‘The Wedding Banquet’ review: A decent proposal | Sundance 2025

Andrew Ahn’s The Wedding Banquet is a heartfelt remake of the 1993 rom-com that trades screwball comedy for tender, cross-cultural drama.

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The Wedding Banquet promises deception at the reception, but the real surprise is how Andrew Ahn’s remake of Ang Lee’s 1993 rom-com gem leans into melodrama more than comedy. That’s not necessarily a bad thing. I was just expecting a wedding toast with at least a few more zingers, particularly from the director of Fire Island. Instead Ahn borrows more from his other film Driveways, bridging generational gaps and downplaying the easy marketing comparisons to Crazy Rich Asians. And it mostly makes it through the threshold.

The reimagined story follows two best-friend couples—one gay, one lesbian—who cook up a green card marriage scheme that’s somehow both practical and absurd. Bowen Yang (Wicked) plays a frustratingly relatable “indecisive millennial,” while Kelly Marie Tran (Star Wars: The Last Jedi) brings the “I’m-a mess-why-does-anyone-put-up with-me millennial” flavor. Lily Gladstone (Killers of the Flower Moon) plays the grounded voice of reason whose quiet moments carry emotional depth, and Han Gi-chan adds irresistible charm as the artistic heir struggling to come out to his only family. Together, they create a dynamic quartet that could easily translate into a binge-able network sitcom.

The first act takes its sweet time, meticulously setting up the dynamics between the characters: the co-dependent friendships, the cultural baggage, and the budding (or unraveling) relationships. By the time the faux wedding plans kick into gear, the film surprisingly maintains its slow and steady pace. Sure, there are a few standout comedic scenes, like a clearing out of “anything in the house that makes us look like lesbians.” But it’s a drier humor, to be certain.

Like an actual wedding, the film’s structure mirrors the chaotic, emotional ebb and flow of the event itself. There are drunk relatives, tearful speeches, awkward misunderstandings, and moments that feel like they’re flying by even when you’re deep into them. In addition to the core four characters, the supporting performances from Joan Chen (Dídi) and Oscar-winner Youn Yuh-jung (Minari) are perhaps the stealth hearts of the film. They each navigate their own approach to having gay/lesbian children (or grandchildren). Their antics are at times hilariously over the top and at others heartbreakingly universal, offering a rich tapestry of cultural nuance and bittersweet melodrama.

The film’s strongest moments come when it explores the delicate push and pull of familial expectations versus personal freedom. Ahn is at his best when navigating the quieter, more introspective moments—those fleeting glances and unsaid words that reveal everything. The titular wedding banquet itself is a nice subversion of what you might be expecting, so the less said about that the better. Just know that the film doesn’t really center the “big party” as a major plot point.

While the intent of the film is clear throughout, the tonal shifts can be a bit too distracting. The comedy can sometimes be a little too random, undercutting the drama. And vice versa. But Ahn’s ability to maintain at least a serviceable balance keeps the party going, even when you think someone’s about to puke. It’s a more introspective take on the rom-com formula, leaning into emotional authenticity over broad laughs, and that’s certainly a wedding movie gift worth receiving.

So, does The Wedding Banquet deserve a cheers? For the most part, yes. It’s not the laugh-out-loud shindig some might expect, but it’s still an event worth RSVPing to. If someone asks me if I liked the movie, I’m definitely saying, “I do.”

The Wedding Banquet had its world premiere at the Sundance 2025 Film Festival. Find more of our Sundance 2025 coverage here.