All of us yearn for a setup that resembles family or something close to it. The heteronormative world rarely approves of anything beyond a man living with a woman. If it is two people of the same gender, they are either labelled as roommates or siblings from different mothers. Society finds comfort in defining chosen families this way. In director Anshul Chauhan’s Tiger, a gay masseuse in suburban Tokyo grapples with family woes and limited career opportunities, both tied to the fragile thread of his sexuality.
“If you get married and have children, I’ll give you the house,” Taiga’s ailing father declares. He has no clue that his son is gay. In his head, he likely assumes the youngster is having his share of single-man fun in the city. The film’s central conflict, however, is between Taiga and his sister Minami, a dentist and mother of a little girl. In his infrequent visits home, Taiga forges a warm relationship with his niece. His brother-in-law is not someone Taiga feels like trusting.
Then again, Tiger is not a film where siblings instinctively look out for each other. Minami takes pride in her education and the fact that she carries forward her father’s legacy in dentistry. She is ashamed of Taiga’s blue-collar worker tag way more than she is indifferent to his sexuality.
In a narrative that flips between Tokyo and his hometown, Chauhan examines what the idea of family means to a young gay man. Can society accept him embracing fatherhood without entering the shackles of a straight marriage? So, Tiger presents two perspectives. One is through Koji, a closeted gay man trapped in the lifelong lie of a straight marriage. The other is through a matchmaking service for lavender marriages.
What struck me the most about Chauhan’s film is that it touches multiple layers of a closeted gay man’s life. There is Taiga’s family, his various friendships, the occupational hazards he faces, his life goals, and his turbulent inner world. A couple of moments even take us into unsettling chapters of his mind. This makes Tiger an authentic and richly cinematic experience that never attempts to glamorize the idea of being single and gay in a bustling city. It is about a man at a difficult crossroads, where there seems to be very little to look forward to.
Chauhan also delves deeply into Taiga’s profession as a masseuse, a setting where a “happy ending” is often assumed and “extra services” are chargeable. What happens when, as a gay man, you begin to show wrinkles or your body stops meeting the industry’s expectations? Tiger examines these realities without offering neat solutions. There is also a chapter where Taiga explores the adult entertainment industry, which comes with its own amusing elements.
Beyond the technicalities, it is Chauhan’s intricate screenplay that holds Tiger together. It is a story you readily believe, and one that often causes you to overlook the fluid camera work by Vinod Vijayasankaran or the magical original score by Tyler McBeth and Mora Moth. Tiger is one of the most original stories of the year. It is complex, amusing and affecting to the same degree.
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Takashi Kawaguchi, who plays Tiger, is equally confident in intimate closeups and in revealing shots in nothing but white undies. In its final act, Tiger begins to demand a lot from the actor in terms of expressing without words. The pre-climactic stretch, where we feel concerned about Taiga’s mental health, is one where he fully flourishes and owns the film. Needless to add, it is one of the bravest performances I have come across from an actor in any language in 2025.
Maho Nonami is outstanding as the sister with a perplexing mind. We do not know if she means well or not. We do not know if she is genuinely happy either. Her life is difficult in many ways, and her portrayal adds both objectivity and heart to the character. Yuya Endo is fantastic in a heartbreaking part, and his emotional outbursts are remarkable. There’s a beautifully reflective scene where he accompanies Taiga and his niece to the beach – one that spells out a life they might have had in a parallel universe, or a different continent. Goro Sato, Kentez Asaka, Kosei Kudo, and Kenzo Shirahama all shine in key supporting roles.
Tiger isn’t a film you forget easily. On the surface, it unfolds among people and problems you may never have encountered. Yet, at its core, it is a universal human story that could play out in your own family or neighbourhood. You can live in blissful denial or open your mind beyond family prestige, society’s image and everything that comes with it.
Rating: ★★★★ 1/2
Anshul Chauhan’s Tiger was screened at the 56th edition of IFFI Goa.
