In an interview with KIM CHO Kwang-soo, one of the few openly gay filmmakers in South Korea, he dubs his first feature film, Two Weddings and a Funeral (TWAF), "happy queer romantic comedy". In contrasto to the bleak tradition of Korean queer cinema, TWAF hopes to relay toe message that queers are not, to borrow from the director, "social problems" and can have a romantic and happy life this film`s combination of stereotypical gay characters and the stock narrative of the romantic comedy genre, however, leaves the audience with an odd question:"Is there anything queer in this film?" This essay undertakes two tasks. First, by clarifying the term "queer" as developed by queer theorists since the 1990s, my essay argues that TWAF`s assimilation to mainstream heteronormative society is in diametrical opposition to queerness. If the core of queerness lies in its radical challenge to the interlocking ideology of late-capitalism and cultural-imperialism in the light of sexuality, TWAF is not interested in taking issue with the oppressive norm of heterosexuality. Inasmuch as this film integrates attractive-looking and socially successful gay protagonists into the Law of monogamy, TWAF fails to destabilize the Lacanian Symbolic and remains far from queer. TWAF`s failure to be queer in favor of a mindless happy ending presents itself in the trope of romantic comedy as well. Defined as a "genre about citizenship", romantic comedy is all about containing antisocial desires in the Law of middle-class heterosexual monogamy. The latter part of this essay traces the ironic ways that TWAF`s celebration of wedding causes this so-called "queer romantic comedy" to be neither a thought-provoking queer film nor an intriguing romantic comedy. In portraying gay characters as one-dimensional "good citizens"-unthreatening and palatable to social order-and marrying them off in a romanticized yet legally void wedding. TWAF erases the diversity and singularity of/within gay community and turns gay people into harmless minorities who strive to he accepted and tolerated by mainstream society.