Film review: The Wedding Banquet (Plus Sydney Film Festival giveaway)

The Wedding Banquet is Ang Lee’s second film, which won him the Golden Bear for Best Film at the Berlinale in 1993. It’s a gentle rom-com about a gay Taiwanese immigrant in Manhattan who marries his Chinese lady friend for the purposes of the green card, but is surprised by the visit of his parents who come to organise the event. It’s very well-balanced and enjoyable, but it’s ultimately been forgotten by Lee’s subsequent more successful films.

2025’s The Wedding Banquet, directed by Andrew Ahn, is the rare type of remake that approaches the original story with an awareness that times have changee. We’re not in the ’90s anymore. Sexuality doesn’t have the same weight as a plot point as before; even more conservative families don’t see it as a taboo. However, Lee’s film was more of a vindication that Chinese society was modernising with the help of the diaspora, and it makes sense that Ahn builds up on that idea.

The film starts with a strong visual statement – an Asian drag queen performing a Chinese lion dance at an event celebrating the Asian-American LGBTQ+ community. In the audience are Angela (Kelly Marie Tran) and her girlfriend Lee (Lily Gladstone), who are there to support Angela’s mother May (Joan Chen) for her work as an ally to the community. Angela and May are trying to have children, but IVF isn’t working, and the clock is ticking for Lee, who is more eager to form a family.

Enter their friends Chris (Bowen Yang) and Min (Han Gi-Chan), happily together, if not because Min’s wealthy Korean family wants him to return to Seoul to look after the business. To avoid this, Min plans to marry Angela, get the Green Card, and not have to return to his very conservative family. His grandmother Ja-Young (Youn Yuh-jung) travels to the United States to meet her bride and realises the plan. But again, times really differ to an extent – she accepts Min’s relationship with Chris, though admits the fake straight wedding needs to go ahead to please the dying conversative grandfather, and the still very traditional Korean culture.

Ahn celebrates the progress of his community and embraces the details of their culture. He does this with genuine care and with no pandering. At a time where the innocuous “woke” conversation is confused with the need and positives of inclusion and diversity, Ahn stands above by not even addressing or giving in to those pointless concerns. But he also doesn’t try to educate – the film is the film, it rightfully represents a society where Ahn lives, and one which he doesn’t have to justify. And like all good things, it’s true to itself with no reservations.

If anything, Ahn is a little too stagy in his emotions, even if his intentions are good. As a result, the actors struggle to deliver consistent performances (especially Yang, mainly known for his comedy work on SNL) and may need a more subtle role here. He can do drama well, but the moment when Ahn gives in to overly emotional operatic performances, Yang doesn’t quite hit the mark. On the other hand, Gladstone is always a joy to watch. Halfway through the movie, I wondered why she isn’t in every movie. Because I can’t think of another who can deliver such earnest raw emotion on every role they do. Every second she’s on screen is a reminder that Hollywood doesn’t know what to do when talent slaps them in the face.

 The Wedding Banquet is joyful, which is more than what we could be expecting. It doesn’t have the glitz and glamour of Crazy Rich Asians, but it’s also not for the same crowd. This is the kind of film that aging millennial hipsters are growing into their comforting lives of knitting and gardening. It’s harmless, but for anyone part of the groups it’s talking to, it’s as loud as a megaphone.

For romantic gay Asian millennials and their allies, looking for a comforting film that shines a big representation spotlight on their communities.

The LSJ is happy to offer two of our members a double ticket for the Sydney Film Festival.

One of the world’s longest-running and most prestigious film festivals, the Sydney Festival takes place from June 4 to 15. It showcases the very best contemporary cinema, with premieres and red carpet events.

The program brings 15 films direct from the Cannes Film Festival, including new works from Iranian master Jafar Panahi and American indie veteran Kelly Reichardt, as well as long-awaited Sundance Festival hits and the winner of this year’s Berlinale. The program also includes a retrospective on Panahi and American cult legend Elaine May, Australian documentaries, and five iconic classics restored.

Click here to view the program and buy tickets.

To win two tickets, email your name and LawID number to journal@lawsociety.com.au with the subject line SYDNEY FILM FESTIVAL before the end of the day on Monday, May 12. The winner will then choose the session they want to attend, subject to availability and excluding the Opening Night Gala or After Party, the Closing Night Ceremony, Sydney Opera House screenings, SFF special events, and Back By Popular Demand.