Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a...
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Set in 1960, the film centres on the young, boyishly handsome Yuddy, who learns from the drunken ex-prostitute who raised him that she is not his real mother. Hoping to hold onto him, she ... See full summary »
A disillusioned killer embarks on his last hit but first he has to overcome his affections for his cool, detached partner. Thinking it's dangerous and improper to become involved with a ... See full summary »
Joaquin (Polo Ravales), an unassuming fisherman, is forced to confront his homosexuality when his sex-starved wife Cynthia (Althea Vega) returns from her overseas job eager to get pregnant.... See full summary »
Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a tango bar to save up for his trip home. When a beaten and bruised Po-Wing reappears, Yiu-Fai is empathetic but is unable to enter a more intimate relationship. After all, Po-Wing is not ready to settle down. Yiu-Fai now works in a Chinese restaurant and meets the youthful Chang from Taiwan. Yiu-Fai's life takes on a new spin, while Po-Wing's life shatters continually in contrast. Written by
Perry Yu <email@example.com>
Aw-kommon's notes on "Happy Together" are typical of those who cannot approach a film without aligning it with definite paradigms and secure standards. In this case, the paradigm is "Midnight Cowboy" -- a film that belongs to a totally different genre, was written and shot according to "naturalistic" procedures of Hollywood commercial cinema and, most of all, deals with romance from a quite different perspective. In "Midnight Cowboy" redemption of homoeroticism comes through death, a strategy that was quite revealing of the morals that prevailed at the time the movie was produced. "Happy Together", on the other hand, deals with romance as if it could have been homo-, hetero- or whatever, and even though homoeroticism is such an essential element to the narrative, the protagonists'love affair is a pretext for the emergence of their decentered identities, their search for love and friendship and, most important, it ends on a note of hope of future encounters. All that in a poetic tone, one that demands a continuous esthetic reconstruction, hardly understood (or accepted) by those who are encapsulated in a world of conventional filmmaking.
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