Hello, hello, Sensei! I figured other BL fans might benefit from this Q&A, so I'm posing this question on the public channels: in your reblog of my TharnType review, you mentioned watching Dew the Movie in a comment about being surprised about the developing kinds of BL that were coming out of Thailand in 2019. Could you expound a little more on that? I'm trying to get a sense of what Dew stands for by way of where it lives in the BL history books. I'm also aware that if it weren't for Bad Buddy, that this piece would have likely been Ohm Pawat's last appearance in queer media, and I want to keep that in mind before I watch it (which will be very soon). Dew will be the only movie on my Old GMMTV Challenge list, so I want to give it the understanding it deserves. THANK YOU, *FOR EVERYTHING*, SENSEI! <3
Dew the Movie
Not a review, more where it sits in Thailand's cinematic journey and how that correlates to queer cinema and its standard pattern of evolution.
I've always though of Dew as GMMTV's My Bromance. Not the same tropes but same tenor. Sweet Student Boy is another one. Or even Your Name Engraved Herein (although that is Taiwan and superior).
All quite heavy. Not much BL.
In Thailand this style started with Love of Siam. And I would put Present Perfect in there as impactful as well (very arthouse and complicated piece that made waves in the Thai queer film industry for many reasons not the least of which was political).
Most queer cinema enters the world with this kind of offering.
There is also a gay rep vis "character patterns in cinematic traditions" that everyone pretty much knows about in ET:
if there at all = kill the gay
if there at all = punch down humor (aka fear the gay so mock openly)
gay rep narratives green lit (usually arthouse) but in order to be taken seriously by critics and greater social structure are censored away from joy (gayness not permitted to be portrayed in a positive light) = queer characters exist but are not allowed to end up happy - these shows can win awards and critical acclaim (the Broke Back Mountain effect)
magical gay advice giver (queer serves only as a plot device to help the hets) - there's usually a make-over involved
1 major gay character (usually in comedy/romance) = tokenize the queer side (aka my gay bestie)
happy ending sanitized gay romances (or skinned romances where the gay characters act like hets - see seme/uke),
actual gay romances honest to the community/experience and peopled with multiple queer characters and life stages
Of course this is not a tidy progression, we can see Thai BL (stage 6) still grappling with 1-5, but also slowly moving into and having more and more of stage 7.
Actual queer narratives (of which romance would be a subset and tends to emerge later) like Dew stay quite dark, gritty, and chewy and usually spring up along side the mainstream depiction of gay characters - around the time that mainstream film decides to acknowledge gays exist at all (and immediately starts killing them).
They just get little to no attention because they are under funded, under marketed, and scary for mainstream viewers. Society isn't ready if these are made too soon in the 1-7 progression. Which is not to say the shouldn't be made! Just why they aren't popular in the zeitgeist.
Dew is part of the "yes but what about the real gays?" side (yet parallel) evolving tradition to BL (that is only now kind of getting integrated into BL). So, stage 3.
But also all stuff I watched North American arthouse grapple with extensively in the 90s and seemed to all follow EXACTLY the same non-romantic narrative path. Therefore it feels like I've seen it a million times.
I'm personally exhausted by this kind of "picking at gay pain" queer content. I don't need to see it anymore. I got into BL because it was materially different and all ways from what happened over here in Hollywood. We never got THIS level of stage 6 and it's fascinating that Asia is lingering in it for so long.
Back to Dew...
Wistful gay?
What might have been...
Something like that?
These shows grapple with identity and expression and out-ness and courage.
It's sad and depressing.
That's about all I remember of it because it was so much like so much of what I had already seen in queer cinema. Perhaps special for the Thai queer film world, but not special for me.
Although I do remember thinking Ohm was great in it.
In the end I think Dew was GMMTV picking up and experimenting with the more universal tradition of exploring (and exploiting for drama) gay pain. It's not really a romance in the modern sense of the term... and I prefer romance.
(source)
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Daily Bugle top reporter: Where are you going?
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