, it will also be a place for a palpable romantic tension to arise between Manu and P, and they develop an emotional evolution quickly, making it possible for one to find that person in the other. May it heal your heart, and the other that first true love that you were waiting for, and maybe, maybe, the inspiration for your novel.
I like the quotes of song lyrics, poems and phrases from musicians, poets and businessmen, such as Bob Marley, Ralph Ransom and Sam Walton, visible on the walls of the hotel.
I like how Manu begins to laugh and gains affability after the night in which he drinks with P and then takes him, when he is in a state of intoxication, to the guest room, gives him a dry bath and, with great modesty, He changes his clothes so that he can sleep peacefully. His distant and cold personality gradually transforms once he comes into contact with P and they begin to get closer.
Peter recreates P's open, frank and expressive personality with great success. The young actor is a pleasure to watch for his portrayal of the flirtatious visitor, eager to realize his dreams as a writer and find love.
Some other scenes establish flirtation and obvious sexual tension between the two: invitations to eat the food prepared by one of them in the absence of service personnel, that one visits the other in his room, worried, to make sure he is well, that Manu offers P a strong black coffee for a hangover, the way in which one takes care of the other, the games in the pool or those in which one paints the other's body, their dates for ice cream, on the edge of the pool or among lit candles at the Moonlight to eat squid…
Where did these two debut actors come from who, with their presence, fill the screen and demonstrate a chemistry that goes beyond the physical realm, being emotional, psychological and fully satisfying. I would like to see them in other projects with a better budget and script, in more complex characters.
Simple and direct, the romantic comedy emits refreshing and relaxing vibes, about two boys who, due to the circumstances described above, live together in a beach resort one summer and little by little open to love.
Filmed at the Paskani Hun Hin Resort, the beautiful photography by Nattapong Pakdeesri ('Gen Y 2, 2022), also shows the beach town that is 3 hours from Bangkok (200 km), and the 3 kilometers of little beach busy Hua Hin, a place famous for being a family-friendly and friendly destination, also thanks to its relationship with the Thai monarchy, since several kings have frequented this beach city usual.
The interest is not in the narrative arc as presented, but in the understanding of what they think and feel: the resort owner who heals the wounds of a recent breakup and feels confused, uncomfortable, in the presence of P, and the visitor who raises suspicions as a person interested in discovering the secrets of the hotel and its owner.
I'm looking forward to the second and final episode.

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The gong/seme strives to recover his shou/uke by repenting of his mistakes
What is reincarnation? According to its definition, reincarnation is the belief that the individual essence of people begins a new life in a different body or physical form after biological death. That is, it is the belief that, after dying, each of us will begin a new life in a new body.
Of course, in both film and television, this idea, this belief, has been explored from all angles: horror, comedy, suspense and also romance.
When we talk about reincarnation, this possibility of living a new life in a new body after death, is presented to the stuntman named Joe (Poom Phuripan Sapsangsawat - 'Bake Me Please', 2023; 'Saneha Stories Season 4: Saiyai Saneha', 2022), who, after a fatal accident, in a trick of fate, suddenly comes back to life but in the body of another person of the same name who had suffered an accident on the same day.
The LGBT+ themed romantic drama 'My Stand-In' (ตัวนาย ตัวแทน/Tua Nai Tua Thaen) revolves around Joe's new life after his reincarnation. When he wakes up, Joe finds himself immersed in what seems to be the same world he has just left, with the same people around him and the same destiny as before, since both his professional career and personal life remain identical: he is the substitute by the young and famous actor Tong (Mek Jirakit Thawornwong - 'Star and Sky: Sky in Your Heart', 'Star and Sky: Star in My Mind', both 2022; 'Kiss Me Again, 2018').
With the possibility of accessing the memories and knowledge of his past life, Joe meets Ming again (Up Poompat Iam-samang - 'Lovely Writer', 2021; 'Club Sapan Fine Season 2', 2022), with whom he had a relationship. deep relationship in the afterlife. Joe will remember that his death is the result of an accident during filming that took place after discovering that Ming has always considered him as his second choice. After learning this painful truth, Joe is forced to work on a film set abroad where tragedy occurs.
However, in this life, Ming wants Joe to return to his side like before and Joe doesn't know why, because the relationship they both had was always toxic and suffocating. Ming, who has retained all his memories of old Joe, tries to find the truth about his new life to finally offer him the explanation he was never able to give him.
Now, in a new existence full of uncertainties, Joe will have the opportunity to reflect on himself and his place in the world, which has never been free of the shadow of being a stuntman.
Will Joe escape his tragic destiny as a substitute? Will Ming manage to rekindle the love between the two through a plan as crazy as it is imaginative? Can Ming redeem himself for the suffering caused to Joe in the afterlife through repentance and rectification? Will the relationship between the two have, like Joe with his reincarnation, a second chance?
From directors Khom Kongkiat Khomsiri ('KinnPorsche', 2022, 'The Promise', 2023) and Pepzi Banchorn Vorasataree ('Dark Blue Kiss', 2019, 'KinnPorsche'), the series 'My Stand-In' is the Thai adaptation from the popular novel "Professional Body Double" (职业替身), by Chinese writer Shui Qian Cheng.
If someone asked me: what is so special about the series?, I would answer:
- The captivating story of romance, fantasy, mystery and the power of love throughout lives.
- The idea of twists of fate and the possibility of second chances.
- Revitalizing the theme of reincarnation not only in the concept that the protagonist reincarnates, but also that he can access the memories and knowledge of his past lives. This helps in character and story development.
- Reincarnation as a concept or idea that, after death, we can return and get a second chance, takes the vertigo away from the finitude of human life.
- Addressing an attractive and complex topic such as reincarnation, which oscillates between the fun suggestions of the fantastic imagination and the sacredness of Eastern religions.
- Be adapted from a novel of the danmei genre which in turn is based on the "scum gong/crematorium" dynamic, in which gong is a term used to identify the seme, and crematorium means "crying for the lover who is gone ". In this perspective, when the gong/seme realizes his mistakes too late and has to make an effort to recover the person he loves, that is, his shou/uke, at any cost.
The series is just beginning. We will have to closely follow Joe, Ming and Tong, characters who have captured all our attention.

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A modern queer spin on a classic bedroom farce

Let's say you're gay, 25 years old, and you live alone, and you don't want to associate with heterosexuals.
Let's say that your friend and fellow university student, a year older than you, who defines himself as heterosexual, has just broken up with his girlfriend and moved into your house.
Let's things get even more complicated when, in order not to sleep on the hard, cold floor, he gets into your bed and sleeps next to you, linking his hands and feet with your body.
Let's warn that no matter how angry you look and the constant invitations to look for a rental apartment, the new tenant will refuse to leave, claiming that he likes living with you, and that your large house could very well be shared by both of you.
Let's imagine that he claims that even though he knows that you are gay, he does not find it uncomfortable living with you, as he is a person who is easy to get along with.
Let's affirm that he tells you that he has no impediment to living with a homosexual boy, if at the end of the day neither of the two is interested in the other since one does not like men, and the other likes the type of intelligent and fun boy, the one who makes you feel loved and praised, and who has the same taste in movies, something that, according to you, your straight friend does not have.
Let's say that you arrive home drunk and frustrated after your date didn't arrive at the meeting place and you ask your friend to undress you and put you in the shower.
Let's say that your friend would like to understand your homosexual life and to do so he reads the BL novels and mangas that you keep on the shelf.
Let's confirm that he takes you home so you can meet his family.
Let's assume that to try to understand you better, your friend meets another homosexual boy in your same house, and he turns out to be your ex-boyfriend, who abandoned you for a girl.
Let's imagine that his heterosexual heart begins to beat rapidly every time you touch his cheeks, or discover it, at night, while you pretend to sleep, that he covers your body with a blanket, casually plays with your hair and gives you a kiss on the forehead.
Let's certify that your heterosexual friend surprises you in your job as a bartender in a gay bar, and behind his back you surprise him talking to your co-workers and clients about his "life as a couple" with you.
Let's make sure that on a date with heterosexual girls your friend tells them about his daily life with you, and they blurt out in his face, very funny and complicit, that his actions are those of a gay boy in love.
Let's confirm that your best friend has to listen to your recriminations about being single because of him, because you can't get a boyfriend when he is sleeping with you next to him every night.
Let's confirm that when we see them arguing with each other in the middle of the street or in shopping centers, they are mistaken by everyone for a gay couple.
Let us witness that the sexual tension between the two boys shoots up to unimaginable limits.
Let us state that the constant proximity of structural bodies and physical contact provokes desire in the two young people.
We agree that looks full of desire, as the basis of eroticism, are taken to the maximum by measuring the distances between bodies.
Let us confirm that the erotic charge increases when the two friends move over very short distances not only with their genitals close, but also referring to them.
Let's support that without intending it you have developed feelings for your friend.
Let's proclaim that your friend, who has always defined himself as heterosexual, finds himself in love with you.
Let's confirm that your heterosexual friend suddenly recognizes that he likes someone who is not tall, that although he appears irritable his angry face is still cute, that at night he lets him hug him to sleep peacefully, and that he has made him enter a new world to he.
Let us maintain that secretly, he has described you.
'Bedmate or Bad Mate', the Taiwanese web series, is a modern queer spin on a classic bedroom farce where relationships old and new will be tested when the boundaries of friendship, love and sex collide when life comes to a head. The harmonious and calm life of Hao Chen, a young homosexual, is interrupted by his heterosexual friend Wang Da Zhi, an athletic and expressive boy, when he decides to move into his room after breaking up with his girlfriend.
In this delicious and fun LGBT+ romantic comedy about two roommates who try to live in harmony, their different personalities will cause an eternal dispute between them for even the most unexpected reasons, which will lead them to get to know each other and get closer.
'Bedmate or Bad Mate', which has all those characteristics that make you remember it for a long time, reminds me of series like 'My Gay Roommate', a 2012 North American comedy, directed by Austin Bening, about the funny stories of a straight boy and his gay roommate, starring Noam Ash and Drew Paramore.
But here friends go for more.
Successful use of words and phrases with double meanings, of inanimate figures that come to life to express the emotions and feelings that overwhelm the characters; of the internal monologue and the breaking of the fourth wall so that the protagonists let us know about the past of the two characters and the new reality they live.
I also like the use of the mockumentary film technique as a way for Wang Da Zhi to interview young homosexuals to try to understand what he feels for Hao Che.
Among those interviewed, there is someone who suggests that he keep it simple when expressing his feelings: "Just tell him directly that you like him and that's it."
In summary: 'Bedmate or Bad Mate' is a fun and entertaining comedy that addresses the issue of diversity intelligently and without falling into stereotypes. The performances are convincing and there is good chemistry between the main characters.
However, the script is a bit predictable and the web series is not very original. Also, some parts are a bit forced and the dialogues are sometimes a bit forced.
Still, I recommend seeing it. It will make you laugh and daydream.

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BY WAY OF INTRODUCTION

In 2023, a story about a young man who spies on his company president's favorite reclusive artist to get his job back, captured the hearts of Korean series enthusiasts in general and lovers of boy love stories in particular.
TVING's original drama 'Unintentional Love Story', based on the manhwa and webtoon of the same name, written by Phoebe, starring Cha Seo Won as Yoon Tae Joon, and Gong Chan as Ji Won Young, showed us a second couple, played by actors Woo Tae Min ('You Make Me Dance', 2021), and Han Do Woo ('Love Playlist: Season 5' (2021), the former playing Go Ho Tae, and the latter playing Kim Dong Hee.
Loved by fans and the cause of the so-called "sub-disease" or love for the protagonists of the stories attached to the main one, at the end of the series complaints rained down requesting that the story of Ho Tae and Dong Hee be resumed to tell the exciting previous relationship between these two young people that was not included in the series, especially one that reflected their exciting school days.
Ultimately, the request was to represent in another work the vague narrative and interesting relationship of the couple made up of Go Ho Tae and Kim Dong Hee; but equally, that the future main couple was assumed by the same actors, with the same character names.
Thus came the idea of ​​filming a spin-off to tell a sad, but at the same time beautiful and tender story of two children who grew up together and discovered mutual love.
Directed by Yang Kyung Hee, a renowned director who has filmed several BL stories, such as 'A Tractor Loaded with Love' and 'The Director Who Buys Me Dinner', both from 2023, or 'I Wanna Bite It' ('Kissable Lips' ), from 2022, and 'Florida Banjeom', from 2021, and with the script masterfully crafted by Shin Yoo ('Where Your Eyes Linger', 2020), the film 'The Time of Fever' ('When your temperature touches my fingers' '), introduces the viewer to an immersive narrative journey.
At the forefront, Won Tae Min shines as a straight swimmer who one day discovers he's in love with his best friend, along with Han Do Woo's nuanced portrayal of the character he plays, and the support of a talented cast who bring depth to their respective roles.

ABOUT THE DIRECTOR AND HIS WORK

In the film, its director approaches the issue of homosexuality with an intimate and personal approach, a topic that, as has already been said, he has addressed on previous occasions.
Yang Kyung Hee's work is marked by a display of sexual and emotional discovery, a theme that is addressed in a very suggestive way in 'The Time of Fever'. Far from reaching that need to search for personal identity from the beginning, with this film, the South Korean director takes up a love story not told in depth in an original story already brought to the small screen.
Therefore, from the perspective of the journey to the roots, a reunion between two old friends ends up becoming a labyrinth of passions. What stands out about the script is that it gets rid of superficial flourishes or moral dilemmas about the conception of masculinity. Although at certain moments he highlights the clichés surrounding homosexuality, he then puts them aside to reveal an internal story. Thanks to this, it gives the public a love story without consuming, where the fact that they are men becomes something circumstantial, but necessary.
In this way, the film talks about feelings and the attractiveness of emotion, where the physical becomes the result of an intimacy that occurs prior to sexual relations. It cannot be denied that that depth about what it means to love, desire or suffer is what makes the difference. Although the story follows a structure that has already been seen previously in other films, also with LGBT+ themes, perhaps, that naturalness of the unexpected love between two people with a common past makes it become a different film.

THE HISTORY

Produced by Number Three Pictures Co., Ltd., the film tells us that Ho Tae and Dong Hee have grown up as brothers since childhood. Ho Tae, who was born in Gangneung and moved to Seoul the year he graduated from primary school due to problems with his father's business, was never particularly interested in studying. For this reason, he started swimming at the school he transferred to in the South Korean capital.
Owner of enough talent to occupy a high position on the swimming team, he is forced to return to his hometown after his father's funeral, because his mother decided that they would return to start a business.
Upon returning home, Ho Tae, now 17 years old, discovered that Dong Hee, who is two years older than him, had filled the space that had been empty for a long time. Dong Hee, who had been expelled from his father's house after admitting to his family that he is homosexual, found a roof over his head in Ho Tae's uninhabited house.
Born as sons of friendly mothers, both, without any full siblings, grew up together as older and younger neighborhood brothers.
In the summer of Dong Hee's third year at High School, Ho Tae returned. The two meet again and end up living together under the same roof.
Despite their close brotherly bond, Dong Hee, who has hidden his homosexuality after being beaten by his father, who also called him "mentally ill" for this reason, cannot help but feel emotional when he sees Ho Tae, who is like a real brother to him, but he is also his first love, and he tries to repress his feelings. But it's not easy to bury these feelings.
Similarly, Ho Tae, who sees his friend as a kind young man who likes to smile, confronted with Dong Hee's presence, also develops feelings for the boy whom he has not seen in a long time, but is confused by those feelings sensations stirring inside him that he had never experienced before.
In an effort to escape his confusing emotions, Ho Tae begins dating girls in superficial relationships, which inadvertently causes pain to the previously independent Student Council president and valedictorian of his school.
As their dynamic changes after an unforeseen event, the delicate balance of their relationship hangs in the balance.

OF ACTORS AND CHARACTERS

Having a cast with few performers allows the acting direction to be focused and give greater impact to those who participate. In this way, in 'The Time of Fever' the protagonist duo is exploited above all. On the one hand, Woo Tae Min offers a metamorphosis in his character that gives him the ability to shine at an acting level. Along with this, you can see that he has a connection with the camera, giving realism and naturalness to his character at all times. Furthermore, the mischief with which he balances the most subjective effect contrasts with the sensitivity that he lets emerge at every step. It should also be noted that he is generous with his co-star, given that they form a team with great chemistry, where the tension necessary for this type of narrative is perceived.
On the other hand, Han Do Woo uses that connection with his co-star to his advantage, given that what begins as a performance in the background ends up exploiting his quality as an actor. On the one hand, it has that exquisite familiarity, which combines perfectly with the tone of the film and, then, it knows how to perfectly convey that whirlwind of sensations that lives inside. Likewise, it would be important to highlight the difficulty of being on a more restrained level, in the face of a reaction that follows that slower line, but letting out all the emotional tear that it suffers, with gestures and physical expression, something that it achieves perfectly.
With solid performances from both actors, I would highlight actor Do Woo's deeply repressed emotional performance. Won Tae Min's acting, which was childish but serious, is also very good.
They both express their feelings and emotions well. Both powerfully show the vision of two people leaning on each other's shoulders and seeming lost in deep thought.
Personally, I can perfectly empathize with the feelings and circumstances of the two characters.

SOME THOUGHTS

Korean LGBT+ films and series have gained significant popularity in recent years, captivating audiences with their heartfelt narratives and compelling characters. This lineup is joined by the spin-off of 'Unintentional Love Story'.
From the trailer, I anticipated that the reunion between the two old friends would provoke a complex mix of emotions, particularly for Dong Hee, whose affection for Ho Tae runs deeper than brotherly love. Upon learning that 'The Time of Fever' was in the process of filming, I was deeply curious to witness the synergy between these two young actors, and I must admit that they did not disappoint me.
This is one of the Korean LGBT+ film productions that delve into themes of love, friendship and self-discovery within the context of same-sex relationships. Through its delicate depiction of emotions and nuanced storytelling, this film offers viewers a unique combination of romance and drama, providing insight into the complexities of love and identity in contemporary Korean society.
The temporal background of the work is from the fall of 2013 to the spring of 2014, and from there it jumps, in its final scenes, to the present, to make it coincide with the story told in 'Unintentional Love Story', in which It tells the reunion of Dong Hee with Ho Tae, when the former returns to his hometown after studying in Seoul, while the latter runs a business with his mother.
As was the case with the OST sung by actress Cha Seo Won in 'Unintentional Love Story', the OST sung by Won Tae Min in 'The Time of Fever' is one of the many notable aspects of the film.
In addition to "You Call My Name", by B1A4, used as the final song, we will hear in the soft and emotional voice of the actor who plays Ho Tae the song "What If (원태민), composed by Kwak Jeong Im, which captures the deep emotions of the film, and "Someday Again" (언젠가 또 다시), by Masa (도우).
The viewer will feel as if the lyrics of the songs and the content of the film are intertwined, further increasing the emotions.
And the kiss scenes, especially the first one... still shake me because of their tension and the tremor of that moment.
The cameo of Gong Chan, who played Ji Won Young in 'Unintentional Love Story', is a special and long-awaited appearance.
The cinematography is exquisite. The day and night views of Donghae-si, Samcheok-si and Gangwon-do, Samcheok Meister High School and Mangsang Beach, where the film was shot, are beautiful.
Even knowing that the ending would not be happy, in order to connect the story with that told in 'Unintentional Love Story', the exploration that 'The Time of Fever' makes about sexuality is one of the most attractive that South Korean cinema has given. in a long time, with maturity, without resentments and with much more reality than fantasy. A story that will break our own internal and external limits, as it will make us cry, it will tear our hearts, but we will always keep in mind that the story of Ho Tae and Dong Hee does not end here.
Despite the lack of sincerity of the two in not expressly acknowledging their feelings, the rapprochement between both characters, very well carried out by Woo Tae Min and Han Do Woo, is honest and credible, a teenage friendship that is slowly growing. They are the story and it is the chemistry between them that allows the film to be beautiful, at the same time sad and heartbreaking.

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Relatable teenagers discovering sexuality in a fairy tale with LGBT+ characters

With a police investigation for the possible murder of a "Rose Garden College" student, 'Hit Bite Love' introduces the viewer to a story that follows six teenagers who decide to break all the taboos and learn the real truth about love, pain and growth.
Directed by Jakkaphong Pachara (Yuan), the daring series adorned with sexual scenes revolves around three couples with Shokun (Woraphon Charoensuk - Bigboss) as the protagonist and main narrator.
The plot of the Thai romantic school drama comedy could be described as a modern, youthful fairy tale with LGBT+ characters, although in this case, the prince has been replaced by an attractive student council president of a high society high school named Matteo (Alan Campana), who likes to enjoy the pleasures and dangers of BDSM, and Cinderella is played by a music-loving boy who has just broken up with his partner, because he wants to have a romantic relationship that is not secret, like the one you have experienced until now.
After experiencing a tumultuous romance with Ken (Napolpong Sooksombut – Pure), a star player on the basketball team, Shokun decides to put an end to the toxic relationship because he does not feel satisfied: Ken is afraid to publicly acknowledge his sexuality and has condemned him to only having sex secret and hot in the locker room, while appearing to be heterosexual.
Shokun will be captivated by the attractive, seductive and also very intimidating Matteo, a young man with a strong narcissistic personality, who will take advantage of Shokun's innocence, candor, broken heart and desire to be part of the music club, to force him to participate. with him in his erotic games or else he would expose his sexual encounters in the showers.
The scriptwriter Orachat Brahmasreni (Poy) has created a narrative text that, in addition to faithfully portraying the concerns of adolescents in any current society, with their fears, their dreams and their lack of experience with life, also represents some of the elements of the usual love fables, but with an impressive change: it proposes a world that is more than a story, but a nightmare, with regard to the affectivity and sexuality of its protagonists.
The image of the attractive and lucky prince will soon crack when we learn, at the same time as Shokun, about Matteo's sexual tendencies, dominated by sadism, submission and violence (controlled, of course) and his inability to maintain a "normal" relationship with other people. All of this is enhanced by Shokun's doubts and insecurities, who has not yet maintained a full loving relationship, despite having had sex with another boy, which makes the difference between the two more extreme.
Obviously there is attraction between the two, but Matteo has a secret that Shokun is not prepared for: he wants Shokun to be his submissive, while he would be his dominant.
Shokun's innocent and infatuated world will be shattered when he discovers that he is blackmailed by someone who hides a dark and shadowy face, sexual inclinations dominated by sadism and submission. Matteo will try to introduce Shokun to his sexual and emotional reality, while Shokun, surprised by Matteo's peculiar erotic practices, will seek to find out the reason for his tastes and his way of being. But what they both don't know is that the descent into hell that involves immersing themselves in rough and sadistic sex will make love emerge.
The story of Shokun and Matteo could be considered a "sui generis" homosexual urban fable in which some of its most sordid elements are enhanced. But don't be scared..., in addition to whips, handcuffs and other instruments of domination-submission typical of BDSM, 'Hit Bite Love' demonstrates how love can change people by making them grow spiritually.
As he develops feelings for Shokun, Matteo will not hesitate to stop being dominant and become submissive, fearing that Shokun is not ready. And Shokun agrees to be subdued by Matteo because he prefers pain and even humiliation before leaving his world. Until finally, Matteo chooses to give up BDSM, because all he wants is to be Shokun's boyfriend and have him forever by his side. Don't you think this is a beautiful declaration of love?
The series also manages to narrate some scenes that undoubtedly trigger the lividity of the person who watches its six episodes.
That the script is not perfect, that the performances are not perfect. It is true, but the series aims to explore various concepts associated with teenage dramas, such as sexual diversity, sex, the power of friendship, forgiveness, understanding, personal growth and the transition to the adult world.
And not from the perspective of millionaires and heterosexual college girls in liberal and cold Manhattan, as 'Fifty Shades of Grey' proposes, but from the perspective of homosexual teenagers from a country where homosexuality is considered taboo and the marriage between people of the same sex.
With a plot thread similar to that of the Spanish series Élite, created by Carlos Montero Castiñeira and Darío Madrona, 'Hit Bite Love' shows other important elements, such as betrayals, revenge, double standards, family violence, gender violence, homophobia, internalized homophobia, toxic relationships, teenage sex, feelings of guilt, attempted suicide, seeking refuge in social networks or the interest in exposing people's privacy to public ridicule, among others. Is any of this foreign to today's teenagers?
The other couple is King, Shogun's friend and president of the drama club, and Burger (Vasin Traiprakhong – Jur), a transfer student at the school, who will find themselves immersed in a tender and fun relationship based on a misunderstanding.
And finally, we have the couple made up of Saint (Natthapat Meesuk - Tae), Matteo's friend and vice president of the student council, and Hida (Vittawin Panichtamrong - Vic), who have become brothers not related by blood, when the former's mother gets married. with the second's father. They will both be united by a relationship that goes beyond these family ties.
The breakup of Shokun and Ken, the arrival at Burger's school as a transfer student or the strengthening of the bond between the stepbrothers Hida and Saint will end up causing a series of events that, with a police investigation as a backdrop, will shake everyone's lives those involved.
Another element to highlight is the music. The cast itself is the one who sings the songs that make up the soundtrack of the series. In this way, we will enjoy Jur, Tae, Newyear, Pure, Bigboss, Vic and Alan, who perform "Hit Me Bite Me", a song composed by Alan Campana, and Vic and Tae singing "Oxigen", a song written and scored by Vic Vittawin Panichtamrong.
The photography, by Suchart Makhawimarn, helps make the three romantic stories believable. For its part, Suriya Kaewkrong's editing achieves a fast and quite adequate narrative.
Sympathizing with Shogun is easy. Wanting to protect and love him would be anyone's wish. I found Matteo attractive and the most interesting character. He is a seducer and that is transmitted beyond the series itself. There are many points in your way of thinking that I do not share. but that has not been an obstacle for me to identify with him. Alan Campana manages to show two faces with his character, a more tender and romantic one that manages to win our affection, and another more cynical one, in which his dark secret is revealed, but he achieves a sincere and complete transformation when he falls in love.
The rest of the secondary characters appear poorly developed, their only function is to help the development of the plot but they are not important and in that sense I would also have liked them to be given a little more relevance or to delve deeper into the parallel stories, especially in the case of the three girls in love, one with Ken, one with Burger and one with Saint.
It is regrettable that, seeking to visualize diversity on screens, the series portrays queer characters in a stereotypical way, due to their continuous shouting, arrogant and uneducational acts, and mood swings. I am referring, obviously, to the character played by Bookko Thanatchaphan. At https://mydramalist.com/756465-firstly-like-you I publish a review of 'Firstly Like You', a film that addresses the romance of Burger and King, and in which I expand on the topic discussed in this paragraph.
I suppose this is a matter of taste, but from my point of view the erotic scenes are treated very well, they are explicit and descriptive, and they leave little to the public's imagination, but the creators do it in a wise and restrained way, and They do not use indiscreet, foul-mouthed or ordinary gestures, actions or words that may be unpleasant and annoying.
The limits to which Shokun accesses in Matteo's sexual games are at a low level and this results in the scenes not being very strong within what they could have been, which on the other hand the viewer can appreciate if he does not share this point of view.
This is a series that you either love or hate. In my case, I love it, because I consider that 'Hit Bite Love' is an addictive fiction, full of life, rhythm and color, that fulfills its central objective: to entertain in a big way while making us reflect. The Thai drama neither has nor understands taboos. Novel and transgressive, in its frames you can find sex, nudity, very crazy scenes, a truly explosive level, but nothing is gratuitous or obscene.

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Can love be born from hate?

The term Enemies-to-Lovers describes a narrative arc in which protagonists begin as sworn enemies or adversaries, only to gradually discover a deeper connection that transcends the initial animosity.
A common pretext in romantic movies and series is the enmity between the protagonists to end up together in an enviable love story.
Although it is a cliché, some dramatized have become classics of film and television for showing that there is only one step from hate to love.
'Big Dragon' is one of those stories in which the protagonists appear to be polar opposites and end up attracted by a chemistry produced throughout the series.
This 2022 LGBTIQ+ themed Thai romantic comedy-drama is directed by Puwadon Naosopa in his debut as a drama director and writer after directing the special 'Secret Theory of Kissing' two years earlier, who co-wrote the script with Boy Mitpracha Outtaros. Both acknowledge that the decision to explore homosexual romance comes in response to what fans wanted. They wanted to "redress the balance" and write a typical romantic comedy, but with young gay people.
The creators bring to life a romantic story, in which everything happens in a more realistic way. It is a story about the search for human connections, about discovery, about acceptance, about the difficulty of discovering one's identity and finding a place in the world, and someone to share it all with. In short, it is about young people who want to be something more and who embark on a clear transformative journey.
However, what began as a natural dislike between the two gradually turns into romance, which is complicated due to Mangkorn's father's wishes for his son to marry his childhood friend's daughter and the pressure Yai has a family relationship with a dead mother and an absent father and now in a new relationship that Yai opposes for the wrong reasons.
What makes romantic comedies so irresistible? Is it the certainty that its structure, already quite well known, gives to the viewer? Or is it the joy we get from seeing two people we know are made for each other fall in love on screen? For whatever reason, through romcoms we have been shown many of the dynamics of falling in love and romance, which is why it is appreciated that in more recent years their stories are about more diverse groups than the typical heterosexual white couple.
'Big Dragon' is an example of this: a beautiful romance between two young adults separated by their social contexts.
It is beautiful how they live, separately and in different ways, the process of accepting homosexuality, denying that they like a person of the same sex, stating that what happened between them was motivated by alcohol and drugs, asking friends for guidance, looking for women as a way to confirm heterosexuality, or even getting into fist fights.
Based on the best-selling Thai PG-18 novel of the same name by Aiden N Vivienne, the series stars Mos Panuwat Sopradit and Bank Mondop Heamtan, as Mangkorn, and Yai, respectively.
Mangkorn is a fifth-year architecture student, attractive and confident. Yai is a rich, self-centered and spoiled student at the same university, but majoring in Business Administration. Both have the power to cast a spell on the public with just a look.
Yai believes that Mangkorn is his romantic rival, imagining that he is also in love with the girl he likes. So he seeks to make him look ridiculous. One night, at his father's newly inherited pub, Yai and Mangkorn drink together. His nefarious plans fail due to the mistake of his bodyguards, whom he had ordered to mix something in Mangkorn's drink. This is how he and Mangkorn end up spending a night of wild sex together.
When he wakes up, he discovers that Mangkorn has taken the images of the hot sexual encounter between the two. Realizing that he has been outwitted and now his prestige is in the hands of Mangkorn, who could do the same thing he planned to publish the video to take revenge, Yai vents his anger in the pub.
He hopes to forget what happened between them. So, he requests the services of an architecture company to carry out renovations to the premises with the intention of erasing the memories of the sinful night, but he soon discovers that one of the members of the team of hired designers is the person he wants to forget.
The new frictions that arise from having to see each other frequently lead them to start a romance and discover their sexuality together. What they did not expect is that feelings stronger than hatred would arise between them. The classic romantic trope of "enemies to lovers" becomes relevant when two presumably heterosexual young people are involved.
Just like the dragon and the tiger, the two couldn't be more at odds with each other. But their destinies become inseparably intertwined, leaving resentments behind and managing to turn their hostility into love.
The tumultuous relationship will cause both boys to find love for the first time in their lives, in addition to growing as human beings.
'Big Dragon' sounds like fan fiction and looks like it too. However, as in any worthwhile romance, the director gets us to support the transition from cheeky couple of rivals to boyfriends, before becoming bed partners. Puwadon Naosopa is supported, and convincingly so, by the cinematographer, who portrays the protagonists with such adoration, that you almost expect them, between kisses and sensual moans in the frequent sexual encounters, to turn towards the camera and promote a bottle of perfume.
Queer romantic narratives have found a solid place in BL series and this drama is positioned as a testament to this advancement.
There is a bit of a twist in everything, since the situation is somewhat complicated for the two protagonists, but in the end it is one of those stories that leave you with a good taste in your mouth, and lifts your spirits, in addition to the strong chemistry of the two boys and the solid performances of a debutant Mos and Bank in his first leading role, for the brilliant visual effects, its majestic soundtrack and the greatness of the cinematographic skill.
It is truly an irresistible couple between Thai actor Mos Panuwat Sopradit and Thai-American singer ISBANKY, who also lends his voice to sing "Dancing with the Devil", the main theme of the series, and "Just Smile".
In the technical section, the weight falls almost entirely on the development of the relationship and charisma of its stars, who are surrounded by a luxurious and aspirational dreamlike environment.
The series is also packed with enough romantic tropes to bring together that fuzzy, familiar feeling of any formulaic on-screen love story. There are 'enemies to lovers', 'opposites attract', 'forbidden romance', 'he fell in love first, but he fell in love harder' and in the endings a 'pen pals/lovers' interlude.
The main strength of 'Big Dragon' is Mondop Heamtan, whose charming performance is helped by the fact that he has most of the best lines and manages to border on being arrogant without becoming conceited.
The sincere but impetuous Mangkorn is a more difficult role, but Mos Panuwat Sopradit manages to give the role enough gravitas to achieve dialogue like "I want to stay here with you. And one more thing: I've wanted to fix things with my family. No I can run away from the problem forever."
The story embraces and demonstrates that the growth of queer young adult fiction reflects a generational shift toward a more open and inclusive attitude toward gender diversity and sexual orientation.
Historically in romance, queer characters have been unhappy, or even killed off. However, in 'Big Dragon', homosexuality leads to happiness.
Mangkorn and Yai not only have the possibility of beginning a journey that will lead them to experience a true individual transformation by falling in love: they give voice to the desires of queer and diverse young people who want to see a "happily ever after" represented on screen that resembles them.
Puwadon Naosopa understands that the key to success for any romantic comedy-drama is the chemistry between its protagonists, something that Mondop Heamtan ISBANKY and Panuwat Sopradit have plenty of. Although they are both very attractive, this is not enough when it comes to presenting a successful on-screen romance: we have had countless examples of unconvincing gorgeous couples in film and television. However, that is not the case here, since both prove to be good romantic interests and this work has been the first in which they have been able to exploit their gifts as romantic protagonists, and which have subsequently been able to give them new dimensions in other dramas, such as ' SunsetxVibes' and 'Y Journey: Stay Like a Local'
Despite social pressures, jealousy, the presence of a new love interest who will try to come between the two, the need to separate for student reasons, the relationship between the two develops organically and gradually: the romance is credible and you melts the heart.
The social context also adds a credible burden of difficulties while helping to develop their characters beyond the romantic relationship. Although the conventions of the romantic comedy are followed to the letter (something very typical of the genre), its characters and situations move away from clichés. There is also an honest approach to homosexual desire, the interactions in sex between two men and the conflicts of expressing their love in an environment guided by appearances and heteronormativity.
Thanks to the charisma, tenderness and attractiveness of its protagonists, its social context and irresistible romantic plot, 'Big Dragon is a charming love series made for fans of this type of content. It doesn't break much of the mold in terms of its structure, but its characters and situations are unique enough to avoid falling into stereotypes. As far as modern romantic comedy-drama goes, it has my vote.

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Build the path to freedom, inclusion and empowerment with empathy

Let's get used to his name, JP Habac, because this Filipino filmmaker is going to provoke lively controversies, raise dormant consciences and enliven an independent film scene, in need of exponents like him.
After pleasantly surprising us with the critically and popularly acclaimed 'Like in the Movies', in 2020, or other dramas and films, such as 'Meet Me Outside', 'Drag You & Me', or the short film 'I'm Drunk, I Love You', from 2017, now returns with the series 'Marahuyo Project'.
In its 8 episodes, about 35 minutes long, we will meet King.
You either love King or hate him. There is no middle ground, and everything will depend on the person you are.
As punishment for his irreverence in the face of power and homophobia, the principal of his high school gets rid of the progressive student and sends him to finish his studies in Marahuyo, his place of origin, where he returns after leaving in his childhood.
And there we, the viewers, join their journey, which began long before the first scene.
Ricardo Matayog, his real name, is similar to many other activists for the rights of gays, lesbians, transsexuals and bisexuals, for being a dreamer, empathetic, a lover of justice, but also for his deep ideological positions: his anti-imperialism, anti-totalitarianism, anticolonialism, antifascism, anticlericalism..., inherited from his grandmother and his own experience of fighting homophobia.
If the world were fair, instead of presidents of nations with a long history of invasions in order to plunder natural resources behind supposed "humanitarian interventions" or imposing sanctions on third parties for not bowing to their hegemony, people like King would be recognized with the Nobel Peace Prize.
Better, if the world were fair, people like King would not exist, since homophobia would only exist in school textbooks as something of the past.
King's story is much more than the story of a human being faced with violence, discrimination, homophobic persecution, and the violation of the Human Rights of LGBTIQA+ people. King is the essence of a country with joys, sorrows and a lot of faith to rise up every time logical and illogical setbacks bring it to its knees.
King is Philippines. King has the essence of any Filipino. He is a person who has been through a lot, but still clings to the fact that things can get better, because he has great energy and faith.
King is a natural leader. He is chosen by the group for his actions. He is capable of leading at any level of the organization he is creating and meets the needs of those who, due to their prejudices and fears, hide their homosexuality to comply with what a conservative country with strong patriarchal and heteronormative traditions demands of them.
King calls, in each episode, and many times masterfully breaking the fourth wall, to reflect on everyday life, common events (or not), social representations inherited from patriarchal hegemony, the world with its lights and shadows. …
Like many others, King fights for the acceptance of the LGBTIQA+ community in Philippine society, to accelerate policy reforms and to establish programs to ensure the inclusion of its members in the political, social and economic life of the country.
That is why he immediately points towards the Church, because he perfectly recognizes that it has faithful followers in the Philippine political sphere, who have blocked any bill that tries to prohibit discrimination based on sexual orientation or identity, as well as prevent already existing conquests in other places in the world, such as two people of the same sex being able to marry, carry out a joint adoption, or have the right to have their sex change reflected in the Civil Registry.
Likewise, understand that political institutions easily give in to the influences of the Catholic Church when it comes to limiting the rights of gays, lesbians, transsexuals and bisexuals.
King will always be valid, as long as there is a discriminated person in the world, for whatever reason.
Regardless of the topic that the audiovisual deals with (the life and adventures of an activist for the rights of LGBTIQA+ people dedicated to making a difference in his community of origin through the creation of the first organization that brings together the members of said group in its campus, the defense of human rights, community empowerment and much more, and that is where a very important conflict begins), is a pretext to address many things that are happening in that country.
But there is also the King who loves, the one who falls in love, and in this aspect he is also faithful and committed. Since his return to the island, he has been attracted to Ino (Neo France Garcia, in his acting debut), the heir to a legacy of conservatism and heteronormativity, who will play a fundamental role in the fight to achieve the young activist's plans since his position of president of the Student Council.
Their lives intersect precisely upon King's arrival at the Marahuyo dock, when he accidentally bumps into Ino, like a parable about the unpredictability and irony of destiny.
The great merit of 'Marahuyo Project', the first Filipino queer series presented by Anima Studios, directed by JP Habac, based on the creative idea of ​​the director himself and Benson Logronio and Fatrick Tabada, is the social denunciation against the violation of Human Rights of Filipino LGBTIQA+ people.
Another of his achievements is stealing the audience's ovation despite having a patriarchal society as a setting. Art is followed by the masses, what it legitimizes almost becomes law, often in a stronger way than what the country's legislators could say, refusing to approve measures that protect the members of this human community against discrimination.
It works in favor of the series that the script intelligently discovers the psychological profile of the main character and correctly recreates everything that happens in his private life, elements that tend to humanize 'Marahuyo Project'.
King is played by Adrian Lindayag, a young actor known for his role as Dominic Cruz in the 2020 film 'The Boy Foretold by the Stars', and as Dominic Benjamin Fuentes Cruz in the series 'Love Beneath the Stars', 2021, with a high range of records that knows how to do its thing well and projects an overflowing sympathy that encourages the viewer, because its maximum interest and priority is to advocate for freedom and for people to be happy in the way they want.
The actor is an activist for the rights of the LGBTIQA+ community, a challenge that he always succeeds in, as his character Dominic in the aforementioned series also takes a similar position: denouncing homophobes and their laws that discriminate against homosexuals. And he achieves it, with the maturity of an actor who grows on stage in accordance with King's own rhythm, a resilient human being, with shocking energies.
'Marahuyo Project' is also a kind of contemporary "Odyssey": returning to the origins, letting ourselves fall into the arms of the sirens that ask us when we pass by and accepting the temptations or maintaining the commitment to yourself to move forward.
Magnificent and complicated like life itself and necessary, like the fact of discovering that a future promise of cinema, JP Habac, has become an author of the present and we will have to count on him from now on.
YA

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It will remind us that there is always room for love and personal growth

ON May 17, 1990, the World Health Organization removed homosexuality from the list of the International Classification of Diseases. Later, since 2004, it became a date to commemorate the fight of the LGBTIQ+ community for their rights and raise awareness about discrimination.
However, LGBTIQ+ people in Japan face certain legal and social challenges not experienced by heterosexual citizens. The current Constitution, written after World War II under the control and supervision of the United States, refers to marriage as an act between a man and a woman and is prohibited for homosexual couples.
Despite the discrimination towards this human group and the fact that the dates mentioned above are not that far away, the issue of homosexuality had already been on the rise in the Japanese film industry long before.
With diverse approaches, mainly from the 80s of the 20th century, we could remember some films such as 'Beautiful Mystery' (Genji Nakamura, 1983), considered a cult film and the first feature film from that country that addressed homosexuality as a central theme; 'Merry Christmas Mr. Lawrence' (1983) and Gohatto (Taboo), from 1999, both by Nagisa Oshima, a director of extraordinary sensitivity and director of some of the most international Japanese films, and the list could be longer, because while The closer we get to modernity, the more prevalent the theme has become.
In this sense, a film that stands out is 'Sono Koi, Jihanki de Kaemasu ka?' (In English 'Can I Buy Your Love from a Vending Machine?', from 2023, a live-action adaptation of the popular manga series of the same name by Yoshii Haruaki.
Thus we find this film that was born from the thoroughness and creativity of an incomparable filmmaker who had already worked on several equally significant works such as 'One Man's Son' and 'Reminiscence Journey'.
This is a film that stands out for its deeply human themes, its formal successes and its delicate exploration of identity and friendship. Additionally, it combines elements of comedy-drama with a sincere look at relationships between men.
Although it covers several contents (the construction of a friendship narrated with unusual delicacy, the support of friends, coming out of the closet, work vertigo in today's world, a journey towards the search for happiness, self-acceptance and self-love) , the film is simply about a love story.
In 'Sono Koi, Jihanki de Kaemasu ka?', everything that can be conceived is reduced to the gaze, which confirms the existence of the other; and from there comes the rapprochement, and then desire and love. Yamashita Ryoma, a strong, tall and muscular 28-year-old man in charge of a juice vending machine in an office in Tokyo, surprises office worker Koiwai Ayumu with a noble gesture in a moment of exhaustion from hard work. From that moment on, Koiwai, 32, cannot take his eyes off Yamashita Ryoma, with whom he has secretly fallen in love. One day, he musters the courage to start a conversation, which sets in motion a closer relationship.
Although eye contact, known as shisen or awasu, is not common in Japan, and staring into a person's eyes can be very rude and uncomfortable, at some point, their gazes meet.
Actors Matsuda Ryo and Tazuru Shoho play the lead roles, Koiwai Ayumu and Yamashita Ryoma, respectively. Next to them we see Yanagi Yurina, who plays the character of Ooishi, Koiwai's colleague and friend.
Matsuda Ryo is one of the best-known Japanese actors inside and outside his country, thanks to his role as Jonouchi Hideyasu / Kamen Rider Gridon in several films and series of the Kamen Rider universe, as well as his leading performances in the films 'Bakumatsu Without Honor and Humanity' and 'Messiah: Shikkoku no Shou', among others.
For his part, Tazuru Shoho made his acting debut precisely in 'Sono Koi, Jihanki de Kaemasu ka?'. Through his character's relationship with a man who recognizes his gay status from the first scenes and who has just entered his life, he learns to accept his sexuality and find his own voice. His authentic performance captures the complexity of his character.
Written by Kumi Tawada ('Junihitoe wo Kita Akuma' (2020), 'To Each His Own' | 'Chotto Ima Kara Shigoto Yamete Kuru' (2017) and 'A Chair on the Plains | Sougen no Isu (2013)', the The audience will be able to enjoy in this office romance how each young person becomes the center of the other's attention and they build, step by step, a very strong bond, friendly at first, romantic later, although full of clumsiness and misunderstandings.
The viewer will appreciate how small everyday mistakes, such as being late for an appointment, also contribute to boosting confidence and making the person you want to conquer feel more comfortable.
Koiwai Ayumu and Yamashita Ryoma will confirm to us that Japanese way of being when it comes to seducing: they are not as inventive as Westerners could be, as it is difficult for them to express their feelings or take the initiative. Even the first kiss takes forever to come. And it's not exactly due to lack of interest, shyness or even coldness, as many might think, but it seems that flirting is still a taboo in Japan. Although much of this has changed in the last century, Japanese society still finds it somewhat difficult to express its feelings, due to its culture of extreme respect for others.
But equally, the film transgresses, for the better, some of the peculiarities of Japanese romance. For example: the characters' dates are not with groups of friends, such as work or study colleagues, and when they declare their feelings they can lead to public displays of affection.
It is striking how Yamashita, who is the younger of the two, is the one who not only asks to exchange contact information or proposes the date without spending weeks exchanging messages, as the Japanese usually do, but he will also ask Kiowai to call him. his first name and leave aside the use of honorifics, something strongly rooted in Japanese culture.
The viewer will be able to appreciate that although they are both adults, everything related to the emotions that Yamashita awakens in Ayumu, and vice versa, feels like the first love of a teenager.
I also recommend the film for joining other dramatized films in addressing issues related to sexuality and gender identity in a conservative society with strong patriarchal and heteronormative traditions, such as Japan.
I highly value the fact that 'Sono Koi, Jihanki de Kaemasu ka?' portray the diversity of human relationships with delicacy, and contribute to dismantling the prevailing stereotypes regarding what is "normal", enabling the necessary change in society.
In short, it is a film that not only seeks to entertain us, but also makes us reflect on our own lives and relationships. It is a reminder that no matter what challenges we face, there is always room for love and personal growth.

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'If I Love a Boy' and the exercise of looking at each other

'If I Love a Boy', the Thai youth romantic anthology with LGBTIQ themes, explores sexual awakening in adolescence through the telling of five short stories of innocent love, whose protagonists are high school students.
Broadcast between August 24 and November 9, 2019 on LINE TV, One 31, these film stories, by Thai director Andy Rachyd Kusolkulsiri, delve into characters whose lives are marked by sexuality, the development of secondary sexual characteristics , mature thinking and also the awakening of sexual behavior that is, when the adolescent transforms into a sexual being.
In this sense, 'Mom, Please Do Not Disturb (starring Son and Pluggy)', 'You Never Eat Alone (Folk & Petch)', 'Hand On Me (Kia & Taro)', 'Everybody Run (Ball & Poori) )' and 'Night Before Everything (Chokun & Nut)', the five stories that make up the anthology, take us into characters immersed in a stage in which the rise of romantic fantasies occurs and social relationships take place outside the environment family, especially with friends.
In the shorts, with slight contacts with each other, the unity of visual poetics is perceived, although sometimes a certain lack of rhythm is felt in the progression. After seeing them, we remember obvious truths that characterize adolescence, such as the young person who has not yet fully developed abstract thinking and sometimes finds it difficult to think about the consequences of his actions, as well as the use of the senses to express his feelings. emotions, since he has not yet fully developed adult thinking.
In 'If I Love a Boy' they are the high school student secretly in love with his classmate, the teenager who sees the possibility of maintaining the romance with the boy he loves slipping away because he has not dared to come out of the closet, the young man who fills with courage and confesses his love to his best heterosexual friend, the love triangle and the first disappointment in love, and the young man unable to accept that his best friend is gay, but at the same time he feels upset at the risk of losing him .
In the films, which reflect the creative consciousness that the director carries within him, we see novice actors in their first steps into the world of acting.
Son Korbboon Garun and Pluggy Tharakorn Khamsing are the protagonists of the first film. Folk Touch Inthirat and Pech Sirin Siripanich take part in the second. While Nokia Chinnawat Phattharathanachot and Taro Watcharathon Passorndiloklert participate in the third short film.
For their part, Ball Saranwut Chatjaratsaeng, Poori Siphrai and Art Thathep Phritiman are the actors who tell the events and conflicts of the fourth film, and Nut Nathanon Metharathip and Chokun Watcharaphon Suwanrueang lead the cast of the fifth film, in which we can also see acting Folk.
All of these young actors would star in 2019 'Thank God It's Friday', the youth romantic drama directed by Andy Rachyd Kusolkulsiri and written by Kwang Latika Chumpoo.
Of them, only Folk, Nokia and Ball have continued to develop their acting careers, within the BL, with the first appearing in several series, such as 'Brothers', from 2021, the second in 'Knock Knock, Boys!', from 2024, among others, and the third in 'Until We Meet Again', from 2020, 'Unforgotten Night', from 2022, and 'Y Demand', scheduled for release in 2024.
If we take into account that sexuality at this stage of the human life cycle represents the generation of desires, feelings, fantasies and emotions, that is, the development of a sexual identity, 'If I Love a Boy' constitutes a suggestive (and tender, It could also be said) a self-gaze exercise, which is worth submitting to, since all human beings have experienced, are living or will live the sexual awakening and the biological, psychological and social changes inherent to adolescence.

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