Reviews

A much better series

As one who has read the novel & watched the series Love Syndrome III, this was a much better series than the previous one. The acting, The production, The scenes, the transition from one scene to another & the blocking of the actors. I guess this had more budget than the previous series. I never expected Itt & Day's actor to be good!! Tbh, I have no expectations on this series & just want to watch it, but it was good!
I'm really hoping that this has a continuation with the same group of actors. Sad to know that the director on this series has been deceased T__T

looking forward to the next part though~

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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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It hooks you up... somehow. It needed some better writing!

In all honesty, as soon as I pressed "play" to this movie, I was feeling unsure. The first few scenes looked not only low-budget, but also low-camera-quality. Luckily. it gets better... somehow.

PLOT (6.5/10):
Nathan is a lifestyle photographer. While in a bar, his attention gets instantly caught by a guy named Emman. They locked eyes and flirted from afar... but nothing happens.
Emman is a student and an activist. He's part of a movement that seems quite organized, but ultimately FAILS in give to the audience plenty enough information about itself. I'm not from Philliphines, so I have no idea if that movement is real or if its goals are clear enough for them which is why they didn't bother to explain better.
While in rallying against tuition fee increase, Emman and Nathan met, and the "love story" begins. About this scene in particular, I have no idea why Emman run away with Nathan in his car. There's more people involved struggling against ONE security guard, and no one else ran, just the two of them. We didn't even see the two of them struggling together, or Nathan "rescuing" Emman. So that was really bad executed.

PLOT TWISTS [PT] (8.5/10) (Warning: Heavy Spoilers):
The twists and turns were actually the best thing about this film. The movie relies heavily on flashbacks to tell the love story that has already ended, but we don't know that right from the very beggining. You surely can suspect that, but you still don't know why.
PT N°1: The student movement (in which Emman is envolved) wants to take some congressman to justice for some scam (that the movie fails to explain). That congressman turns out to be Nathan's "godfather". In other words, his mother's lover. Later, we learn that the mother is also persecuted by law.
PT N°2: Being in two different stages of life and two opposites sides of a conflict wasn't enough, because, at the end, Nathan seems to be willing to support Emman. They have already professed their love for each other at this point, and those lovey-dovey words: "You are mine!". But, wait... it's time for a new reveal! ... Emman already has a boyfriend. It is implied that he has been in a relationship way before meeting Nathan. This third person (Vince) even gives allowance to Emman and pays his tuition!
PT N°3: As soon as Nathan learns that he has being played by Emman, he dumps him. I was actually impressed but this realistic depiction of a person with a minimun of dignity, who was strong enough to get out of a relationship after being deceived this way. He didn't really "fight for his man", which is the usual route in this kind of movies. So I really loved this.
I'm OK with "open relationship" and "Throuples". But those two have something in common: previous agreement of both or three parties. If you learn that your partner has another person along the way... there's no way in hell I'm gonna be OK with that. This is why the second half of the movie got way more enternaining for me.

PT N°4: Some people never stay for midcredit or postcredit scenes. Well, I'm not one of those.
By the last scenes of the movie, Emman keeps asking Nathan for another chance because he loves him very much... however, he also loves Vince and he's not willing to give up on his sugar-daddy. Emman keeps insisting "I'll be back", but after Nathan says something like "Drop Vince, and then come back"... well, Emman just leaves without saying a word and Nathan cries. The End.
.... Then, came the midcredits. Someone knocks on the door. Nathan thinks "oh, Emman came back". But no, as soon as he opens the door a familiar face gets inside the house. The pizza guy (Ivan) from very early in the movie, in the scene when Nathan and Emman met and then went to Nathan's house for netflix and chill. In that particular scene, we see how the pizza delivery guy just enters to the house, giving a sense of familiarity with the place and with Nathan. Now, in the very last scene of the movie, we learn that Nathan and Ivan are in some kind of relationship. They say and do somethings that at the very leadt implies they are "now", but it makes you question if they have been together all along.

WRITING (6/10)
The writing involving the main couple is ok, quite realistic sometimes (specially the whole breakup and after breakup). They hit the clishes and even tried some risky choices.
The writing that involves the student movement and the organization, the politic scam/corruption was bad.

ACTING (7/10)
It's kinda mixed, honestly. Some better than others, There's also the problem of some characters being written better than others. So, overall:
- The actor playing Nathan was, PERFORMANCE-WISE, the best. I'm not saying it was a strong performance, but was more than enough. Maybe his loud crying could improve, but his silent crying was on point! By the end of the movie, I believed his words, and I believed he has dignity, which is way underrated.
- The actor playing Emman was so-so. Sometimes good, sometimes not. I didn't get the level of emotion that he was trying to portray. Still, I'm not saying it was bad, just "not as good".
- The actor playing Raven fine. He's whole objective was to be flirtatious at the beggining (to fuck with Emman, which didn't showed to us, but I believed it happened) and then, flirtatious again with Nathan when he was brokenhearted (and, yeah, also fuck him... which we did get to see). Meaning, he wasn't a major character, but his performance was really convincing. Also, really nice ass.
- The actors playing Nathan's mother and Congressman Ignacio were... meh. Average performances, but the script didn't alow them to shine in any way or form.
- The actors playing Ruel and the Organization Leader were no good. I blame the writing. They didn't speak much, specially Ruel, but they failed to make an impression.
- The actor playing Vince was just OK.

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Watchable but disappointing

I found out about this movie after people pointed out that the actress from Atypical Family K-drama (the FL’s ‘sister’) was in a lesbian movie, and of course I was intrigued.

Korea doesn’t produce many GLs or lesbian centered movies (atleast not now), so I always look forward to watching a new one, but this movie is just too vague. Half of the time I had to fill in the gaps myself on what was happening, and the abrupt cuts they would have between some scenes (e.g the scene where she was talking to that guy in the junkyard about her gf and him asking her why she was being sensitive over him wanting to meet her gf and then her moving away and then the scene just cuts) There’s more examples, I’m sure you would notice them too. However the chemistry between the actresses was also not that good, I was expecting a lot more but throughout the movie it felt like Jisoo wasn’t reciprocating any of the feelings back and she was just with her for fun. I wanted to enjoy this movie, seeing two people in love but it turned bleak so fast and it remained that way throughout the movie.

But I guess the stereotype of lesbians wanting to move in with each other immediately after getting together is true 🤣

Overall, the movie isn’t that bad, it talks about homophobia though very briefly and they never really get into it too much. It felt like everytime they touched a new topic in the movie, it wouldn’t be brought up again at all.

I wasn’t satisfied with the ending either, like I said, too vague. But the beginning was cute I guess.

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Pretty bad honestly

With the director and everything I thought this was going to be pretty good, but I full on got up and quit watching and went to shower. My partner finished the ending and told me about it, and Im glad I didn't sit through to finish it. Lots of harm and hate towards women. I get its the whole story, but after the first incident it is entirely on the ML's choices that the rest of the people get hurt because of his unwise and vengeful decisions. I dont need to watch a film being gorey / graphic towards women.

The beginning is decent, good set up, good motives, and I can't say it wasn't well filmed because it certainly was. Acting is well done, whoever wrote this is the problem. Story is bad. ML becomes just as bad as the villains and is leading on the harm towards other people. I told myself after another women got harmed that if he let the pedo kliller go ONE more time for his sh*tty selfish anger and someone died I'd be done with it. And that's exactly what happened. Would not recommend. Its not "good revenge" if you let other people die, get traumatized and then ask that person to then help the dude who literally just SA'd you. Seriously?

Being a decent film doesnt negate this terrible plo

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hear me out...

I loveee everything about it except... maybe... the ending. I mean, I'm kind of torn about it because I'm aware that dysfunctional (?) relationships are really a thing when it comes to japanese media (i also read manga sooo iykyk) but in this case i kind of didnt want them to follow that kind of storyline and i was lowkey expecting them not to because izumiya and nao had potential. like, it felt like they could make it work as a couple even though it was quite obvious that nao liked sakaki. it wasnt just the age gap that kind of bothered me with sakaki and nao but its the fact that their parents had a double affair so them being together (i mean, that's how it looked like with the movie ending) feels wrong. anyways, i liked the cast hirose suzu will always deliver, i love her and also the one who portrayed nao and izumiya (the little sister) they also did a good job. the lighthearted/comedic parts were also good. the sceneries were also so gorgeous. so all in all, i really enjoyed watching this movie and i recommend it <3 AND THEY HAVE A CAT!!! the cat was so cuteee. i almost cried when i thought they wouldn't adopt it.

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A story of longing and yearning from the Days of Disapproval !

Though this movie was released in 2020, it's reminiscent of a classic 1900s film, portraying the struggles of a queer relationship amidst societal repression and how homosexuality was not to be accepted by family and the society in the social unrest period.

The story follows the intricate relationship between Birdy and Jia Han.
 It was complex and intriguing at the same time. The depth and vulnerability of both the characters were heartwrenching and was portrayed beautifully.

The story is set up in an 'All boy's school' with Jia-Han and Birdy meeting and bonding immediately. There are subtle hints of their intimacy at the start. Even with the obvious hints, I liked how the romance was not rushed delivering a believable chemistry.

Ji-Han's struggle in trying to come out in a homophobic society contrasts with Birdy's attempt to suppress his feelings and be accepted into societal norms. (The famous star-crossed romance).
The acting was phenomenal by both the leads. The craving, the yearning, the constant push and pull for each other. Holding each other and crying during the shower and the telephone conversation scene were the peak for me.
The editing of this drama is also noteworthy. I like how the narration is done by Jia Han and how the scene seamlessly goes into flashbacks so effortlessly to tell us the story.

The story felt more of Ji Han's point of view and I would have liked more context of Birdy's thoughts. I felt his character was bit under developed. His decisions here and there defied reasoning.

However,  the ending was too abrupt for me. Abrupt won't be the correct word- Unsettling maybe. It serves as a realistic, sad and overpowered portrayal of lingering feelings and effects of societal repression. You can feel the tension, suffocation and smell the regret.

It could be considered a sort of a happy ending in the grand scheme of things.  It does show and give a glimmer of hope for the future generations.

This movie is like a harsh reminder of all the struggles faced by queer community and I do recommend this despite its minor flaws

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deeply touching movie

"Our Season" deeply moved me. From the start, you're drawn into the heartfelt story of Bok-ja, a mother who has passed away and is granted a short, miraculous chance to visit her daughter, Jin-joo.
Their silent, one-sided interactions are both heartbreaking and beautiful, and showed their bond that transcends even death.

The film's use of food as a central theme is my favorite thing. Seeing Jin-joo try to reconnect with her mother's memory through cooking was incredibly moving. I cried buckets during these scenes, the food looked delicious, and I could almost smell each dish they showed.

This movie was a also a healing experience for me and it gave me similar feelings as “Little forest”. I might he be biased because those are my favorite kind of movies hehe.
It makes you reflect on your relationships with loved ones and reminds you to cherish every moment. If you're looking for a movie that will touch your heart and stay with you long after the end, it’s a must watch.
9,5/10. ♥️🙏

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Don't romanticise the abuse, if it comes back to you, will you be able to handle that?

Before watching this movie you should be aware of the tags, which are enough to trigger your senses. And here I am sitting completely shocked. I don't know how should I explain my feelings, whom should I sympathize with, where did it start to go wrong. Only Japan can produce something raw like this to make you believe the unbelievable.

If you want to know how Stockholm Syndrome look like, then this is the perfect example of one. The traumatic events that teenage boy, Moto has to go through just "to keep himself safe" is beyond horrible and disgusting. He tolerated his trauma and came to fond of it. Moto wanted to trust and believe Sala but she's a horrible adult to begin with. She exploited the innocent and when she acts indifference of the situation made my blood boil with anger and frustration. I had to check the age of boy current and at that time just to ensure my heart he wasn't a minor. I wanted to question her "how do you like it when the things you did to others, is done to you?" Then I found myself guilty for feeling that way. Idk whom should I apologise to.

But why would you watch it -
• chilling realistic acting
• to come out of your comfort zone and understand there's someone out there doing and going through these same things. Just to be aware of these wicked humans.
• there's always that grey area of our mind which needs to fed with ugly reality once in a while to realise how grateful we should be for our safe place.

Why you shouldn't -
• if you are sensitive of "these" triggers. Just check out tags, you'll know why.
• if you can't differentiate reel and real life (I know I'm contradicting my own point but you need to realise not all situations are same, not every person behaves the same way. Things can be more or less brutal in real life and this is just a dramatisation of a fictional characters)

My rating: 7/10, I can't explain it enough how realistic their acting was to make me punch them in the face at the moment.

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Essential Masterpiece

In 1960, at the time of the release of 'Cruel Story of Youth', Japan was in the midst of a series of protests against the renewal of the Japan-America treaty (Anpo) and the related growing student movement; Oshima, like many of his contemporary colleagues, not even 30 years old at the time, was a keen observer of the ongoing changes, perceived this new feeling of revolt that would even lead to a split in the Japanese Communist Party towards even more radical ideas, and succeeded in making two other features that were strongly integrated in that historical moment.

The picture is produced by the major Shochiku, a legendary company founded in the 1920s, which enforces the use of CinemaScope and colour, not particularly favoured by the new generation of filmmakers; The film studio is perhaps convinced that it can exploit the late 1950s phenomenon of the so-called "Taiyozoku Eiga" (Sun Tribes), movies based on Ishihara Shintaro's novels about the angry and dissolute youth of that period, but "Cruel Love Story" ends up by upsetting the cards, literally overturning the Japanese film table and pushing the pedal even deeper, highlighting the general traits of what will be defined in a simplistic way, Nūberu Bāgu, in response to the French ‘Nouvelle Vague’ film scene revolution , definition is certainly not appreciated by Oshima since, like other filmmakers of the time such as, for instance, Masahiro Shinoda or Yoshishige Yoshida, he feels more artistic (and political) affinities with the Polish cinema of Andrzej Wajda, in especially his 'Popiól i diament' (Ashes and Diamonds).

The plot is well known: Shinjo Makoto, a young under-age female student, and Fujii Kiyoshi, an idle aspiring gangster who met in the middle of a tragic situation, fall in love and decide to set up a racket where she picks up unsuspecting drivers who offer to accompany her (with obvious ulterior intentions) while he, on a motorbike, breaks into the scene at the right moment, threatening them with prosecution and beating them up, with the aim of extorting money from them... Of course, the consequences will have a price to pay...

The picture was a huge success with audiences and was critically read as the Oriental response to “À bout de souffle”, the first masterpiece by French director Jean-Luc Godard, starring Jean Paul Belmondo and the stunning (and very unfortunate) Jean Seberg; Behind the undoubtedly obvious analogies, starting with the style, the cinematic approach, the use of the hand-held camera (however with stylistic variations and more 'natural' movements than Godard or even the Brazilian master Glauber Rocha, who was also shortly to become the forerunner of the 'Cinema Novo' movement) and the display of close-ups, there is however a whole series of aspects that make Oshima's movie memorable:

"Cruel Story Of Youth" is characterised by a whole series of stylistic innovations and breaking elements, contravening the rules established by the masters, 'fathers' of Japanese cinematography such as Ozu, Mizoguchi etc. Pervaded by an existential pessimism that spares no one, Oshima portrays a generation, that of the twenty-somethings, of outcasts, completely lost in an absolute nihilism, in rebellion against any moral, social or political convention, devoid of dreams or ideals and with a self- destructive, absolute anarchic inclination to crime. Practically 'rebels without a cause', and without the extraordinarily melodramatic romance of Nicolas Ray's masterpiece with James Dean and Natalie Wood.

A revamping of conceptions capable of shifting the focus from the 'classic' representation of the family - think of Ozu and its role within the modernist changes in Japanese society, or Naruse for his work on ordinary people and the condition of women in the Land of the Rising Sun - towards a representation of identity and individualistic logics, linked to the new post-war and unconventional generations.

"Adults Don't Understand Me" ('Otona Wa Wakatte Kurenai') is the translation of the Japanese title of Truffaut's "Les Quatre Cents Coups" and behind this simplification one can summarise the confrontation-generational clash with the movie's adults, well represented by Makoto's older sister and her ex-lover, the doctor Akimoto, in a dramatically representative moment, in which all the disillusionment of the two mature ex-lovers emerges, aware of a generational failure that has wiped out all their youthful dreams (it almost brings to mind Ozu's movie of 1932), which is counterbalanced by Kiyoshi's spiteful observation that he has no dreams whatsoever and therefore does not risk ending up like them...

But there is also the deep frustration of Makoto's older sister Yuki, who admits to envying their freedom, even sexual freedom (explicit, in the truly adult dialogues that stand out from the start), along with the authorial inability of their father, practically reduced to a caricature incapable of any adult decision and, figuratively speaking, placed on the fringes of the conversations (and the frames).

Alone and aware that they are condemned to a sad, sordid existence, estranged from the strict rules of Japanese society, the two young lovers wander aimlessly, in the beautiful Michelangelo Antonioni-style pre-finale, 'lost' in their city, on their way to their inevitable fate....

It is easy to imagine the cultural shock the picture may have caused in 1960 in a country deeply lacerated by student revolts, by the wounds of World War II, in its attempt to raise its head again, opening up to the world in an attempt to show its best side;

Oshima, an exceptionally sharp master, manages to remove that gloss of respectability, almost of whitewashed sepulchres, taking what, in the hands of another filmmaker, could have been a noir or a conventional yakuza movie and providing the representation of a cynical world, without pity and hope that, in countless thematic variations, will pave the way for a truly rich cinematic decade for Japan. As far as I am concerned, it is one of the first Japanese cinema auteur movies that I have been able to appreciate since my youth, it was often televised at night, paired with Seijun Suzuki's 'Gate of Flesh' (another seminal director for me); the DVD version (on which I based the review) displays superior attention to subtitles, making more explicit the depth and rawness of the dialogues that were decidedly adult for the time.

Essential masterpiece

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JAPAN RESPECTS THE QUALITY OF ITS PRODUCTIONS...

I didn't know the story and, consequently, not even the manga on which this film was based, but we have to praise that the screenwriters knew, in a simple and intelligent way, how to show us who the characters are and their characteristic profiles. In the post-credits scenes, they showed us the new characters that will come in future sequels.
One thing I miss in the vast majority of Chinese and Korean productions is the quality of CGI, costumes, and makeup that we find in almost all Japanese productions. I didn't feel embarrassed by any scene or dialogue, on the contrary, the quality of everything was great. I didn't know the "Golden Kamuy" universe, but I feel satisfied with what was presented here and I look forward to the continuation.

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