SUK SUK is a quiet portrayal of a gay relationship between two men in their twilight years. PAK, 70, a married taxi driver who refuses to retire meets HOI 65, a retired single father. ...
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SUK SUK is a quiet portrayal of a gay relationship between two men in their twilight years. PAK, 70, a married taxi driver who refuses to retire meets HOI 65, a retired single father. Although both are secretly gay, they are proud of the families they have created through hard work and hardship over the years. HOI is a member of the Mature Tongzhi Society, a social group, which caters for gay men who are over 60. The group is planning to attend a public forum to request the government to create senior citizen homes dedicated exclusively for gay people. However, due to the fact that most men in the group are in the closet, there is no one who is willing to voice their opinions in the public forum. HOI supports the notion of a gay senior citizen home and considers speaking in the public forum. However when HOI begins to wonder whether his son WAN suspect he is gay, his attitude shifts. As PAK and HOI fall in love they contemplate a possible future together. SUK SUK studies the subtle ...
Long past retirement age and awaiting another grandchild along with his wife, taxi driver Pak leads a secret life cruising a notorious rest stop in search of male companionship. It's in this environ that he meets up with aging divorcé Hoi, already retired and living with his son's family. What starts out as a casual hook-up slowly blossoms into an affair of the heart as both men find in each other the love that had been missing from their lives. But there are choppy waters ahead, for Pak's wife has grown suspicious and Hoi is ever conscious of his son, a devout and controlling evangelical Christian... With so many gay movies devoted to handsome young men, Ray Yeung's septuagenarian romance is as welcome as a glass of finely aged wine and twice as potent. From that first intimate caress to that final bittersweet gaze, Yeung neither glosses over the physicality of Pak and Hoi's relationship (their first tryst at a bathhouse becomes a celebration of sensual intimacy) nor does he add too many rainbows to his script for he knows all too well that in Hong Kong the fight for equality continues to be an uphill battle, a fact highlighted by a side story regarding a group of gay seniors demanding a queer-friendly nursing home for their waning years. Subtle and beautifully underplayed-a squeeze of the hand is filled with tenderness, a downcast glance suggests unfulfilled longing-Yeung may not offer the happy Hollywood ending we'd like, but at least he leaves the door open.
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