The Wedding Banquet 2.0: A Reboot with Heart, Humor, and a Whole Lot More

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In the 1993 groundbreaking film “The Wedding Banquet” by director Ang Lee, the primary sources of tension were societal disapproval towards same-sex marriage, the AIDS crisis, and a conservative culture that seldom depicted non-heterosexual individuals seriously on screen. However, now, many years later, these topics are largely resolved, making a remake unnecessary. Remarkably, writer/director Andrew Ahn (of “Driveways”) has successfully modernized Ang’s queer drama, creating a fresh and engaging take on the story. A group of well-drawn characters grapple with contemporary issues faced by the LGBTQ+ community, yet their struggles resonate universally.

Ahn’s film titled “The Wedding Banquet” might be classified as a romantic comedy, but it subtly deviates from the genre’s typical elements. Rather than fully embracing the romantic comedy format, the director, Ahn, uses his compassionate perspective and curious mind to delve into the expansion of family concepts within the queer community. This exploration is heartfelt, affectionate, and long overdue. To accomplish this goal, he subjects the main quartet to various trials, ensuring that the drama remains engaging and keeps us invested in a resolution that is both predictable yet filled with warmth.

With a stellar cast that stretches across every role, featuring SNL alum Bowen Yang, Lily Gladstone, and a heartfelt performance by Kelly Marie Tran (known for her roles in Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker), Ahn’s modern adaptation maintains the original’s revolutionary spirit while carving out a unique and innovative storyline of its own.

Bowen Yang and Lily Gladstone Are Sleepless in Seattle

The screenplay, penned by Ahn and James Schamus (who jointly scripted the initial film), does an impressive job of extracting deep emotion and subtlety from a seemingly zany setup. In Seattle, Chris (Yang) – a man reluctant to commit – runs a bird-watching tour business. His boyfriend, Min (Han Gi-Chan), is a wealthy Korean individual who requires a green card to reside permanently in the U.S.

The pair reside in the dwelling of their dear friends Angela (Tran) and Lee (Gladstone), a same-sex couple who have recently experienced their second unsuccessful attempt at In Vitro Fertilization (IVF) and are financially unable to attempt it again. With Min deeply smitten by Chris, he proposes an idea: he will cover the costs for Angela and Lee’s third IVF treatment, provided Angela consents to a marriage for a green card, allowing Min to stay with Chris in the United States.

What’s striking about Ahn’s work as director and co-screenwriter is not just the skillful interaction between the four characters, but also the depth he extracts from supporting characters like Angela’s mother, May (a pleasure to see you back, Joan Chen). Despite her public support for the LGBTQ+ community by accepting awards as an ally, she had a strained relationship with Angela after her coming out, going five years without speaking. Yet, May continues to play a role in Angela’s life, even participating in Angela’s upcoming sham marriage. At one point, she deletes her queer-positive Instagram Stories, showcasing the complexities of their relationship.

In a more engaging manner: The Korean grandmother portrayed by the talented Youn Yuh-jung (Oscar winner for 2020’s Minari) is even more remarkable. Initially doubtful of Min’s fiancée, grandma unexpectedly arrives from Korea and swiftly uncovers the scheme. Far from a timid matriarch, she demonstrates strength and wisdom, and her acceptance of Min’s decisions, her spirited demeanor, and her clever use of English make her a delight to be around.

‘The Wedding Banquet’ is a Crowd-Pleaser with a Message

The Wedding Banquet” is generally well-received and seldom resorts to cheap tricks to win over its audience. However, there are instances where it seems more obligatory rather than heartfelt, such as when the characters hastily hide all items suggestive of homosexuality, including Lilith Fair memorabilia, before their grandmother’s arrival. Additionally, a pivotal scene at City Hall sacrifices logical consistency to create a grand romantic comedy climax.

In another phrasing, Ahn portrays the characters and their challenging odysseys with due reverence, which is reciprocated by commendable, thoughtful acting from the main cast. Yang, who previously acted in Ahn’s movie Fire Island, skillfully conveys Chris’ primary trait of being a commitment-shy individual, tinged with self-accusatory sadness. Moreover, the fact that the comedian refrains from using Chris’ job as a bird enthusiast for comic relief demonstrates admirable self-control.

In a less expected but effective twist, Gladstone doesn’t come off as an innately humorous actress, yet her grounded portrayal lends depth to her character struggling with the longing for motherhood. On the other hand, Tran’s performance is particularly poignant as her character traverses the most emotionally challenging landscape. Initially skeptical and privately apprehensive about becoming a mother, Angela’s journey concludes in a heart-wrenching, tear-jerking moment of quiet resolution that only exceptional actors can convincingly portray.

A Comedy that Redefines What It Means to be a Family

According to Chris’ cousin Kendall (Bobo Le), the movie’s central idea is that no family member stands alone in being perfect; instead, all families, regardless of their cultural, gender, or sexual diversity, are valuable when built on honesty, respect, and love. Ang Lee’s initial portrayal effectively conveyed this message while raising awareness for LGBTQ+ issues and shedding light on the complexities of cultural identity and immigration. Ahn’s updated version maintains the same message but in a world that is (generally) more accepting.

In contrast to earlier times when only a select group had a rare opportunity to glimpse into the lives of marginalized communities through such films, this skillful remake now resonates with all audiences, as they find themselves reflected in it. After just four movies, Ahn, a first-generation Korean-American born in Los Angeles, is moving closer to becoming a significant director. His unique ability lies in blending mainstream narratives with a profound understanding of specific details that enriches the portrayal of both immigrant and queer experiences on screen.

Under the banner of production companies ShivHans Pictures, Kindred Spirit, and Symbolic Exchange, and with distribution by Bleecker Street, “The Wedding Banquet” will be released on April 18.

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2025-04-15 00:02