This review may contain spoilers
A compelling visual masterpierce: a classic!
I don't know why I kept postponing this film for so long. In the end, it doesn't matter, because the truth is that this is a timeless masterpiece. The movie doesn't feel outdated or old at all.The story is compelling, the pacing is terrific, the direction is meticulous and beautifully crafted, and the visuals are outstanding. How it portrays China's history through such an intimate and personal story is amazing. The interplay between the characters' inner world and the historical context is a constant reminder that we are a product of both.
For me, the most captivating part was the interesting and complex relationship between Douzi/Dieyi and Juxian. What begins with them as enemies gradually transforms into a triangle where feelings and emotions become all mixed up, and in the end I felt they were more connected to each other than either of them was to Xiaolou. Their relationship felt the most real, and I think she was the one who truly cared for and loved him the most, not in a romantic way, but in general. I was deeply moved by both Gong Li's and Leslie Cheung's performances.
And Dieyi... what an interesting character. Fragile yet strong as steel, tragic, channelling all his love for life and his longing for love into a passion for Peking Opera, to the point where it turns into an obsession. You can tell when he merged with the Concubine character. Was that his way of surviving? Of finding a place where he could be loved and accepted? Is that why he decided to become a great opera actor?
But the destructive force inside him never left. A sensitive, broken soul who transformed his tragedy and suffering into beauty and art, but who ultimately was never able to change his fate. Perhaps that's why he refused to sing those lyrics back then, and kept defying them every time. An eternal inner conflict between surrender and rebellion.
He channelled all his tragedies and sorrows through the beauty of art, and this is, indeed, a powerful message from director Chen Kaige: art as a force of catharsis, expression, and emotion. The fierce criticism of the Cultural Revolution and its worldview, which intended to leave no place for art - among other things of course -, is clear from every angle.
I couldn't connect with Xiaolou as much, and it was during several crucial moments that he showed the unpleasant side of human nature, those traits that also make us human. Despite this, you can understand through him and other characters how fear, jealousy, selfishness, and the instinct to survive bring out the worst in people, and I think the movie also does a great job portraying that.
There's so much to unpack here, but once again, I'm convinced I couldn't do the film justice with anything I could add about its many layers and aspects. A must-watch, no matter when you happen to cross paths with it.
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Could have been better and shorter
Raw Courage starred Cheng Pei Pei and Yueh Hua who were tasked with protecting the infant Crown Prince after the Ming Emperor was once again deposed. Director Lo Wei began the film with an army and ended it with a whimper.As the palace burns with the overthrow of Emperor Jian Wen, he entrusts his infant son to the Black Dragon leader. Rebel forces attack the Black Dragon and he is forced to send his daughter Hsiu Yi and surviving disciple Chin with the child to his brother the White Dragon far away. As they leave the duo are saved by Mo Wen Tien aka the Old Beggar. He gives them contacts to help on their journey. The first and most important is Fei Yun who ends up being their guide through the harrowing checkpoints. The little band is pursued by Yen Tsang and his army and the fearsome Old Monster.
I’m a huge fan of Cheng Pei Pei and love to watch her swing her sword while the stunt men go flying. This was not one of her stronger roles. Most of her dialogue centered on her asking Fei Yun, “what do you think we should do?” Wu Fung’s Chin was stuck with being the jealous older “brother.” Yueh Hua had the most fun as the easy going Beggar disciple guiding the two neophytes through treacherous territory. Tien Feng’s villain was poorly drawn and wasn’t that interesting. Lee Sau Kei’s blue-faced Monster had potential but not enough screen time.
The fights consisted of swinging swords. Aside from a trident and a weapon that looked like a garden weeder, there was nothing out of the ordinary. Poor Pei Pei fought with a baby on her back throughout the film. Three against an army over and over became wearisome as there was nothing to focus the eyes upon. Unlike 70’s films, there was no spewing blood or flying limbs. The bodies certainly stacked up, but most did so bloodlessly. I found myself watching the background characters during the fights. The extra fighters were at least given things to do beside hopping back and forth like some films. Though humorously one killed character pinned to a stone wall with a sword kept moving around during the fights. Poor guy had to be uncomfortable.
The film had the Shaw Brothers polish to it with quality sets and outdoor scenery. My biggest complaint with the film was the pacing and its length. Despite the chemistry of Pei Pei and Yueh Hua, the film dragged badly. The sense of urgency and danger dissipated due to the lack of stakes and repetition of conflicts. The intrepid trio inexplicably escaped overwhelming odds on numerous occasions to the point even for a martial arts movie that it made no sense. When I found myself focusing more on the stuntmen than Pei Pei, there was a problem. Having said all that there were entertaining moments so if you are a fan of any of the actors or enjoy martial arts films from this era it is one to try, just best to keep your expectations low. As always, graded on a kung fu curve.
7 August 2026
Trigger warning: Brief nudity, non-sexual.
Photo bomb note: I loved that during one scene while the trio paused on their horses, a dragonfly buzzed in front of the camera! No take 2!
Will someone please think of the children note! : The poor baby cried at all the inopportune moments during the early parts of the film and then went silent for the rest of the film. Probably because the poor thing was rarely fed or diaper changed. Proper care of a child was not a priority for the film, just an accessory for Pei Pei's back and something to alert the evil doers of the good guys' location.
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Conflicted Detectives
Great actors and characters, very intriguing and interesting mystery, but the realisation has its flaws. It feels as if the plot is being built on the spot without having been properly thought through from the beginning, so things don’t fall into place – instead, new details keep getting added on.Still, the film works excellently as an action comedy with elements of mystery and crime, following detectives who have to solve a tricky case. It’s not a masterpiece, but it’s a very good choice for anyone looking for a relaxing and entertaining evening film. The laid-back atmosphere is only occasionally interrupted by short but intense scenes of violence.
At the beginning of the film it says it’s based on real events, but I assume most of it is made up, because it’s hard for me to imagine such a crime resolution and the way the criminals act in real life.
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This review may contain spoilers
Survival, Injustice, and the Life That Could Have Been
2037 is not an easy movie to watch. It deals with rape, trauma, pregnancy, imprisonment, motherhood, friendship, and a justice system that seems unable to understand the young woman at the center of it all.The female lead played her character with **heart, grace, and incredible emotional strength**. This was a very difficult role to portray because she is playing a 19-year-old young woman whose entire life changes after she is raped.
What hurt me most was watching her struggle not only with what her rapist did to her, but with a system that did not seem capable of standing behind her when she needed protection the most.
She did not want what happened to her to become publicly known. She did not want people looking at her with pity or allowing the rape to become the thing that defined her. Then, after killing the man who raped her, she faced another label: **killer**.
That is one of the cruelest parts of her story. She was already trying to survive the trauma of being raped, and then she had to live with the consequences of killing her attacker.
Her situation becomes even more devastating when she discovers that she is pregnant by her rapist.
Instead of being allowed to make a decision based on the trauma she experienced, she finds herself trapped once again by the law and by a system questioning whether the pregnancy resulted from sexual violence. It felt as though decisions about her body and her future were constantly being made around her while she was the one actually living with the pain.
From the moment she learns that she is pregnant, I felt there was something deeper happening inside her. She continued going through the motions and tried to hold herself together, but I never felt that she had truly escaped what happened to her.
To me, there were signs that the pain had become overwhelming and that she was considering ending both her own life and the pregnancy. That makes the kindness she receives from the other women in prison even more important.
They did something the outside world often failed to do:
They saw her as a human being.
Not simply as a prisoner.
Not as a killer.
Not as a rape victim.
Not as a pregnant teenager.
They saw *her*.
Those women gave her kindness, understanding, friendship, protection, and moments of warmth in a place where you would least expect to find them. The letters she leaves for the people who touched her life while she was imprisoned make the ending even more emotional. They show how much their compassion meant to someone who had experienced so much cruelty.
And then there is the ending.
I believe *2037* deliberately leaves it open to interpretation.
One interpretation is hopeful: she survives, her child is being raised by another family, and she is finally able to move forward with her life and prepare for the government exam she once dreamed of taking.
I understand why someone would choose that ending. After everything she endured, we desperately want her to have another chance.
But I saw it differently.
To me, the final scenes felt like **the life she could have had**.
I believe she actually died, and what we are shown afterward is a *“what if”* ending—a glimpse of the future that might have belonged to her if that terrible night had never taken so much away from her.
What if she had survived?
What if she had been able to continue studying?
What if she had taken the government exam?
What if she had been allowed to simply become the young woman she was supposed to become?
That interpretation makes the ending even more heartbreaking because we are not necessarily watching her future.
We may be watching **the future she deserved but never received.**
*2037* stayed with me because it asks uncomfortable questions about justice, trauma, punishment, and how society treats women after sexual violence. Most importantly, it reminds us how powerful simple human kindness can be when someone feels that the rest of the world has abandoned them.
The female lead deserves tremendous credit for portraying such a painful character without making her feel like nothing more than a victim. She gave her dignity, vulnerability, anger, fear, love, and humanity.
For me, *2037* was not simply a prison movie.
It was a story about a young woman trying to hold onto herself after someone else—and then the system around her—took away so many of her choices.
And perhaps the saddest part of the ending is that we are left wondering whether we witnessed her second chance...
**or only the life she should have had.**
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Not the best, but still interesting
My first impression was actually pretty good, but for some reason I started to lose interest in the second half. The premise is really interesting, and for a while it feels like it's going to do something different, but then it falls into the usual zombie movie cliches and becomes pretty predictable. The idea is definitely there, it just wasn't executed that well imp.On the other hand, the cast was great, and so were their performances. They're probably one of the main reasons the movie is worth watching.
I guess It's a fun watch, but at the end of the day it's just another zombie movie and not much more than that. I'd still recommend giving it a try and judging it for yourself.
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Fun feel good but a great thriller and satire too
No spoilers here, bc the movie has some **** AMAZING **** U-turns and twists that cannot be disclosed :)It is a super fun movie. It is wickedly fun.
And it is deep. It is an amazing satire and social commentary on many things.
There are so many great actors here. It was fun to see Julien from High Kick 3, Stuntman from ,, ,Once Again? FL from Potato Lab - yeah this role is much better than that one!... FL actress was perfect with this ML here... , etc etc etc etc
And ML from Walking on Thin Ice, Haunted Palace, On Her Wedding Day, etc He is one of my fav actors, bc he is so creative in his acting, every role he acts differently, and always has complex cool roles. I am a fan, definitely.. It was so fun to see him in this goofy role.
The first Asian drama I ever saw was Pinocchio and the only thing and character I remember from there is this ML actor :) Oh I remember the opening scene with the boy in a hut on the beach ... like ... old Hawaii. But out of the entire drama, I just remember some scenes with this actor, he essentially took over the scenes. I can spot talent :)
So... enjoy :)
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Quality Femme Melodrama -- Give it a try!
As a Westerner, the only way I can feed my C-Drama and C-Feature addiction is to follow actors around. SHE AND HER GIRLS and WAR OF FAITH sold me on Lan Xi Ya, and her playing a deaf girl here sold me the ticket to WE GIRLS.I was pleased to discover a supporting actress from BLOSSOMS SHANGHAI in attendance too! And ten minutes in I realized I knew the other female lead (Zhao Li Ying) from THE UNSEEN SISTER. So I was very excited to watch the movie, no matter what it was actually about.
I won't ruin the story, but I was surprised to learn right off the bat the movie starts in prison. This is the kind of story where our girls get out and find life outside of prison harder than inside. AI informed me that the film made prison life a little nicer than it really was, but the outside word of criminals and poverty and desperation rang insanely true, so no worries there.
In America this would be called a TV-movie or Netflix film, because it's low budget and most about humans instead of car chases. I learned that in China this did have a theatrical release and was a big success. This is why I watch Chinese media because I'm all about the human condition and couldn't care less about car chases and guns.
This film has it's violent moments, but you're here to watch these women struggle on the outside. And struggle they do. The story can run kinda bi-polar where a rotten thing happens, a great thing, a rotten thing -- etc. You watch because of the great acting across the board.
But I must confess that Lan Xi Ya is simply great. If you're new to her, she can emote like nobody can. She pulls you inside her soul and everything that happens to her -- happens to you. It's a very hard gift to describe, but she's got it.
I don't want to say anything more except see this when you can. As heartwarming as it is heartbreaking. And the strangest bit of trivia ever: Lan Xi Ya plays a deaf girl in another movie from this same year I can't wait to see.
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The Best Zombie Apocalypse Movie I Have Ever Watched
As the biggest Zombie Apocalypse fan, I have watched almost every movie and TV series in the genre, and this two hour South Korean zombie movie is easily the best one I have seen. From the very beginning, it throws you straight into the chaos when a biotechnology conference turns into a deadly outbreak after a rapidly mutating virus is unleashed. Once the facility is locked down, the survivors have no choice but to fight for their lives against the growing threat.The pacing is incredibly fast, intense, and thrilling. I was completely hooked from start to finish and never felt bored for a single moment. Every few minutes there was another shocking scene that left my jaw on the floor.
The zombie looked incredibly realistic and were absolutely terrifying. They were fast, aggressive, and relentless, which made every encounter feel genuinely dangerous. The blood and gore were also a major highlight and added to the intensity of the movie.
What impressed me even more was how realistic the characters' decisions were. Instead of making frustrating choices just to move the story along, their actions felt believable. The professor Se Jeong was especially clever, making smart decisions that helped keep the tension high throughout the film.
The infected environment with the glue and the police first person shooting scene reminds me so much of All of Us Are Dead. The camera angle is so clever and makes the whole sequence feel incredibly immersive.
I also love how the man behind all of this has the power to control the infected. It was such a unique and refreshing plot that we haven't really seen before.
The music perfectly matched the atmosphere, building suspense and making every action scene even more intense. Combined with the unique storyline, outstanding cast, and nonstop tension, this movie ticked every box for me.
What impressed me just as much was the incredible amount of effort that went into bringing this movie to life. There are literally hundreds and hundreds of people playing the infected, and every single one of them did an amazing job. Their performances made the world feel believable and added so much to the intensity of every scene.
If you are a fan of zombie apocalypse movies, this is an absolute must watch.
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"A man is like butter, the husband is the bread"
The Widow is one of those movies I’d love to rate highly as it was the first film directed by a woman in South Korea. Park Nam Ok was treated so poorly that she never made another film. As best as I can tell, the script was also written by a woman. Thank you, ladies, for attempting to break through that iron ceiling. A heads up, the film is missing sound in the last ten minutes and the final part of the last reel is missing altogether. Now to the story…Lee Shin Ja is a widow raising her young daughter Ju. Strapped for cash she meets with her husband’s wealthy friend, Mr. Lee (no relation) accepting money on occasion. Mr. Lee’s wife visits her and tells her to stay away from her husband, thinking the two are having an affair. Shin Ja’s hardscrabble neighbors drive the hoity toity woman off. When Shin Ja takes her daughter to the beach on the weekend, she discovers that Lee’s wife has her own secrets. Ju nearly drowns and Mrs. Lee’s lover, Taek, saves the girl. And before you can say “a man is like butter” we’ve got a love square going on. But wait! There’s more! Taek’s presumed dead lover comes to town. Make that a pentagon. At that point everyone should have heeded the warning sign and stopped.
Shin Ja was referred to as noble and she acted very demurely. She was graceful, spoke quietly, wore traditional clothes, and didn’t drink. She also dressed up and met with men in secluded places to talk and cajole money out of them. Why would a wife think that was suspicious? After meeting one of the men who was only dating a woman for the cash, they fell instantly in love and decided to marry. She then kicked her daughter out to be raised by the odd single dude two doors down. Ju nearly drown because Shin Ja was completely oblivious to the danger of a child in strong ocean surf by herself. If she said, “she’s such a burden” one more time I was ready to throw Shin Ja in the water. The 50s were a tough time for a single woman, especially a widow with a child. I could overlook her wheedling money out of men and looking for a husband. Abandoning her daughter to an older widower for a man was inexcusable. The movie completely lost me at that point. When her lover/common law husband hooked up with someone else, who cared? If this had been a comedy it might have made more sense, as it was, I began to laugh at the ridiculousness of the situations.
To sum up. Five stars to Park Nam Ok for having the strength to create this film, especially when she was blocked from entering the post-sound studio. I cannot imagine what she had to endure from every level of the craft to get this movie finished. I know how I would like the movie to finish ideally and it didn’t include the gigolo artist or company president but rather Shin Ja discovering she could take care of herself and her daughter by herself. Or if it went in a more realistic direction, Ju probably snapped and murdered everyone in their sleep after being shuttled about, ignored, and told what a burden she was. Like I mentioned, I really wanted to like this film, but discarding a child because she hampered romance was something I could not tolerate. I wish I could have said, "better luck next time Park Nam Ok", but she never received that chance. Truly the saddest thing about this film.
6 August 2026
Musical Note: At one point, two characters broke into song, reminiscent of the 1930s duets of Jeanette MacDonald and Nelson Eddy. Because why not, with all the crazy shenanigans going on.
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Human Connection
A very lovely film about human relationships that begins with a chance encounter between a Korean man and a Japanese man in a bar, after which their life stories gradually become intertwined.What I found particularly interesting was watching the Korean speak Japanese and the Japanese man speak Korean — but even more striking was how each of them fills certain needs in the other’s life, becoming a kind of temporary substitute for what is missing.
The actors are charming, and the characters they portray are somewhat unconventional. In fact, much of what happens in the film feels unusual, and in doing so it gently shows that life still has room for new people and unexpected meetings, and that sometimes we can stand in for one another in place of those who are absent. This is not a comedy, yet it will almost certainly put a smile on viewers’ faces and restore a little faith in the humanity and kindness of the people around us.
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Humint
I do not know where to start, hmm at first it caught my attention because of trailer on Netflix, then it was on and off my watchlist, then it was reccommended to me and now I finally watched it (more like a series than a movie since it took me 3 days but still). It was really good movie, I expected as much to be honest. have to admit that I expected a little fantasy/supernatural elements but it was just my mistake that I do not read plot. I really liked how they make it look like a game, camerawork was amazing.Truth be told, my reason to watch it was Park Jeong Min and he was amazing!! I would watch it again only for his scenes. Especially the first one, I just love this scene. Chemistry was also cute - still my favourite is with Jisoo in Newtopia (give me season 2).
Plot was nothing new or extraordinary but camerawork made me like it even more.
To sum up - just go and watch it.
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"I'm a bagger, I can carry anything. Even you."
Third World Romance was a romance set during the waning days of Covid’s terror on the world. Service professions were hit hard with many people losing their jobs. As people were able unmask it was a scramble to become employed again. During this time, two people struggling to pay their bills met and found a possible road to happiness.Alvin and Bree meet on a rainy day while standing in line for government food assistance when Bree commandeers him and his umbrella. After raiding a truck and escaping, the two swap shoes and names. When Alvin helps facilitate a job for her at the grocery where he works, the two begin to spend more time together. Alvin’s main concern is being happy and getting along with people. Bree is more concerned about making her rent payment and how to bring her mother home after being left stranded jobless in Oman. Bree also challenges her bosses for taking advantage of their employees. Happiness is not high on her list and Alvin intends to change that.
Third World Romance was a rarity for the Filipino films I’ve watched. For the most part it was just two ordinary people hustling to make ends meet and having to deal with corrupt bosses. Bree’s fight for workers’ rights was put to the test when desperation drove her. Alvin had an unconventional home life which was part biological family and part found family that included a trans woman and gay brothers that was shown as loving and normal. As in most romances there was the typical dark moment when Alvin and Bree’s love and dreams were tested that pushed the limits.
TWR was a break from interfering families, ex-lovers, amnesia, overt comedy, melodrama, and infidelity. This film focused on showing the strain debt and financial fears placed on a budding romance. The strain could make one person feel burdened and the other indebted when help was offered. Alvin would have to work overtime to convince Bree that love was possible and dreams attainable if they stuck together and supported each other. Not a strong film, but enjoyable largely due to the performances and different perspectives on a familiar genre.
6 August 2026
Notes: There was an eleven-year age gap if that is concerning. Not sure what age Alvin was supposed to be but Carlo was pushing 40. The gap didn’t bother the actors as they were married in 2024.
F Rated Note: This film was directed by a woman-- Dwein Baltazar who has a good sized film catalog.
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Best Chinese Film Ever Made!
Frankly, I used to have a very negative attitude toward Chinese media. I hated almost all of the Asian stuff, except Japanese Kaiju-related media and Indonesian horror films. I accidentally turned the TV on and saw this movie, Reset (2017). I watched it and I really really liked it. I suddenly judged that China is the developed country in term of society and attitude of people. Later, I tried to watch more Chinese movies, but most of them make me sick, because of the misogyny, fragile female roles, Stockholm girl who loved narcissistic male protagonist. I stopped watching Chinese media for many years after that period, until 2025. I started to heavily watch Chinese media in 2025, after seeing Jeremy Xu in Braveness of the Ming. However, I am disappointed about the plots of many dramas. There is no REAL strong female protagonist, but in this movie, Reset. The quality of this movie is like horror and thriller films made by Warner Bros and Blumhouse. The role of women could teach young girls what they should really learn. Adult women are really adults. They are not childish like in those dramas.Was this review helpful to you?
1Attack on Titan Live-Action: A Misunderstood Adaptation
1. This looks amazing for the budget and time this was made in, it's not an Hollywood blockbuster and they put in a lot of work (hybrid filming, meaning tokusatsu mixed with CGI). The titans are portrayed as they should, creepy and horrifying. That in itself works better in live action, imo, as it does overall if you like the more grounded feel. I understand why people could make fun of them in the trailer but while watching the movie I was not laughing, and if that's how you see it then it's literally the same in the anime, in fact they're even worse.2. The author himself asked for the differences, he literally worked with them.
3. This is closer to Chapter 0, the author's trial before the actual manga.
4. Brilliant details such as the movies being adapted as a novel inspired by Dante's Inferno, the implied bisexuality of Kirishima's character in the white room scene (Matrix reference) with Eren being a parallel to Satan tempting Adam and Eve (White Room Explained: https://youtu.be/5CQ3b8iR6Ag). Yes Levi will be the cooler guy but Kirishima is meaningful in the story. (Explanation for Levi's removal at 32:20 on the video mentioned below, basically they needed someone who confronts and stands against the main protagonist (Eren), whether physically or mentally and Levi shouldn't have to carry the burden of that role, but they added a tinge of Levi's presence in him.)
5. The music itself was amazing and the whole movie was artistic with beautiful landscapes and sets. And of course that final shot. Speaking of, the setting of the movie (modern Japan) also allowed for classism in its world of walls, with the tower of Babel even being mentioned at the very center as the government. (25:50)
6. The characters themselves are actually the same, that was said by the director. While Levi isn't there, you might be shocked because he was considered as the main character until Isayama decided to make them write a different story (20:00). Since at that time the anime was already telling the manga's story, it would not have been a creative choice.
7. Lastly, I want to thank Miura for his brilliant portrayal as Eren. Rest in peace... It was really disheartening to find out after I looked up his name when I finished Part 1. Miura's words about his love for the director and it being a powerful film literally moved the director to tears.
8. Attack on Titan (itself inspired by tokusatsu) was the first tokusatsu film production of this scale, which marked the history of Japanese cinema and also premiered in Hollywood. Now that might sound like the criticism was nothing, but that's not the case. And obviously, the majority of the Attack on Titan fandom is constituted of Western fans. (Last part of the video about the reception at 33:30) The Hollywood screenings themselves made it worse with defective subtitles that either got fixed or not which provoked refunds, memes, and a recap on their YouTube channel for the second part.
TitanGoji's latest videos on the movie if you're interested: (https://www.youtube.com/playlist?list=PLsiDKUgsnosJqpQbtq452u0WjNTt-Tlaq) Please at least look up the "Attack on Titan Live-Action: What Happened?" video if you have time and if you're interested in the Attack on Titan franchise.
// Details of my earlier points
The official novelizations published by Kodansha are based on the film screenplays by Tomohiro Machiyama and Yusuke Watanabe—they are not adaptations of the manga.
What's particularly interesting is the chapter structure.
The first novel (Attack on Titan) contains chapter titles such as:
辺獄 (Limbo)
地獄の門 (The Gate of Hell)
ディーテの市 (City of Dis)
遅悔者 (Late Repentant)
コキュートス (Cocytus)
ジュデッカ (Judecca)
These are all locations or concepts directly associated with Dante's Inferno.
The second novel (End of the World) continues the pattern with chapters including:
ミーノスの審判 (The Judgment of Minos)
エデンの真実 (The Truth of Eden)
アケローン川の畔 (On the Banks of the Acheron)
悪魔と聖女 (The Devil and the Saint)
Again, Minos and the River Acheron are unmistakable references to Inferno.
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It break my heart so much
When reality hits them so hard, so they can't do anything except to let go each otherThis drama is painfully realistic. It starts with a simple premise and an ordinary love story, but from the middle until the very end, the tension keeps rising and the plot twists hit surprisingly hard. Every decision feels real, making it impossible not to sympathize with the characters.
The female lead does everything she can to save the relationship, but reality simply won't let it happen. That's what makes this story so heartbreaking, it isn't about a lack of love, but about circumstances that slowly pull two people apart.
I cried so much watching this movie. The story is beautifully written, the acting feels genuine, and the emotional ending stayed with me long after the credits rolled.
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