Rom-Com Queer Queer with a wonderful collection

It is known that our society has a long way to cut it before the normalization and acceptance of people with colors, colored novels and novels in the prevailing direction. However, despite the ongoing conflict, it is important to realize the role model of minorities in the cinema, and how these films are still. As evidence, the movie “The Wedding Banquet” was shown by Andrew Ann for “The Wedding Banquet” for the first time at the Sundance Film Festival, and the film is a milestone in POC and Queer Cinema. As Ahn said to the first show audience, he saw for the first time Ang Lee 1993 version from “The Wedding Banquet” When she was a child, thanks to his mother, she hired her one night during a trip to the video store, telling her son that she wanted to see the movie about the Asian Americans who were watching all white people.

As Ahn admitted, the show of this film was at an early age a training experience, as it helped him to start identifying his sexual life in an era when he was only lenient out of going out publicly. Now, 32 years after the original movie, AHN collaborated with one of the participants in Lee, James Schaamus (who worked with AHN as a producer in his 2019 Breakout, “DraftWays”), for the update of “a wedding banquet” for a more lenient era in the nineties It was in some respects. While the ways in which the twenties of the last century are still swinging in ancient traditions and pregnant women that are part of the film’s conspiracy, its approach and the question of anger and sex allow this version of the “wedding banquet” to be a delightful novel.

The Original “The Wedding Banquet” is a comedy of errors, which includes a bilateral Taiwanese man who is making a deal to marry a Chinese woman in order to obtain a green card and satisfy his traditional parents, just to discover that his parents are coming to the United States of America for her malicious wedding, which means it is it He must lie about his homosexual sexual relationship. Ahn noticed in his introduction to the film, the legal relations and marriage of the same sex were a reality for decades now (and let us hope that they will remain in this way), so that this could not be the only obstacle that the characters will face in his novel from the film.

As such, we submitted this “wedding banquet” to Angela (Kelly Mary Tran) and Lily Gladstone, two lovers who live in Seattle, desperate to have a child with an expensive IVF. The gay male friends who live in their guests, Chris (Bowen Yang) and Main (Han Ji Chan), are subject to a rocky correction in their relationship, and Chris refused to adhere to the Maine, the family was highlighted if they were married. When you know that the last treatment of Playa did not require this and that the couple does not have enough money to pay it for another attempt, then who will be the marriage plan for Angela, based on the fact that her daily function can allow her to pass as a straight woman in the eyes of his grandmother (Youn Yuh- Jung) long enough to attend a wedding and smoke to give Angela the guardian of the money for a new procedure.

Of course, things become almost immediately complicated: Jeddah Maine insists on coming to Seattle to stay with Min and Angela, Angela has issued uncertainty about becoming a mother because of her rocky relationship with her mother, May (Joan Chen), and Chris is torn between his love for Mina and his sense of responsibility. The ice ice comes on the wedding cake when Chris and Angela, who were a college element in a short period before they identified their sexual lives, and sleep together as a result of the broken collapse.

Events are intertwined only from there, and what is proven by the “wedding banquet” more than anything else is the amount of talent of Anne in preparing and paying the circumstantial comedy. It is an easier trick than doing it, as it becomes clear from many romantic comedy that accumulates competition after birth and expects to be rewarded with the associated laughter. Both AHN, Schaamus and The Ensemble Cast have an innate understanding that such stories need to feel realistic even during the presentation of a series of unbearable conditions, and “The Wedding Banquet” starts from that trick.

While the “wedding banquet” is at its best when it tends to the spirit of ROM-Com, it stumbles when AHN chooses to slow things up to try to inject some independents into the procedures. Perhaps this is due to the fact that AHN and Sichaus are trying to balance the growing comic nature of their story with a dialogue that is completely fine. The actors are really required to submit some military lines, and they mentioned their problems, complaints, and desires in a way that could never look realistic, regardless of who he was saying. It is the type of dialogue that suits comfortably in the television comic play in the 1980s or 1990s, but it stands out like a painful thumb here.

Ultimately, this seems to be a cross -wiring position when it comes to goals and tone. The “wedding banquet” is, in essence, light entertainment, and there is nothing trivial or slight in it. However, it is understood why Ahn might pressure to try to give the movie more weight than he can handle, which is only half works. When it comes to common moments between Chen and Jong, the history and wisdom on which these women give their scenes innately. On the contrary, the act of young couples feel that they are outside the place; It is difficult to reconcile their very ideal speeches with their chaotic social sensitivity the next day.

Fortunately, the team’s team’s team wins (both separately and collected) so that any of these issues becomes just bumps on the way on a pleasant road. Part of the joy of the film lies in the way AHN organized every character to work in some husbands, which is a good blow from good casting that every other actor is more than that promotes the requirements of the text program. It is a pleasure to see these artists wearing each other, and together they create the dynamics of the family for which they were found with the film. When the “wedding banquet” tends to its roots, it sings in a way that most modern kms has made for a long time.

That is why this movie, even more than the last visits “Anyone but you” and “Crazy Assyrians” (The latter must have a laziness with comparison), it looks like the best example of the return of romantic comedy. I’m sure he was there Other strong offers about broadcasting services recentlyBut there is a very special thing about having a group experience with a movie like this, and we hope that this will lead to more films like it not only but it is played. The “wedding banquet” may be a good movie for this year, but this is not trivial. It is a movie, again, showing how we all, regardless of the background, can be associated with each other, and in the era that we are currently suffering from, this is a message that we can all use.

/Film classification: 8 out of 10

“The Wedding Banquet” was first shown at the Sundance Film Festival 2025. It opens in theaters on April 18, 2025.