Andrew Ahn’s contemporary reimagining of “The Wedding Banquet,” set against the backdrop of Seattle, explores the complex dynamics of two gay couples who devise a faux straight marriage to fulfill their respective needs. Min, a young artist from an affluent Korean family, seeks to extend his stay in the United States to be with his partner Chris while postponing familial duties. Meanwhile, Angela and Lee are in need of financial support for another round of IVF following a failed attempt.
In 1993, when Ang Lee first released “The Wedding Banquet,” same-sex marriage was not legally recognized in the U.S. The modern adaptation introduces a new barrier, with Chris being reluctant to marry Min. Chris’s hesitance stems from concerns about jeopardizing Min’s inheritance and perhaps deeper feelings of inadequacy. Min then proposes a short-term solution: he will marry Angela, providing them with IVF funding while remaining close to Chris in hopes of resolving their issues.
The couples share a backyard, with Lee owning the property and renting an accessory dwelling unit to Chris and Min. Although the film hints at potential comedic mishaps, such as hurriedly “de-gaying” the house before Min’s grandmother Ja-Young’s unannounced visit, these are kept to a minimum. Ja-Young quickly discerns the truth, prompting confessions within minutes of her arrival, a testament to her wisdom and perception.
Despite this, the narrative occasionally lacks a sense of enjoyment among the characters. Themes of found family are present, yet doubts linger regarding their compatibility and mutual support. Chris and Angela, described as having a co-dependent relationship since college, seem to carry unresolved traumas. Angela even suggests using Min’s money for travel rather than IVF, a proposal made in a moment of inebriation that could have significant repercussions for their plans to start a family.
The film delves into the emotional struggles and unresolved issues of its characters, at times making it challenging to remain invested in their predicaments. The story finds respite in the presence of older characters, such as Ja-Young and May, Angela’s mother. May, recently recognized for her LGBTQ+ advocacy, has complicated interactions with Angela, who questions her mother’s motivations. Both older women strive to atone for past mistakes, prioritizing the happiness of the younger generation.
Performance-wise, Bowen Yang, portraying Chris, grapples with more intense emotional scenes, contrasting with Kelly Marie Tran’s adeptness at conveying emotion. Lily Gladstone’s role, though seemingly understated, contributes a subtle depth to the narrative. Despite its imperfections, the film exudes sincerity and affection for its characters, embracing their complexities.
“The Wedding Banquet,” distributed by Bleecker Street, is set to release in theaters this Friday. With a running time of 103 minutes, the film is rated R by the Motion Picture Association for language, some sexual content, and nudity.
The Evolving Landscape
This film offers a fresh perspective on the evolving dynamics of relationships and societal acceptance. For viewers, it reflects the changing landscape of LGBTQ+ rights and recognition, underscoring the progress made since the original film’s release. The narrative highlights the complexities and challenges faced by individuals navigating personal desires and familial expectations in a world still grappling with acceptance and understanding.
For communities, it emphasizes the importance of empathy and the willingness to embrace change. The story encourages introspection regarding the support systems that exist for marginalized groups and the roles individuals play in fostering inclusive environments. As the film concludes, it leaves audiences pondering the value of authenticity, the courage to confront personal dilemmas, and the impact of past actions on present relationships.