Two couples, one green-card marriage, and a whole lot of heart—The Wedding Banquet proves that there is no fixed roadmap to love. A remake of Ang Lee’s groundbreaking 1993 film of the same name, The Wedding Banquet kicked off The Projector’s annual pride month event Pink Screen, Singapore’s largest LGBTQIA+ film festival.
When Winston Chao (in his film debut, no less) appeared as the gay Taiwanese immigrant Wai-Tung on screen over three decades ago, heads turned. At that time, gay marriage had yet to be legalised in the United States. An interracial queer relationship between a white man and a Taiwanese immigrant on the big screen was even less fathomable. In the film, Wai-Tung and his partner Simon engage in a never-ending charade, marrying a Chinese woman in need of a green card to placate Wai-Tung’s exigent and conservative parents. As the story progressed, there was no denying that Lee’s vision was much ahead of its time.
The film was an immediate success and has since become a classic in queer cinema. It was perhaps even one of the first showcases of a throuple in Asian cinema, long before throuples became a thing. But the original film was also a product of its time. Surely, there could have been no other way for a gay couple to start a family than by accidentally impregnating a girl during an antiquated bedding ceremony, right?
32 years since the original film’s release, the realities of being queer have changed drastically, as Andrew Ahn’s remake artfully reflects. From rejecting heteronormative standards to exploring the raw challenges of starting a queer family, the 2025 rendition injects modern elements into a classic tale, shedding light on issues pertinent within the queer community now more than ever.
A star-studded cast featuring Oscar-nominated Lily Gladstone, SNL star Bowen Yang, Kelly Marie Tran and Han Gi-chan, alongside the legendary Joan Chen and Youn Yuh-jung, this impressive ensemble lies at the heart of Ahn’s film. Angela (Tran) and her partner Lee (Gladstone) want to start a family but cannot afford another around of IVF treatments, while Min (Han) and Chris (Yang)—close friends who happen to be living in their garage—have a dilemma of their own: Min’s student visa is due to expire.
When commitment-phobic Chris rejects Min’s proposal, the latter turns to Angela as the solution to both their problems—a green card marriage in exchange for money to fund Lee’s IVF. A preposterous deal reminiscent yet slightly more grounded than that of the original, the two couples find themselves in an intricate web of lies as Min’s skeptical grandmother Ja-Young (Youn) arrives for a surprise visit.
It is rare that a rom-com is equal parts rom and com, but The Wedding Banquet strikes the delicate balance well, offsetting heartfelt moments with witty dialogue and brilliant comedic timing. It is reflective of life—where emotional moments and light-hearted ones go hand-in-hand.
As we accompany the younger generation through their various hijinks, the standout performance without a doubt comes from Academy Award-winning Youn Yuh-jung—a scene-stealer to say the least. Throughout the film, we watch the quietly observant Ja-Young slowly reconcile her preconceptions with her love for her grandson, grounding her performance in a subtle yet poignant manner.
Her one look speaks volumes: as she watches her grandson stitch together what we later realise is a hanbok for her to wear at his wedding ceremony, a glint reflects in her gaze as she embarks on a journey towards acceptance.
On the other side of the spectrum lies Angela’s mother, May, portrayed by the iconic Joan Chen. While her peers struggle with a fear of explicit rejection, Angela’s demons are more internalised. For one, having a mother who is a proud member of the local PFLAG (Parents and Friends of Lesbians and Gays) organisation may be a distant dream for many. Yet the overt acceptance comes at a cost. When we later discover Angela’s misgivings about parenthood largely stem from her strained relationship with her own mother, from whom she was estranged for years after she came out, the strings behind May’s performative allyship begin to unravel.
In contemporary cinema, the true eventual goal is the dissolution of categories based on gender identity or sexual orientation. The audience watches the characters navigate their personal journeys and battle their inner demons—be it the fear of coming out, anxiety towards parenthood, or what the film aptly coins “millennial indecision.” While the film weaves a deeply unique story, it also reflects a universal feeling—the desire for love, acceptance, and a sense of belonging.
From one-liners that had the crowd cackling to heartfelt exchanges that brought tears to faces laughing only moments ago, The Wedding Banquet is expanding the canon of queer cinema. While the copious stories of disquieting queer experiences are indeed necessary, it’s long overdue for a fun queer romp that carries as much heart as it does humour.
The film is nary a cinematic masterpiece, but it doesn’t tout itself to be one either. It promises only a fun time, a breath of fresh air to kick off a month of pride and celebration.
The Wedding Banquet is now showing in theatres at The Projector. Book tickets here.
