If you never thought a plastic uterus model would make a good plant, prepare yourself for some redecorating. The stolen emblem sitting atop glass marbles as the years tick away is the most profound object you’ll see in the whole of E.oni’s Love in the Big City, a film that, despite the assumed subject matter, was made for everyone. Being based on the BL (Boys’ Love) novel by Sang Young Park, fans of Korean media who have already caught the limited series adaptation might go into this film with certain expectations. But it’s best to dive into this with eyes anew, as E.oni has stirred in some surprises for an unexpected take on the story: one that no longer clutches onto a relationship between two gay men, but rather on one man and his female best friend. But don’t worry, he’s still gay.

Noh Sang-hyun is Heung-soo, a brooding closeted student who struggles to commit in his relationships before it’s too late. He’s also the sworn protector of bestie Jae-hee (Kim Go-eun), a feminist outcast who faces vitriol from her peers for her love life. Love in the Big City is a pacy joyride that relies on its charming characters for a watch that’s never not interesting. The cheeky humour and one-liners work to soften the blow of some tear-jerking scenes, and a particular false alarm of blood and raspberry wine will have you rolling your eyes with fondness. The more caring scenes drop some beautiful lines, such as the one uttered by the two to each other at different stages of their lives: ‘How can being yourself be your weakness?’ 

The fact that the two’s relationship works so well is a testament to their chemistry and ability as actors. Kim is an absolute magnet on screen, and we as the audience feel for her in her lows and highs. Noh’s ability to express in his face and demeanour the ultimate protective friend override even during moments of frustration is a lovely trait he’s honed for his character, and it’s a big contributor to their bond working so well. E.oni’s Heung-soo and Jae-hee not letting their very personal struggles hinder them from protecting the other is paramount to their being such beloved characters to audiences. 

What’s beautiful about E.oni’s work here is that it could genuinely change one’s perspective for the better. Women who are often labelled as crazy for reacting emotionally in emotionally provocative situations will find their respite in scenes that deliver justice for them, while those who might’ve been concealing their ignorance will see a new perspective. Similarly, those not in the LGBTQIA+ community can see through the eyes of those who never chose to have a harder life. The absence of Heung-soo’s HIV diagnosis in the original novel gives more room for his anguish over his sexual identity and his fear of it being discovered to be more fully explored. By the time he’s ready to overcome that obstacle and truly come out in the way he wants to, it’s a well built-up accomplishment that we as viewers empathise with: a moment that might’ve been too rushed or inauthentic had the time and care not been taken for it. By tweaking things a little, no viewer could feel alienated, as most humans can relate to something in this film. For a self-entered species, that’s where understanding arises. 

No sensory delight is sacrificed in favour of focusing purely on dialogue and relationships; that’s when a 4-star becomes a 5-star, and no box is left unticked. In E.oni’s beautiful analysis of humanity, vibrant colour fills your corneas as we’re spun around at the club with Heung-soo and Jae-hee. And when 21 becomes 30, the colours are as watered-down as Jae-hee’s personality, as she tries to fit inside the cramped box of her controller. The visuals are as good a storyteller as the dialogue, and by the film’s end, we’re satisfied with the palette on our screen. 

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Written by Maddie Armstrong

Featured image courtesy of Far East Film Festival

_{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.}