The Teacher (我的靈魂是愛做的, Chen Ming-Lang, 2019)

Taiwan became the first Asian nation to legalise same-sex marriage on 24th May, 2019. That does not however mean that the LGBTQ+ community is universally accepted or that entrenched conservative social attitudes simply evaporated over night. As Chen Ming-Lang’s The Teacher (我的靈魂是愛做的, Wǒ de Línghún Shì Ài Zuo de, AKA My Soul is Made of Love) makes plain, not even those within the community are entirely free of prejudice especially when comes to issues such as HIV and the complicated give and take of what it means to be “out” when personal concerns may conflict with those of an employer or industry. 

Those are perhaps questions that politically engaged civics teacher Kevin (Oscar Chiu) has largely resisted asking. On his off days, he campaigns for marriage equality and for gender equality in education as well as attending pride rallies, but is warned about including LGBTQ+ issues in his teaching programme for fear of offending parents. Director Lin (Lin Chin-Yu), the headmaster, makes offhand comments about Kevin’s perfectly respectable haircut while reminding him that while he works at the school he’s also its representative and he’d prefer it that he keep a low profile to avoid bringing its name into disrepute. Lin is careful to couch his complaints in neutral language, stressing that he personally is fine with Kevin’s sexuality, but is required to be mindful about the reactions of others, deflecting responsibility for at least failing to counter homophobic attitudes in and around the school. Nevertheless, Kevin tries to sidestep him by continuing to include the topics he’d like to talk about by framing them in less problematic terms, for example discussing the upcoming referendum on marriage equality by debating the vote itself, asking if it’s even ethical to give people the option to vote to deny a specific sector of their society the same rights that everyone else has that should be accorded to all without question. 

Kevin’s worldview is challenged, however, when he starts dating a slightly older man, Gao (Chang Chin-hao), whom he met in a gay bathhouse. Kevin tells him that he’s looking for a longterm relationship, wanting to settle down and eventually get married but is currently living with his hairdresser single mother. Moving in with him quite quickly after Gao went temporarily incommunicado following a minor illness, Kevin is later shocked to discover not only that Gao’s relationship with his ex-wife is not quite as over as he implied, but that he is also HIV+. Learning that Gao has HIV exposes Kevin’s rather shallow grasp of his sexual health. Not only does he not know where to go to get tested, but he conflates HIV and AIDS, convinced that he’s been given a death sentence after noticing that his gums are bleeding. 

While beginning to resent Gao for exposing him to the virus, Kevin is also confused by his admittedly complicated family situation. At some point in the past, Gao evidently opted for a heterosexual marriage to please his conservative family who still don’t seem to be aware that the relationship is over or that Gao is gay. At an awkward family gathering, Kevin is invited but introduced as Gao’s friend while his former wife, Wei, sits on the other side of him being quietly needled by her judgemental mother-in-law for failing to provide a grandchild. Gao apparently promised to father a child with Wei through IVF as a condition for dissolving the marriage which is why she’s still overly present in his life and in Kevin’s eyes laying claim to him. Yet Kevin’s major preoccupation isn’t so much with the results of everyone’s choices or how best to support his new partner and his extended family in this unusual situation but with his own reluctance to think of himself as a “home wrecker” the fact that the marriage ended two year’s previously seeming not to occur to him. 

It’s at school, however, where he faces the greatest challenges not only in the homophobic bullying from his immature students with whom he never seems to have much of a rapport, but from his colleagues when he becomes the subject of an internet rumour about a teacher with AIDS. Faced with a dilemma Kevin’s reluctance to confirm his sexuality while insisting that the rumour is false (despite suspecting it might not be) is more personal than political even as his female colleagues attempt to stand up for him by countering a belligerent, older male teacher who wants him sacked that no one should be expected to submit themselves to invasive medical procedures or be denied their right to privacy simply because of a malicious rumour. Lost and afraid, Kevin shuts down, giving in to passivity while succumbing to misplaced rage about his marginalised place in society as he’s denied access to a hospital where he believes Gao has been taken for treatment after an accident assuming they won’t tell him if he’s there because he’s not a legal relative. 

Chen closes with a brief coda explaining that same-sex marriage will be legalised later in the year, Kevin declaring that it will be on his syllabus as if confirming something has changed, yet it’s clear that attitudes may not have shifted as much as hoped while there is still a widespread lack of awareness about HIV issues combined with a social stigma compounded by homophobia. Nevertheless The Teacher presents a complex picture of LGBTQ+ lives at a moment of social transition in which the promise of a coming equality brings with it both anxiety and hope for those who’ve had to accommodate themselves to life on the margins of a now less hostile society. 


The Teacher is available to stream in the UK as part of the Iris Prize Film Festival in collaboration with Queer East.

Original trailer (no subtitles)

When Love Comes (當愛來的時候, Chang Tso-Chi, 2010)

“I like the feeling of home” the conflicted heroine of Chang Tso-Chi’s When Love Comes (當愛來的時候, Dāng Ài lái de Shíhou) eventually admits, finally coming to an understanding of her admittedly unusual family even if not, it seems, fully aware of her place within it. A chronicle of displacements, cultural, familial, adolescent, and romantic, When Loves Comes is also in its own way an ode to female solidarity as well as a coming-of-age tale as its feisty young heroine gains the courage to step into herself while preparing for the role of matriarch in accepting her responsibility towards those around her. 

About to turn 16, Laichun (Lee Yi-chieh) is a rebellious teenager who enjoys scandalising her heavily pregnant mother by walking out in skimpy outfits and elaborate makeup. So displaced is she within her own family, that she is not invited to meet her new baby brother at the hospital but is asked to stay home looking after recently arrived uncle Jie (Kao Meng-chieh), her father’s younger brother who has learning difficulties and has come to live with them following the death of his grandmother. Laichun, however, goes out anyway, meeting her as we soon discover no good boyfriend Zongfu (Chris Wu Kang-ren) in a love hotel. Like any teenager, Laichun thinks she’s invincible but she’s also incredibly naive or perhaps merely in denial. By the time she realises she might be pregnant, it’s already too late for an abortion and Zongfu has vanished into thin air. 

“It’s because you’re a girl” a postman with whom Laichun had been engaged in an elaborate flirtation unironically tells her after her impassioned monologue railing against the unfairness of her situation, that Zongfu has vanished while she is blamed for everything, branded a “slut” simply for embracing her sexuality. Her pregnancy places a further strain on her familial relations, though she finds an unexpected ally in her emotionally austere second mother, her father’s first wife Xuefeng (Lu Hsueh-Feng). As we gradually come to understand, Laichun’s father “Dark Face” (Lin Yu-Shun) hailed from rural Kinmen and married into Xuefeng’s family. But Xuefeng was not able to have children of her own so she allowed Dark Face to take a second wife, accepting Laichun’s mother, former gangster Zihua (Ho Tzu-Hua), into their family. 

“I was scared to be responsible for him” Dark Face later admits of his brother, revealing that he left his island home in secret, abandoning Jie to their grandmother who cared for him until the day she died. Dark Face indeed struggles to understand Jie, often frustrated by quirks and frequent meltdowns, cruelly tearing up his drawings somehow incensed as if refusing his brother’s attempt to communicate with the world around him. Jie has been patiently filling a jar with pennies because his grandmother told him to save up for a wife, but like Laichun remains an outsider in the family with only Xuefeng willing to include him. Yet faced with her impending maternity it’s Laichun who eventually becomes his primary carer, patiently taking him to the bank to pay in all his pennies, embracing her responsibility as a member of a family. 

“I like the feeling of being protected”, Laichun had said, “so why is it that I end up looking after everyone else?” only figuring out later that perhaps that’s because they’re sometimes the same thing. Gaining a sense of confidence from her father who reassured her that “you can face whatever comes along” she begins to step into a maternal role, emerging with a new respect for each of her mothers and for the complicated yet functional unit which is her unconventional family. Chang both begins and ends with a birth, taking place on the same spot behind a screen in the family restaurant as the family is first destabilised and then repaired by its new additions. In the opening scene Laichun had been told off for flirting with a man in the family’s restaurant who told her he was unafraid of the “unlucky” table because he worked as a mortician only to get run over on his way out. At the conclusion she meets him again along with his wife who just happened to be the woman who was driving the car that hit him. Not so “unlucky” after all. Life is chaotic and unpredictable, sometimes it presents you with a problem that’s really a solution. “I really very much like the feeling of sunlight” Laichun affirms, no longer so worried about the dark skies, now more assured in herself and her family as she prepares to welcome a new life that anchors her to the old. 


When Love Comes streams in the UK until 27th September as part of the Taiwan Film Festival Edinburgh.

Original trailer (English subtitles)