Toronto Star

Whirlwind romance in a buff Beijing

- ANITA LI

Love in the Buff 1/2 (out of 4) Starring Miriam Yeung, Shawn Yue and Mini Yang. Written and directed by Ho-cheung Pang. 112 minutes. Opens March 30 at Yonge-dundas and Kennedy Commons. 14A

While it’s not a game-changer, writer-director Ho-cheung Pang’s sharp rom-com, Love in the Buff, is a realistic portrayal of modern love in all its complexity and pain.

The film, a follow-up to Pang’s 2010 hit, Love in a Puff, reacquaint­s viewers with Cherie (a winning Miriam Yeung) and younger boyfriend Jimmy (Shawn Yue), who originally bonded over alleyway cigarette breaks after Hong Kong authoritie­s banned indoor smoking. Shifting from Hong Kong to Beijing, the now split-up pair go their separate ways, entering new jobs and relationsh­ips on the mainland, only to reunite in a rollercoas­ter affair. Yeung and Yue’s on-screen chemistry carries the film, engaging audiences with their witty and believable verbal sparring, so familiar in real-life relationsh­ips. A strong supporting cast, including June Lam as Cherie’s quirky girlfriend Brenda, ramp up the funny quotient. The bulk of the quick, cutting dialogue, spoken in Cantonese and Mandarin and subtitled in English, is packed with local cultural references and wordplay that may be lost on non-speakers. The best jokes, alas, are untranslat­able, even with the help of (the often lacking) captions. Heightenin­g the already fast pace of Love in the Buff are its short, almost vignette-like scenes. Pang doesn’t waste time, establishi­ng a brash urban feel from the start. He also showcases Hong Kong and particular­ly Beijing to great effect. Showing little sign of its ubiquitous Soviet-style architectu­re, the Chinese capital appears completely cutting-edge and sexy, much like the film’s protagonis­ts.

Love in the Buff falters at the end, however, with a clichéd mad-rush-to-the-train-station scene, and too-tidy ending that isn’t as realistic as previous scenes. Overall, though, the film is a humorous romp through relationsh­ips that indulges audiences but remains relatable.

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