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- MOVIE page: Ming tian ji de ai shang wo (2013)
- Rate: 7.2/10 total 70 votes
- Genre: Comedy | Drama
- Runtime: 104 min
- Filming Location: Seoul, South Korea
- Director: Arvin Chen
- Stars: Richie Ren, Mavis Fan | See full cast and crew
- (in alphabetical order)
- Arvin Chen
Plot: A married man begins to question his sexual orientation as he and his wife consider having another child. | »
Story: A married man begins to question his sexual orientation as he and his wife consider having another child.
Produced By:
- Lieh Lee known as executive producer
- Richie Ren known as Weichung
- Mavis Fan known as Feng
Production Companies:
- 1 Production Film Company
Ming tian ji de ai shang wo (2013) Review by moviexclusive from Singapore
First things first, despite its marketing, 'Will You Still Love MeTomorrow' isn't a rom-com. Sure, there are occasional laughs now andthen thanks to certain scenes that aim to inject a whimsical tone, butthese unfortunately stand out in a movie that otherwise plays as athoughtful family drama. And if you somehow missed the synopsis, bewarned - the drama arises from the gay reawakening of a middle-aged manwho has been married for nine years and has a six-year-old son.
We're not sure any Asian film has so boldly explored such a subject,which will undoubtedly cause some unease among more conservativemembers of the audience. But if you are willing to put aside yourpreconceptions, you'll find that writer/ director Arvin Chen'sfollow-up to his charming 'Au Revoir Taipei' is in fact a thoughtfullydrawn study on repressed sexuality that could well be the verychallenge facing some marriages today.
In what is probably one of his most nuanced performances to date,Ritchie Jen plays the gentle and mild-mannered optician Weichungstruggling with his sexual identity. A chance meeting at his sister'sengagement party with an openly gay friend from his past, theflamboyant photographer Stephen (Lawrence Ko), forces him to furtherquestion if he should embrace his homosexuality. That test comes in theform of a handsome male flight attendant Thomas (Wong Ka-Lok), whom hefinds himself drawn to the moment the latter steps into his shop.
Meanwhile, Weichung's wife Feng (Mavis Fan) wants to have anotherchild, but gets suspicious when he continuously brushes aside heradvances in bed. There is also some subplot about a workplace crisisthat is meant to make her character realise the possibility of startingover in love, but it comes off more convenient than compelling. Whatrings true though is her nagging sense of fear and insecurity as heronce secure life is threatened by potential upheavals both at work andat home. In particular, her outburst when she confronts Weichung abouthis sexuality is particularly heartfelt - and even as we feel forWeichung who has had to hide his true nature in a society largelydisapproving of it, we also empathise with Feng who has to bear theconsequences of his deception.
Despite the potential heavy-handedness of the topic, Chen never quitelets it get overly dramatic or in fact melodramatic. Instead, hesustains a light breezy tone that fits in with the wave of new-age rom-coms that Taiwanese cinema has produced in recent years. Much as onewould be tempted to bill this a coming-out film, it isn't; rather, Chenreflects on the inherent tensions within modern-day Asian societies, asevolving cultural attitudes towards homosexuality seem to be at oddswith its traditional emphasis on marriage and children. This isportrayed both in Feng's set of overbearing parents who consistentlypester her to have another child, and also in an otherwise unnecessaryside plot that sees Weichung's sister Mandy (Kimi Hsia) re-examiningher impending marriage to fiancé San-san (Stone).
Both Weichung and Mandy's troubles are drawn along the lines ofromantic fulfilment, the latter's cold feet just before her weddingbecause of her uncertainty if a life of routine with the dependable butunromantic San-san is indeed what she wants. Neither as meaningful noras consequential as Weichung's marriage woes, it serves largely twopurposes - one, to provide a more mainstream and therefore morepalatable romance in line with a conventional rom-com; and two to givemore screen time to Stephen and his quartet of gay friends, who assisthim in winning her hand back.
And thanks to a delightful performance by Lawrence Ko, you're notlikely to object to the arguably weakly plotted romantic travails ofSan-san and Mandy, made more agreeable too by the endearingperformances of Stone and Kimi Hsia, both of whom are making theirfeature film debuts here. But the movie belongs to Jen and Fan, bothpop singers never thought to be serious actors till now. Jen isbeautifully subdued in his portrayal of Weichung and in his scenes withHong Kong actor Wong Ka-lok share an engaging chemistry thateffortlessly convinces you of their mutual attraction. Nicelycomplementing Jen is Fan's exercise in restraint, nicely calibrated toconvey her character's growing sense of anxiety.
Yes, the uniformly impressive performances are one reason why Chen'smovie proves to be unexpectedly affecting. It is also best regarded asa movie of two halves - the first conforming more to the formula of astandard fluffy rom-com, and the second a touching family drama thatworks as an honest and refreshing look at sexual repression in asociety whose norms and values are transitioning from a conservativepast. Like we warned you at the start, this won't be comfortableviewing for some people, so make sure you get your expectations rightbefore you step into this flawed but nonetheless inspired romanticdramedy.
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