The Wedding Banquet (2025)
Andrew Ahn’s The Wedding Banquet is a film that wears its heart on its sleeve, even if it sometimes trips over its own feet. If you’re familiar with Ang Lee’s original, you’ll spot the bones of the story—a fake marriage to keep up appearances and save the day—but this version moves the action to rainy Seattle and updates the cast with a fresh, queer ensemble.
The plot’s a bit of a tangled web: Angela (Kelly Marie Tran) and her partner Lee (Lily Gladstone) are desperate for a baby, but IVF hasn’t been kind to them. Their housemates, Min (Han Gi-Chan), a Korean artist hiding his sexuality from his family, and Chris (Bowen Yang), his boyfriend, are also feeling the squeeze—Min’s visa is about to run out, and Chris isn’t sure he’s ready for the next step. When Min’s formidable grandmother (Youn Yuh-Jung) threatens to drag him back to Korea, the group comes up with a classic sitcom solution: Min and Angela will get married for the paperwork, and in return, Min’s family will help pay for another shot at IVF. Of course, things go sideways when Grandma arrives, expecting a massive, traditional Korean wedding, and suddenly everyone’s secrets are at risk of spilling out.
What works best here is the warmth and messiness of the house these four call home. There’s a real sense of lived-in chaos—rainbow flags draped next to Korean calligraphy, takeaway containers piling up, and family photos tucked into every corner. The film feels most alive when it’s just letting these characters bounce off each other, whether they’re bickering over dinner or sharing quiet, vulnerable moments.
Lily Gladstone is the heart of the film. She doesn’t need big speeches—just a look or a sigh, and you feel the weight she’s carrying. Kelly Marie Tran brings a lovely, jittery energy to Angela, and their chemistry feels honest, like a couple who’ve weathered storms together. Bowen Yang, as always, is hilarious, but he also gets a few moments to show what’s going on under Chris’s wisecracking surface. Han Gi-chan as Min is a bit hit-and-miss; he nails the awkwardness but sometimes feels out of step when the film gets serious. Youn Yuh-Jung and Joan Chen, playing the mothers, are both fantastic—every scene with them crackles with tension and love.
Visually, the movie keeps things cosy and close. There’s nothing too flashy, but the lighting is warm, and the camera lingers just long enough to catch the little details—a nervous glance, a hand squeeze, a shared laugh. The traditional wedding scene is a real highlight, bursting with colour and emotion, but most of the film sticks to a muted, rainy-day palette that matches the characters’ moods.
The soundtrack is a gentle mix of indie tracks and Korean melodies, never overpowering but always setting the right tone. There aren’t any big special effects—this is a film about people, not spectacle. Editing is mostly smooth, but the last third gets a bit rushed, like the filmmakers were trying to tie up every loose end in a hurry. Some of the dialogue is sharp and funny, especially when the characters are sparring, but it can get a bit clunky when the film tries to spell out its themes.
If you love movies like Fire Island or even Aussie classics like The Castle (but with more rainbow flags), you’ll find plenty to enjoy here. The film isn’t perfect—sometimes it can’t decide if it wants to make you laugh or cry, and the big emotional payoffs don’t always land. But it’s honest, warm, and full of heart. It’s the kind of movie you watch with mates, sharing snacks and maybe a few tissues.
All up, The Wedding Banquet is a solid three-star flick. It’s not going to change your life, but it might make you feel a little less alone, and that’s worth something. Give it a go if you’re after a rom-com with real people, real mess, and a whole lot of love.