Reviews

More a comedy with some sincere moments than a romance

This quirky rom-com (featuring an aspiring pâtissier possessed by a demon and a jobless guy) is much more focus on the comedy aspect than on the romance which is never very deepened.

However, I did not mind at all that is was not really a romance. On the contrary, I liked that the writing put the focus on the demon / human relationship. The ending opened the doors to more and even if it felt a bit abrupt, overall it was a nice watch.

Yoona really did an excellent job showcasing diametrically different personalities while giving the male lead (played by Ahn Bo Hyun) full whiplash effect.

I would recommend this to people looking for a comedy with some heartfelt moments. The romance is really not the main aspect of the story but I think it is worth a shot as I found the storytelling around the fantasy elements super interesting with some very well made background regarding the curse.

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so insightful.

movies like this make me remember why i cant stomach romance harem dramas like swords and the brocade. This is real and not a game which you can win. but something which always had trapped and imprisoned real women. no women can win this, its so cunning the system it tries to condition you and this movie shows that so well. the little foot massages and even the character progression. chills down my spine. concubine harem dramas should take some inspo and not make it the true evil insesntive all fightimg for one man with no dimmension. just villians but motive and a misundersrood ml. but 35 and 15 is never romance. instead its this a girl who goes mad, not a girll who wins and beats the system.

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WHAT THE FUCK DID I SUBJECT MY EYES TO??!!

First off, to call this movie crazy is an understatement. This movie is bat-shit, cuckoo for puff puff, crack head wrapped in a world of blood and gore insane.
When I saw the cover of the movie, I thought it would be your run-of-the-mill bully gets comeuppance movie. HOW WRONG WAS I.
Everyone in the movie except perhaps the parents, grandad and the kid sis of Haruka, everyone else in the small town has lost their goddamned braincells.
Almost all of the parents in the village are consumed with themselves and their expectations of their teenage children. Those that show a bit of concern are massive enablers. Do whatever you want parents.
And don't get me started on the teacher. I know a teacher's job is a herculean one - I know cos I'm one myself - but this teacher is totally useless. Though she was bullied when she was a student herself, she should have used her past to become better and stopped the bullies but she just kept quiet and just puked her guts out in almost all her scenes. She's just as bad as her students or even worst than they are.
Then the students or do I call them Teenagers from Hell. You can't even root for anyone. At one point, I was wishing Haruka would just lose control of her psychotic state and just set the whole village on fire 🔥🔥.

Anyway, the movie is quite good but don't go in expecting a rom-com.

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It shows a lot of different ways love occurs, in an everyday way

I couldn't love an actor more than Huang Chin Chi. Both he and the actor who playesd his little brother in this short film were very good. It was a well written story, but the real delight was that the acting was entirely facial and physical. You could have deleted the dialog and soundtrack and still had quite the same experience, that is how good they were.

People will tend to complicate the reviews here. If you love stories about love, if you have ever loved a sibling, if a parent has ever loved you distantly and unconventionallly, if you've ever had to take a minute, this 16ish minutes will light up your soul.

I rated highly because it made me remember when love was simple, and the only answer, before life got difficult and confusing.

I hope to see Huang Chun Chi in more prominent and starring roles in the future. His skills are excellent.

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FILM YANG GW PIKIR AKAN BOSENIN. TERNYATA... SEINDAH INI ?

Awal tau film ini dari trailer IG Netflix, dan disitu gw ada komen kalau sinematografinya vibe Jepang gitu. Gw suka betapa naturalnya mereka, no make up no filter.
Film ini udah masuk watchlist, cuma emang ga ngeh kalau rilisnya today.
Daaaan sehabis pulang kerja, sampai rumah. Gw liat notif FILM INI SUDAH RILIS! Auto nonton, 3 detik pertama gw sempet mikir "ah kok" karena abis liat siapa yg muncul diprolog. Eh ga perlu nunggu lama 3 menit pertama film ini bikin gw lanjut nonton, dan selesai gitu aja pas gw rebahan, ga ada gw pause, ga ada gw skip, ga ada kedistract. Beneran MENIKMATI banget filmnya. Gw suka gimana cut to cut film ini! Cepet! Tipe movie yg gw sukak.

Agak jarang ya, Film Korea genre romance, drama, melodrama ini POV nya lebih ke si cowok. Atau sebenernya banyak, mungkin ga ketonton sama gw, karena yg gw ngeh mostly POV cewe.

Gw suka gmn obrolan ML dan FL difilm ini. Sebenarnya ini film yg bisa ketebak gmn alurnya, TAPI TETEP AJA GW GA NYANGKA KALO ITU BENERAN SESUAI APA TEBAKAN GUA. But it's okeee. Gua terima pake nangiiiis kejer nontonnya. Mau gimana emdingnya, gw suka gimana "berprosesnya" perasaan mereka satu sama lain, gmn hubungan manusia di film ini, walaupun ga detail dan basa-basi, tapi tersampaikan aja.

Film ini bukan cerita romance ala CEO tampan kaya ketemu cewe miskin lalu jatuh cinta. POKOKNYA KALIAN WAJIB NONTON!

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THIS FILM DESERVES A FULL 8.8 RATİNG.

First of all, I should mention that this will be a short review because I don't know what to write at length. When I watched part of the trailer, I thought it was a thriller and thought, "Ah, it would be great if it were a romantic series." Then it appeared on MDL, and after watching a bit, I saw that it was a movie and a romantic one. So I thought maybe I'd watch it, but it completely slipped my mind. Then today I saw that this movie came out and decided to start watching it for a bit of fun. Before starting, I thought it would just be an ordinary coming-of-age story. But it was definitely so much more than that. When I finished it, I told myself, "I'm so glad I watched this." The romance between them was lovely, and it delivered everything it promised. Although I thought the ending was a little strange, it was quite good and I liked it. Finally, this movie deserves a full 8.8 rating. I wish someone would give it a higher score so its rating would increase. Anyway, have a good day.

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Sad People in Love

From the jump, Pavane feels like it exists in a slightly warped reality where everyone is lonely, underemployed, and quietly disappointed in themselves, which already makes it more honest than most romantic films. The story centres on three people working in the same department store, which is basically a factory for emotional suppression. Gyeong-rok parks cars while chasing dance like it’s a personality trait, Mi-jeong works in the basement like society physically pushed her underground, and Yo-han floats around as the charming, slightly strange friend who seems socially successful but radiates the kind of loneliness that comes from being liked without being known.

The romance between Gyeong-rok and Mi-jeong does not arrive with fireworks or dramatic confessions because this film understands that people who feel undesirable don’t flirt like normal humans. Their connection grows through small glances, long pauses, and the shared exhaustion of knowing they do not fit society’s idea of a perfect couple, which somehow makes their relationship feel more intimate than any cinematic grand gesture ever could. It is not fantasy love, it is survival love, the kind that says, “You also feel out of place? Great, let’s be uncomfortable together.”

Mi-jeong sits at the emotional centre of the film, and instead of giving her a makeover or a glow-up montage, the story does something far more radical by letting her remain exactly as she is and demanding that the audience take her seriously anyway. She is repeatedly criticised for her appearance, as if her face itself is a social failure, and the film never pretends this cruelty does not wound her. But it also refuses to turn beauty into her redemption arc. Her worth comes from endurance, from continuing to exist in a world that keeps suggesting she should not. Go Ah-sung plays her with a quiet vulnerability that feels like someone constantly holding their breath, revealing trauma, fear, and the aching desire to be seen without ever turning Mi-jeong into a lesson or a slogan.

Gyeong-rok is gentle in a way that feels painfully realistic because he is clearly in love and yet emotionally illiterate, like a man who downloaded feelings without reading the instructions. He hesitates, misreads situations, and can be frustratingly dense, but that clumsiness makes him feel human rather than engineered. Their relationship never feels manufactured; it feels like something that grew by accident because neither of them expected to be chosen.

Yo-han is the most ambiguous figure, hovering between friend, observer, and emotional disruptor, adding a slightly surreal layer to the story as if he understands the characters better than they understand themselves. Sometimes this perspective deepens the film’s exploration of loneliness, showing how charisma can coexist with isolation, but at other times it pulls attention away from the central romance just as it begins to settle into rhythm, which raises the uncomfortable question of whether this imbalance is intentional or simply a flaw in the writing.

Visually, the film leans into muted colours and a faintly vintage atmosphere, turning the underground parking lot into an obvious but effective metaphor for lives lived outside society’s spotlight. The cinematography is restrained and elegant, and the use of classical music lifts certain scenes into something almost dreamlike. Yet the pacing in the second half weakens the overall impact, as transitions between emotional moments feel awkward and uneven, creating a pattern where the film draws you in deeply and then abruptly lets you go before the feeling can fully land.

Still, despite these structural issues, the film leaves behind genuine emotional weight because its sincerity about love, insecurity, friendship, and longing cuts through its imperfections. It is less about happiness than about the way even brief love can permanently reshape how people see themselves. These are characters who believe they do not deserve affection and slowly realise that being chosen once might be enough to sustain them for years.

Pavane is not a spectacle and does not trade in fantasy or transformation. It offers hushed pain, awkward tenderness, and the quietly devastating idea that someone might love you exactly where you are: in the basement, in the parking lot, in the version of yourself you assumed no one would ever pick. And somehow, that restrained hope feels more radical than any dramatic romance ever could.

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Blends fun and fighting as only Lau Kar-Leung could

A clash between old-world discipline and new-world confidence that blends fun and fighting as only Lau Kar-Leung could, The Lady Is the Boss is loud, chaotic and hilariously abrasive, fully embracing its oddball identity. Spending its early acts indulging in absurdist gags, it does begin to lose focus around the midway point, throwing caution to the wind with its spotty scripting; however, the film really comes alive during its many inventive and highly entertaining fight sequences, adorably adapting Lau's choreography style for practical purposes, exchanging bloody fisticuffs for dance fights and shimmering blades for BMX bikes and gymnastic equipment. It even includes a few tongue-in-cheek pastiches of some of Lau's more famous works, all set to some super funky synth beats, while the film's commitment to absurdity gives it a truly infectious energy. A lot of the comedy had me giggling uncontrollably, thanks largely to its cast and how much fun they are clearly having with their roles, especially Gordon Liu and the adorable Kara Wai Ying-Hung delivering tenfold as the titular lady. Comedy certainly takes precedence over elegance and means that while The Lady Is the Boss is not as refined as some of Lau's other works, it's lively, assertive and hard not to enjoy on its own rambunctious terms.

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