Two boyhood friends are separated due to the disappearance of the sister of one of them, then later meet again as teenagers, when one of them has become a pop singer, and they discover feelings that they did not know they had.
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Two young boys are best friends living quiet family lives in Bangkok. Their lives are disrupted when one boy's older sister goes missing on a jungle trip. The shattered family moves away, separating the boys. Years later, now in their late teens, the boys meet again. One of them is now the leader of an aspiring boy band whose managing assistant bears a striking resemblance to the lost sister. The boys must deal with their family and social lives and their feelings for each other. Written by
The old Chinese song kept playing in the movie was "Ming yue qian li ji xiang si" (Full moon, thousand miles, entrusting my love-sickness), by Wu Ying Yin, a famous Shanghainese singer from the 1940s. The song was about a lady losing contacts with her lover, she pleaded the full moon to entrust her love-sickness and telling her lover about her love and suffering. There is not even one single word of "There's hope when there's love" as mentioned in the movie. See more »
Great movie, a reticent statement made with fresh acting
I can see where the previous commentator came from. However, maybe biased by my own liking of mellow and subtle plot-weaving, I enjoyed the overall picture painted by the music, 2 main actors, and the parents and June.
I personally favor this movie because it doesn't construct/explain explicitly the events and personality surrounding each character as concrete context of the story, which is often a technique used by mainstream films to materialize climax and logic of a movie's plot (e.g. she acts/feels this way because it was established that she was such and such...).
Therefore I suppose the reason so many people like this movie literally across the globe (mainly observed on forums from the United States, Taiwan, Hong Kong, China, Philippines, and Europe), is because it uses a Thai case to exemplify humanity's constrained reaction toward its surrounding.
Without spoiling the movie, I am referring to the scenes the director ended up choosing as plot construction regarding characters' emotions and actions. Instead of picking the conventional expression that would usually indicate 'sad', 'she is going to blow up', and 'angry', the scenes selected to continue the flow and plot of the movie are rather life-like: Life doesn't always present significant events with significant background music and conventional cues, which often supports both the actors and audiences in moving the drama (or movie in this case) along.
So my friends and I love the movie for such illumination that: if the contemporary cultures often internalize certain procedures, cues, and embodiment that connect external events and internal reactions/feelings, what are humans to do in a real world that is not tamed by our rule?
Maybe from a more speculative audience's eye: what can we possibly do if we cannot bear to lose the one we love, and what if we go on life without loving anyone at all? The movie achieves a 9/10 for me despite its weak elements (some acting are definitely...not so great, but I don't speak Thai and don't know the culture), exactly because it constructs a unconventional platform (the acting, climax-devices, the music, and plot) and operates consistently along its story-telling (a gradually broadening perspective of love across generation (Mew-grandmother), time/space (Tong's family & sister), gender (Mew & Tong), and the peripheral Others (the Chinese-Thai Ying and her crush on Mew, and the Catholic family)).
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