Every metal guitar wants a powerful amplifier. Yang Mal-bok is delightfully animated in Lee Yu-jin’s Manok, a film where zest is absolutely mandatory.  Shortly after the first frame’s bright rainbow flag passes us by, we meet the titular Manok, a lively and impulsive bar owner who hosts LGBTQIA+ parade parties in Seoul. In a bold act of solace-seeking after her estranged mother passes away, Manok returns to the quiet Iban-ri, far from the stresses of the metropolis. 

As most rural places tend to be, Iban-ri is fairly untouched by time: where one couldn’t tell the difference between the ‘80s and the present. As is the land, so are the people; the current attitudes within this isolated greenscape haven’t changed much over the years, nor have been influenced by the outside.

Manok’s unfortunate yet unsurprising ostracism from the village due to being nothing more than a lesbian woman is presented in plain view; no frills of discretion are put on this comedy. Lighthearted as it may be most of the time, it justly deals with its topics. The irony of people’s protests against Manok as something of a villainous monster while they’re the only ones exhibiting aggression could not go missed by any audience. The film’s heart is highlighted clearly: why put energy into hating others?

Yang isn’t the only actor nailing their role in the film. Trans teen Jaeyeon is portrayed wonderfully by Sung Jae-yun, especially during his heart-wrenching breakdown by the riverside. The character suffers a different kind of punishment to Manok: a dismissal, a refusal on his parents’ part to acknowledge him as anything other than their “princess”. Of course, it being a comedy, such scenes are watered down with intervals of humour, and it’s knitted together well. 

From the symbolism of chrysanthemums that are really brussel sprout flowers, to the life-saving that is thanked with a toilet usage pass, and the literal rap battle in a police station, Manok is as kooky as its titular protagonist. It’s written deliciously, and that fact is solidified by perhaps one of the most romantic lines ever uttered, by Manok’s butch soulmate Geumja (Kim Jung-yeong): “What do you think about spending our lives together being a couple of good-for-nothings?”

Such creative scenes couldn’t have been done without their drivers. Whether it be Yang’s ability to cry on command or Kim’s constant smoulder, all of the cast is so top-notch that it feels as if their roles were written about them. The precious Manok, who enters noodle shops like a Wild West gunslinger, only either hated or loved, just wants to see everyone happy. Warning: viewers may find their own cheeks aching as they wallow with her in her joy.

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Written by Maddie Armstrong

Featured image courtesy of Uncommon Pictures

The BFI Flare: London LGBTQIA+ Film Festival will take place at BFI Southbank from 19^th-30^th March. Tickets will go on sale from 25^th February for members and general sale from 27^th February via bfi.org.uk/flare.

_{View of the Arts is an online publication dedicated to films, music, and arts, with a strong focus on the Asian entertainment industry. With rich content already available to our readers, we aim to expand our reach and grow alongside our audience by delving deeper into emerging platforms such as K-pop and Asian music more broadly. At the same time, we remain committed to exploring the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that define these industries worldwide.}