As we mentioned repeatedly in our erotic movie lists, when it comes to the cinematic depiction of sex, the majority of Asian countries choose to show their most conservative face. Japan and Taiwan, however, have been the exceptions, to a point at least, and Golden Horse winner for “Abang Adik” Wu Kang-ren‘s vehicle “The Chronicles of Libidoists” highlights the fact about the latter quite eloquently. Directed by Yang Ya-che of “The Bold, the Corrupt and the Beautiful”, the movie was given an R rating in Taiwan, courted significantly controversy for its prolific nudity and explicit sex scenes, but still managed to become a box office hit in its country, boasting $110.6 million domestically.
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The story revolves around four people, who are connected through a private forum run by Dan Sheng Ba (nickname that means alpha single man in Mandarin), which focuses on sex and particularly orgies. Dan is also father to a daughter who loathes him for his extramarital relationships, and particularly one with trans woman Xiao Lu. The latter frequently confides in the most open way possible, mostly about sex, with Bai Q, the daughter of a wealthy funeral parlor owner, who is about to marry a seemingly perfect husband of equal social status. At the same time, though, she channels her sexual frustration by indulging in paid S&M (she is the M) sex with by a man in a bondage suit (Will Or) who calls himself Uberdick, and who is struggling to maintain his own relationship with his pregnant bondage artist girlfriend and to keep his games parlor afloat. When an underage student becomes part of the equation, things take a turn for the worse, as a number of revelations also come to the fore.
Yang Ya-che does a number of very interesting things with his movie. For starters, the way the people who talk through their smartphones are frequently presented as being at the same place works particularly well, adding a note of surrealistic humor and perhaps making a comment against the notion that online communication is essentially non-communication. The way Dan manipulates the forum, with his associates using techniques like reverse-trolling (essentially a way to draw traffic by instigating trolls to start commenting) also makes a comment about how the internet works, in a way that, when combined with the aforementioned, highlights the ambiguity of the web, as much as the fact that it is actually a tool.
The openness all characters exhibit when talking about sex (and their genitalia) is like a breath of fresh air in this climate of political correctness, and is used here both for humor and as a sincere presentation of people’s feelings and thoughts. Particularly the ways Xiao Lu and Bai Q interact is bound to stay on mind, additionally for the ways the latter emotes on what she is listening to. This openness actually extends to the sex scenes, which are many, rather well shot, and in a combination that is both realistic and dream-like on occasion, but definitely titillating, additionally because the whole cast look particularly good. This aspect extends to the gay and BDSM scenes, in one of the most intriguing presentations of sex we have seen lately.
This last aspect also benefits by the fact that Yang highlights sex in its social function, as a coping mechanism for repressed emotional and mental issues, but never as a solution, as the family and professional affairs of the protagonists highlight. Furthermore, that indulging in extreme, beyond the law endeavors has its consequences, is presented in a way that showcases the fact but not in a didactic (or vindictive for that matter) approach is another of the many traits of the narrative.
At the same time, however, the quality somewhat deteriorates when the movie moves towards the family drama, with that aspect being epidermally explored, and in a way that seems as if it was forced in the narrative to provide some relief from the sex. It is not exactly an issue, but it is there, nevertheless.
The overall cinematic approach benefits the most bu Chen Ko-chin’s both realistic and (sexually) dreamy cinematography, which pulls no punches in the presentation of sex and its repercussions, with the close ups in particularly being as well depicted as the totally surreal scenes (the one in the pool for example). The sense of disorientation that frequently dominates the movie is also dictated by Chen Chun-hung’s editing, with the cuts that bring the people talking on the web in the same place being particularly impactful. The pace is relatively fast, in a style that suits the overall aesthetics of the movie, while allowing the story to unfold fully in the 105 minutes of its duration. One could say that regarding the editing and direction, some inspiration from Park Chan-wook‘s “Decision to Leave” is definitely there, although Yang moves his narrative in much more daring paths, at least on the most obvious, visual level.
Wu Kang-ren as Dan is excellent once more, with the way he retains or loses control being particularly rewarding to watch. Liu Chu-Ping as the quirky Xiao Liu is also a treat to watch, particularly through her interactions with Alisia Liang‘s Bai Q, who is also convincing in highlighting her inner frustration under the facade of the always pleasant salesman. Will Or as the fourth in the group is good in his dramatic role, particularly in the moments he is fed up.
Unapologetic in its titillation, smart and humorous, intriguingly shot and edited, “The Chronicles of Libidoists” is an excellent film that highlights how effective sex can be in cinema, when it is presented unbothered by censorship and political correctness.
