It is a general knowledge that our society has such a long way to go before really, completely normalizing and accepting people with color and fifty artists and narratives in the mainstream. However, despite the continued struggle, it is important to admit how far the minorities have come to the cinema and how long these films continue to be. As evidence, director Andrew's remake of the "Wedding Banquet" only premiered at the Sundance Film Festival, and the film marks the milestone of a variety of Cinema Poc and Queir. As Ahn told the audience at Premier Screening, he first saw The 1993 Ang Lee version of "Wedding Banquet" As a child thanks to his mother to rent one night during a trip to the video store, telling his son that he wants to see the film about the Asian-Americans watching all white people.

As he admitted, seeing that film at a young age is a formative experience because it helped him start define his sexuality in the era when he was just allowed to be publicly out of the closet. Now, 32 years after the original film, An ahead of one of the co-writers of Lee's film, Jameseims Chamus (with whom AHN collaborated as a producer of his 2019 breakthrough film, "Drigways"), in order to update " The wedding banquet for the era is far more relaxed than in the 1990s in some way. While the ways in which the 2020s are still rooted in the ancient tradition and prejudice make up part of the film's plot, its huge and access to the fact of unusuality and sexuality allows this version of the "wedding banquet" to be a pleasant novel.

The original "wedding banquet" is a comedy of mistakes, which includes a bisexual Taiwanese man who makes a deal to marry a Chinese woman in order to be a green card and calm her traditional parents, only to discover that his parents are coming The United States for their shameful wedding, which means he must lie about his homosexual relationship. As ACN has noticed in the introduction of the film, legal relationships with the same sex and marriages have been a reality for decades now (and hope they stay that way), so it may not be the only obstacle to which characters would face in his version of the film.

As such, this "wedding banquet" introduced us to Angela (Kelly Marie Tran) and Lee (Lily Gladaston), a lesbian lesbian couple living in Seattle, who are desperate to have a child through the expensive IVF procedure. Their gay male friends living in their guest house, Chris (Bowen Young) and Min (Jan Gian), go through a rocky patch in their relationship, with Chris refusing to devote himself to min on the basis of knowing that Min is rich, traditionally Korean at Min family will deny it if they marry. After learning that Lee's latest IVF treatment was not taken over and that the couple does not have enough money to pay for another attempt, Min is implementing the plan to marry Angela, based on the fact that her daily work can allow her to pass as A. A direct woman in the eyes of his grandmother (Jun Fuh-Jung) long enough to make a shameful wedding and min to give Angela and Lee for a new procedure.

Of course, things are complicated almost immediately: Mini's grandmother insists on coming to Seattle to stay with Min and Angela, Angela vocalizes her uncertainty to become a mother because of her rocky relationship with her mother, May (Anoan Chen), and Chris is torn Between his loveube to min and his sense of responsibility. Farcel icing on the wedding cake comes when Chris and Angela, who briefly were college item before identifying their sexuality, to sleep together as a result of the drunken accident.

The events are just tangled from there, and what the "wedding banquet" proves more than everything is as well as AKN in setting up and paying the situational comedy. It is a trick easier than done, as evidenced by numerous romantic comedies that oppose opposition and expect to be rewarded with relatively laughter. Ahn, Chamus and the ensemble have thrown all the innate understanding that stories like this should feel realistic even as they present a series of amazing circumstances, and the "wedding banquet" pulls that trick with Panace.

While the "wedding banquet" is at best relying on his Roma-coming spirit, he argues when he chooses to slow things down to try and bring some Indian dramada into the actions. This is probably due to the fact that An and Chamus are trying to balance the growing, farchic nature of their story with the dialog that is too much on the nose to ever sound naturalist. The actors are required to deliver some truly clumsy lines, citing their problems, complaints and desires in a way that could never sound real, no matter who said. It is a kind of dialogue that would fit into a trifle in Sitkom TV in the 80s or 90s, but is highlighted as a sick thumb here.

After all, this feels like a situation of cross -strings when it comes to goals and tone. The "wedding banquet" is, at the base, easy entertainment and there is nothing trivial or small for it. However, it is understandable why An can feel pressure to try and give the film more weight than it can handle, and only half work. When it comes to moments shared between Chen and Fuh-Jung, history and wisdom, these women innate give their scenes extra shakes. Conversely, the versatility of young couples feels in place; It is difficult to reconcile their too perfect speeches a minute with their disorderly social spoilage next.

Fortunately, the cast of the ensemble is so victory (both separately and together) that each of these problems becomes ordinary bumps on the path to the otherwise beautiful path. Part of the joy of the film lies in the way Ann has structured each character to work in more pairs, and it is a stroke of good casting that every last actor is more than the requirements of the script. It is so joy to see that these performers bounce off each other, and together they create the found family dynamics that Ann is striving for with the film. When the "wedding banquet" relies on its Roma roots, he sings in a way that most modern Roma computers do not have a good time.

That's why this movie, even more than recent hits "Everyone except you" And "Crazy Rich Asians" (The second of which this film will be lazy compared to), feels as the best example of resurrecting the romantic comedy. I'm sure there was Other strong streaming service exhibitions latelyBut there is something so special to have a collective experience with such a movie, and I hope it can lead to further films as they are not only made, but to be published theater. "The wedding banquet" can be a movie that feels good in the year, but it should not call it frivolity. It is a film that, once again, demonstrates how we all, no matter what background, can behave in each other, and in the era we are suffering at the moment, that is a message that we can all use more.

/Movie rating: 8 out of 10

The Wedding Banquet premiered at the Sundance Film Festival in 2025. It opens in theaters on April 18, 2025.