Ceoi3 Si1 (Dir. Jun Li; 2018) is a rarely made Hong Kong transgender film which stars Philip Keung as its titular protagonist, Travis Tung / Tracey. It is a well-made film as an art film. However, its topic is something messy with the way of mixing gay issues and transgender issues at the same time.
In general, it would be better if the wife of Travis Tung (played by Kara Hui) recovers their family relationship with Tracey at the end of this film as a happy ending. It can be cinematic magic and unprecedented.
However, dir. Jun Li separates the entire ending into 'Seven Months Later' episode pieces twice. One of them shows Tracey's wife's ideological transformation from strictly traditional Chinese ethical values on LGBT issue into passively and gradually accepting Tracey's transgender tendencies due to her strong love that had lasted for decades since their traditionally 'normal' marriage.
This emotional reaction of the wife of Tracey proves this film's ideal ending and direction. It should have fully developed as an ending sequence if they want it to be a cult movie.
There are two dramatically important elements; one is that LGBT people's strong desire to come out as LGBT and their seek for social acceptance; the other one is that LGBT coming out or transgender tendencies suddenly splits traditional family relationships, especially married splits.
The most dramatic point is the latter in terms of the Poetics of Aristotle. The LGBT's unethical nature is deception in marriage before coming out. It explores everything, like a gender tendency to deception. This phenomenon is typical that a wife thought her husband had 'normal' sexual tendencies. On the contrary, a husband deceived his wife for social benefits. Is there true love between Tracey and ''her'' wife? No. The answer is clear that Tracey had deceived her wife from the beginning because Tracey was highly conscious of her true 'sexuality' since her childhood.
Gender Tendency Deception is a spontaneous deception. Tracey's sin is not solved by any karma. Tracey wants to be 'Tracey'. He forgets his wife. This film is actually one-sided. Tracey's gender individualism wins over everything he wants.
I would recommend you to see the greatest genre film, the classic Tootsie (1982), instead of this.
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