CANNES 2021: Moneyboys
CANNES 2021The break-neck speed of the economic success and associated development experienced by China in recent decades is well-known, yet for many, it is still unknown how most traditional families deal with taboo subjects like homosexuality. C.B. Yi, in his feature film debut Moneyboys, depicts the desolation of not only one young man but a whole generation that can all too easily find itself in a dead-end between the financial and moral pressures exerted by society.
Fei (Kai Ko) is a boy from the countryside. At some point, he is drawn to the city, or financial necessity forces him to make the move. His family is only too happy to accept the good money he earns as a male prostitute, but by taking this step, he has sacrificed his place in the village and in the family. Xiaolai (J.C. Lin) is an experienced money boy who quickly becomes acquainted with Fei, and they start a tryst. As Fei returns to his hometown, he meets relatives last seen a couple of years ago and realizes that much of the country's rural area does not resemble the distant memories of his childhood. Relief from this confusion comes in the arms of Long (Bai Yufan), an old love from Fei’s past that has come in search of him. Exploring his roots and cultural identity, Fei tries to come to terms with his identity while dealing with trauma and loneliness.
As far as the premise of Moneyboys is concerned, there is a very observational and lyrical touch to the story. However, most of the questions raised seem skin deep with no genuine attempt at a conclusion, whether it is Fei’s apparent challenge as to where he belongs, the discreet homophobia among his relatives, the extended family dynamic, or his relationships with Long and Xiaolai. All of these initially seem attractive, but the film feels frustrated in its approach to them. This could have been a very personal topic for the filmmakers and a poignant film about self-discovery, but it is likely to be a bore to the casual viewer because the story focuses on Fei's sexual relationships with other men way more than the actual reason why he visits his hometown. There are way too many unnecessary scenes of Fei doing nothing, staring into the nothingness. It is slow & intentionally ponderous, wandering through the lush green fields and labyrinthine streets of rural China in a dreamlike trance, following Fei with a patient sense of natural observation, mirroring his perspective of reality.
This is the kind of movie where the lead actors would be expected to deliver quiet, subtle performances (which they do), but there is a difference between subtle and simply sounding uninterested in the delivered lines. J.C. Lin, however, puts a bit more oomph into his portrayal of Xiaolai and thus creates a more interesting character. Long’s character is also one that makes the viewer question many things, even if it provides a quality product. During his scenes with Fei, the disagreements between modernity and tradition are explored ideally. The rest of the characters seem rather glum and lifeless - usually wearing a frown or blank expression, making their intentions and emotions hard to read.
Moneyboys is nicely made and opens the viewer up to a slice of modern rural China, but ultimately the film offers very little. It is a beautiful film to watch - the cinematography is mesmerizing, and specific themes are compelling, but in the end, this is not really a gay film, a film about family and resolution or even a film about introspection. It does have a lot of potential, but if only the audience knew a little more about any of the characters and the circumstances they are in, then that would have added more substance.