There is no doubting the mainstream appeal of dating apps across the world. For many, it is a much more convenient method of finding a partner, free from the conventions of bygone eras and, at times, a much more convenient way of meeting a likeminded individual than a bar somewhere in a town centre. For gay people, though, at times, such an application is so much more. “Looking For?” taps into all of this, dealing with everything from choosing the correct profile picture, right to whether typically heteronormative concepts such as marriage need to be pursued when one does eventually look for love, if that even exists.
“Looking For?” is screening at Queer East Film Festival
Filmed over the course of four years (2012-2016), the 60-minute feature follows director Tung-yen Chou across Asia, America and Europe as he seeks to investigate how dating apps have shaped the gay community. Complete with around 60 interviewees, most of whom are friends or acquaintances of the director, the film attempts to tackle its major questions with a hugely diverse ensemble. At first, it seems like a celebration of sorts, with Michael Scoot and Hsu You-sheng branding Grindr, and similar dating sites, a “completely new” possibility, and a “dream come true.” Yet, such gushing praise and optimism is soon chipped away at, with some more sobering truths and anecdotes provided over the remainder of the film's duration.
It is the latter approach, one of more pensive reflection and considered tact, which works most emphatically in “Looking For?”. Audiences want to see the truth behind these applications; the competitive streaks amongst downloaders who wish to appear as the most attractive man in their area, the social stigmas plaguing the construction of a person's profile, the multiplex of preferences. Watering down such commentaries and fixating on the idealistic view that dating hubs such as Grindr are beacons of progression would have been misguided, consequently making Chou's balanced approach much more digestible. Furthermore, there is a real grit to some of the tales, such as Alex's genuine visible upset when questioned on whether he can truly ever love, which make the documentary frequently compelling, and combine the heart-warming with the heart-tugging.
However, a major issue with Chou's project is, oftentimes, brevity and breeziness is favoured over raw, inquisitive depth. For a director who operates with such a forensic method of questioning throughout the runtime, it almost feels like a waste to cut away from some of the more poignant, resonant moments of inward-looking pondering in favour of somebody celebrating their “pig” status within the gay community. It is obvious to see why such a formula is chosen, as it enables the clustered clast to have share near-equal moments on the screen, and allows the basic structure to drift through at a swift pace, as opposed to dragging through numerous personal interviews. Nevertheless, one cannot help wonder just how much more impactful such a bold point of research could have been, should some of the fat been trimmed from around the sides.
Technically, though, this release is particularly competent. Although the interviews are shot pretty basically, often with a close-up of the subject whilst they are sat at home, there is a real quality to some of the transitions, and theatrical moments spliced in. These abstract moments, some of which depict the solitude of the social media generation when faced in public-facing situations viscerally, seamlessly manoeuvre the documentary to a new discussion point, and aptly allow for Chou's directorial chops to be shown more prominently.
Although it is frank, forthright, and fleetingly enrapturing, “Looking For?” is inarguably roughly-made. Although, with a smart ensemble of interviewees, and a director who seems to be methodically telling his own personal story over the building of the feature, it ultimately proves to be a fruitful watch, churning meaning out of the mundane.
