Three Hearts Home: A Story about Adoption, Diving, and Fish

Randy Kosaki is the NOAA’s Deputy Superintendent of the Papahānaumokuākea Marine National Monument, a notable specialist in Marine Biology, and an adoptee. Three Hearts Home is a short film featuring the story of Kosaki finding and his biological mother and the connection he has with his biological sister, champion freediver and spearfisher Kimi Werner. While there are a number of stories, both real and fictional, about Asian Americans looking for and finding their biological parents and family in Asia, this is a story about finding biological family in America, including how pregnant Asian American teenage girls were treated and the choices that they were forced to make. That’s an Asian American story you don’t hear about much (it does happen – I know Asian American women who had to make these kind of choices growing up, and Disney’s Andi Mack is also a show about this).

A few other things I found appealing about this short: it has a thread about nurture and nature – both Randy and Kimi were raised apart and have radically different careers, but their interests are very similar. You can read about Randy‘s and Kimi‘s perspectives on this in two separate interviews. Also, you don’t hear much about Asian American’s being very “outdoorsy,” and these two are as outdoorsy as you can get. Finally, the story has a relaxed, Hawaiian feel to it.

In addition to the short being posted on YouTube, Kimi Werner is also giving talks about the short and her experiences, such as this one in Saratoga, California’s REI store. You can see Randy Kosaki’s research profile here.

CAAMFest37: Joy Luck Club Anniversary Screening – Q&A

https://caamfest.com/2019/movies/joy-luck-club/

It was my great honor and pleasure to attend this year’s CAAMFest37’s
25th anniversary year screening (the film actually came out in September 1993) of The Joy Luck Club, with many of the actors present:

“Come join us as we celebrate the 25th anniversary of THE JOY LUCK CLUB, one of the most decorated Asian American films in cinematic history. Written by Amy Tan and directed by Wayne Wang, THE JOY LUCK CLUB paved the way for decades of Asian American films including last year’s summer hit, CRAZY RICH ASIANS. This free, indoor screening in the heart of Chinatown will be a once-in-a-lifetime experience with many special guests and talent in attendance. “


There was a Q&A session prior to the screening of the film, given that the film screening started after 8PM. In attendance were:
Executive Producer Janet Yang, actresses Lisa Lu (most recently know for her role in Crazy Rich Asians as Shang Su Yi, Nick’s grandmother and the matriarch of the family)

actress Tamlyn Tomita:

actress Rosalind Chao:

as well as actress Kieu Chinh:

Actor Michael Paul Chan and casting director Heidi Levitt are included in the group picture above.

I think one of the more interesting questions was why The Joy Luck Club didn’t spark an explosion of Asian American media – it looked more like an anomaly rather than a movement.

The rise of China, the explosion of technology – especially the Internet, and the growing Asian American population in the United States, has contributed to larger interest around Asian and Asian American stories and help lead to the recent success of blockbuster Crazy Rich Asians.

If you were too young to have seen the film or don’t quite remember the film, here is the trailer:

CAAMFest37: Love Boat: Taiwan – Q&A after SF Premiere

It was my great honor to attend the San Francisco premiere of the documentary Love Boat: Taiwan at CAAMFest37:

“Fearless, inventive and outspoken are a few words to describe CAAMFest37 Spotlight Honoree Valerie Soe. From the 80’s to now, Soe’s films and video installations have been a benchmark for Asian American feminist activism and experimental storytelling. CAAM will proudly showcase Soe’s newest documentary, LOVE BOAT: TAIWAN; a feature-length documentary, looks into of one of the longest running summer programs in the world.

LOVE BOAT: TAIWAN revisits the program’s participants and explores the history and popularity of this well-known program, sponsored by the Taiwanese government, which takes place every summer in Taiwan.”

Ever since writing my blog post about my experience on the Love Boat in the summer of 1993, I had always hoped a documentary would be made about this iconic program. So I’m glad that as a producer, an interviewee (very brief interview …) and archival video footage provider of the trip, I was able to experience the San Francisco premiere of the film to a a sold out theater and see the crowd’s enthusiastic reaction to the documentary.

Afterwards, there was Q&A with the Producer/Director Valerie Soe, as well as interviewee Kristina Wong, and others involved in the film, including yours truly.

The film has one more film festival in Taiwan to “premiere” in May, then plans for distribution are still up in the air, but Soe will probably be making the film festival and college tour of the film in the near future before hopefully wider distribution plans.

If you haven’t seen the trailer yet, here’s you chance to see what the documentary is all about:

I’ll be sure to blog about the documentary’s wider release – hopefully online – in the future.

Netflix’s ‘Always Be My Maybe’ Coming May 30th Starring Ali Wong and Randall Park

I’ve only seen comedian Ali Wong as a stand up comic, either live in San Francisco or her two Netflix comedy specials, Baby Cobra and Hard Knock Wife, so I’m eager to see Wong as well as Randall Park co-star in the Netflix original romantic comedy film, ‘Always Be My Maybe,”:

“Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder … maybe?”


I’ve always been a fan of actor Randall Park and have been following him ever since July 2008 when I first spotted him in a Wells Fargo commercial. I think the last romantic comedy I saw Park in was ‘The People I’ve Slept With.” Other well known actors of Asian American descent include Daniel Dae Kim and another star who you can see at the end of the trailer.

Looking forward to May 30th to seeing the film!

PBS: ‘‘An American Story: Norman Mineta’’ Airing on May 20th

Back in May of 2018, I had the great honor of screening the premiere of Norman Mineta & His Legacy: An American Story and meeting Mineta at CAAMFest36.

The documentary is scheduled for national broadcast on PBS on Monday, May 20th at 9:00 PM. Please check your local listing to be sure.

I hope you can catch this important documentary.

8mm Review: ‘Happy Cleaners’

Happy Cleaners (2019)
Hyanghwa Lim, Charles Ryu, Yun Jeong, Yeena Sung. Written by
Kat Kim, Julian Kim, and Peter S. Lee. Directed by Julian Kim and Peter S. Lee

If it seems (and it does) that new Asian American filmmakers keep making the same film about generational tension, cultural identity, and familial values, I suppose it’s because we continue to deal with these issues, or because there are as many ways to work through them as there are immigrant families: my half-Japanese experience in Honolulu isn’t like someone else’s Taiwanese experience in Southern California, and they are both stories worth telling.

For these reasons, I came away from Happy Cleaners encouraged, because if nothing else, the film’s familiar conflicts for new generations of Asian Americans mean we’re still coming over, still adding color and flavor to a country that appears alternately to have come a long way in embracing us and to have regressed so we’re not being embraced at all.

Happy Cleaners is owned by the Choi family in Flushing, New York, and despite the family’s hard work, the struggling dry cleaner may find itself without a lease in a few months, thanks to a weasely new landlord from the Weasely Caucasian Landlord multipack they must sell at Movieland Costco. Daughter Hyunny is some kind of medical professional, and college-aged son Kevin (backward baseball cap, one earring in each lobe) works in a food truck with aspirations of opening his own truck on the West Coast.

Arguments abound. Kevin fights with Hyunny. Hyunny fights with her boyfriend Danny. Dad fights with Mom, and Mom fights with everyone. Chances are you’ve seen this all before, if not in a movie then for sure in real life. Graduate from college first and then you can do whatever you want. My family will never accept you if you continue to work as a janitor. Do you want to end up like me, married to someone who can barely support his family?

I admit I said, “Oh, this again” more than once during the first act of the movie, but the film won me over with very good acting by all four principals and solid filmmaking everywhere else. There are a few self-aware shots, but mostly the camera work is well done. Lighting and sound quality put this well above most other Asian American indie films I’ve seen. Mostly, the directors don’t overdirect, the actors don’t overact, the writers don’t overwrite, and the soundtrack doesn’t oversoundtrack, although the Food Network style sound effects and cutting-board close-ups get a little out of hand more than once.

The use of language in this film sets it apart even from other Korean American movies. I appreciate the writers’ willingness to give us full-on Korean through much of the film, including what the movie’s Kickstarter page calls “a mix of Korean and English … we warmly label ‘Konglish’.” There’s nothing wrong with the Korean-accented English dialogue we usually get (it’s one of my favorite accents), but it’s great to hear the family speak the language these families speak.

I am most impressed by the writers’ delicate touch with conflict resolution. The fights themselves may be pyrotechnic at times, but the make-up scenes are gentle, sympathetic, and utterly believable. One-on-one, characters share a beer, or a bite of rice, or a whole meal, looking right at each other without overdoing the apologies, or sitting alongside each other, or nudging one another with a gentle toe. Physical proximity is an act of love, strong enough to heal the casual wounds of being in a family, something I’ve not seen much of in popular media. And props to the actors for not overdoing these excellent scenes. Shout-outs go especially to Charles Ryu as Dad and Yeena Sung as Hyunny.

Happy Cleaners is a well-made movie, a slight improvement on what seems to have become a genre: the Asian American Generations Movie. Despite my jadedness, I got teary at least twice, so everyone’s doing something right. A fraction of a bonus point for being set in Flushing, where a good chunk of the German-Italian-Irish side of my family lived.

7 out of 10. Check it out.

Happy Cleaners screens at the Los Angeles Asian Pacific Film Festival Wednesday, May 8 at 9:15 p.m. The filmmakers will be in attendance.

It also screens at CAAMFest Saturday, May 11 at 2:40 p.m. and Monday, May 13 at 9:10 p.m. Director Julian Kim is scheduled to attend the May 11 screening.

Love Boat: Taiwan Documentary Premieres in LA, SF, and Taipei in May 2019!

As I had blogged before, I had attended the “infamous” ‘Love Boat’ back in the summer of 1993 after graduating from college. I think every Taiwanese American has heard of the ‘Love Boat,’ so I am so happy that finally a documentary about the program is finally being release (disclosure: I am a producer, interviewee and provided archival video footage for the documentary).

Love Boat: Taiwan will be premiering in Los Angeles, San Francisco and then Taipei in May 2019:

“San Francisco, CA – April 13th, 2019 Filmmaker Valerie Soe announced today the premiere screenings of LOVE BOAT: TAIWAN at two of North America’s most prestigious Asian American film festivals. Saturday, May 4th at the Los Angeles Asian Pacific Film Festival and Friday, May 17th at CAAMfest (Center for Asian American Media) in San Francisco. It will also screen in competition in late May as the Closing Night film for the Urban Nomad film festival in Taipei, Taiwan’s premier indie film festival.”

The Love Boat has a rich history and many famous alumni have passed through the program over the years including US Congresswoman Judy Chu, buzzfeed’s Justin Tan, and singer Wang Lee Hom. Although it started out in 1967 as a small cultural program, over the years the Love Boat eventually became harder to gain entry into than many colleges. There was no marketing budget and the Love Boat’s popularity stemmed from its word-of-mouth reputation. LOVE BOAT: TAIWAN explores the ways that the government of Taiwan used this unique “soft power” program to promote Taiwan around the world which permanently affected the lives of many Asian Americans.

You can purchase tickets at the links above. There will also be afterparties.

You can check out the film’s website for more updates – http://www.loveboat-taiwan.com/ or join the facebook page  to learn more.

8Questions with Barney Cheng, Director of “Baby Steps”

Back in September 2018, I did a review of a movie Baby Steps on 8Asians. The movie was written, directed and starred Barney Cheng. I was still so intrigued with the movie, that I got in contact with Barney and asked him to do this 8Questions segment for 8Asians.

Before we get to the questions, a little bit about Barney from his wikipedia page

Barney Cheng is a Taiwanese-American actor, director, writer and producer. Cheng was born in Taipei, Taiwan. His family emigrated to the United States when he was 12 years old and he grew up in Brea, California. He speaks Mandarin Chinese and Taiwanese Hokkien fluently.

and from his own official site:

Barney Cheng landed on the Hollywood map as an actor in 2002 with his acclaimed performance in Woody Allen’s Hollywood Ending.  The New York Times described Barney’s comedic timing as “surgically precise.” The Orange County Register raved that Barney “steals every scene he’s in.” Barney accompanied Woody Allen to promote the film and to open the 55th Cannes Film Festival. 

On to the questions:

1. How did you get the idea for the movie Baby Steps?

I came across a story about a gay couple from Israel. They wanted to have a baby, but since it was illegal for gay couples to hire surrogates in Israel, they flew to the U.S. to work with an American egg donor. They flew to India to transfer the embryos to an Indian surrogate. Nine months later, they traveled across the globe to pick up their baby. I was intrigued by the couple’s emotional and physical journey, and I could see that as a movie. Then I thought, “What if it were my life? What if I had a partner, and we decided to have kids?” Baby Steps was conceived.

2. You wrote, directed and starred in Baby Steps, how similar are you to the main character Danny?

Very different. The movie is fictional. I’m single and don’t have kids. However, the film is inspired by the relationship between my mother and me. She definitely evolved throughout the years. The more than 20 years of her evolution — coming to terms with my coming out to full acceptance — was captured in the 90-minute film!

3. What advice would you give a gay Asian American who wants to be a parent?

To be visible, open and out. It’s important to be proud of who you are and be a role model for your child. Being in the closet conveys a message of shame, and that would be detrimental to the child’s development.

4. I read that you showed Baby Steps in mainland China. What was that like?

The State Department under the Obama Administration hosted U.S. embassy screenings of the film in six cities in China. At the screenings, the staff at the American consulates handed out study guides to highlight American culture and LGBT marriage equality. After the screenings, I was surprised to learn that many Chinese audiences didn’t think that the story was plausible. It seemed like a fairy tale to many Chinese audiences. Many of them just couldn’t imagine coming out to their parents and getting the kind of acceptance that Danny received. They also couldn’t imagine living openly as gay people and having children as gay parents.

5. Who are your role models and influences on your work?

I don’t have specific role models for my work, but as a storyteller, I always aim to be authentic, real and truthful.

6. Compared with Danny, how supportive have your parents been in your career, life, and movies?

I remember when we were filming Baby Steps in Taipei, my mother would make me breakfast each morning to make sure that I was well-prepared for the long, hectic day ahead. We would have early 5 o’clock calls, and my mom would get up at 3:00 a.m. to make me breakfast. She didn’t have to say anything, but I felt that she cared. Taiwanese parents rarely say explicitly “I love you” or “I care about you.” They show through actions.

The movie was released theatrically in Taiwan. When we were promoting for the release, it was very important to me to be an openly out filmmaker and actor. One of the important themes of Baby Steps is being open and authentic, and our promotion campaign had to be consistent with that vision. My mom joined me on a TV talk show to promote the film. My mother openly shared her struggles of coming to terms with having a gay son. She invited all of her friends to see the film in theater. And my mother enrolled friends and relatives to join her at marriage equality rallies in Taiwan. Through Baby Steps, she “came out.”

7. Do you have any new projects in the works you can tell us about?

I’m developing a TV series called “Curated Lies,” and it centers around an Asian-American family in a wine country. I’ve recently finished filming a transgender love and acceptance video for the Asian-American LGBTQ community. It’s called A Love LetterPlease check it out: https://youtu.be/irjUBWxgSPY

8. Where can someone watch “Baby Steps” now?

All digital platforms. We recommend Amazon: https://tinyurl.com/yawje8ry

Chopso One Year Later

In November of this year, it will be Chopso’s one-year anniversary. It’s amazing to me we’ve made it this long. But we won’t be able to go on forever unless we continue to get support from our community. I can’t speak for my friend, filmmaking partner, and my partner in Chopso Quentin Lee but when I do anything for Chopso  I always feel like this is our gift to the community. Something that has been needed for a long time, been tried a few times, but has never completely worked. And instead of waiting for someone else to try it again or hope we get more representation by the mainstream networks and studios, we went ahead and did it ourselves.

For those of you who don’t know, Chopso is a streaming service for movies, documentaries, shorts, and digital series featuring Asian stories and faces. I use the shorthand Asian American Netflix as a description of what the company is when asked by my friends. However, that’s not completely accurate. While Quentin and I were putting the company together, we realized pretty quickly that our audience was bigger than just Asians living in America and that Asians around the globe (especially those living outside of Asia and in English speaking countries) shared a lot of common experiences. So in addition to Asian Americans, we’ve made it a point to reach out to Asians around the globe — so that meant Asians living in Canada, UK, Australia, etc.

The first year of Chopso has been both the most challenging but also been one of the most rewarding experiences I have ever had in my career. Some of the challenges include acquiring content and getting subscribers, things every streaming platform I’m sure has to go through. And with no outside funding and no major support from traditional Hollywood, we’ve had to do it all on our own.

Knowing that, I think you can guess one of our biggest challenges: getting noticed. With so many places to watch content nowadays, it’s sometimes difficult to rise above the noise. But I’m proud to say that almost every month our viewership and subscribers have gone up. We’ve made dents in social media and our following is growing all the time. We hope with more time and maybe with a marketing/advertising budget in year two we can grow even more.

The other challenge is something that continues to surprise me. The Asian American community largely ignores anything that hasn’t been done by the mainstream networks and studios. For example, when I talk to people about Chopso, most of what they tell they’d want to see on the site are the famous studio movies like Joy Luck Club or Crazy Rich Asians. Both of which are great, however,  it completely ignores the fact that there has been and continues to be so much amazing Asian (American) content out there. Most of which has never been seen outside the Asian American film festival circuit.

We, as a community, need to do a better job of supporting Asian content from the students and youth who are making their first projects to the grizzled veterans making hard-hitting documentaries about our communities and independent movies featuring Asian actors and of course the studio movies. Only when we, as a community, can show that these movies have a viable market, will the studios and networks make more of them. This isn’t just a pipedream. Other communities of color have shown us that this is possible. Chopso was my answer to this issue. Yet, one year later, it’s also the reason that Chopso has not taken the huge leap that I had hoped it would take.

So how can you support us? First and foremost, we need more subscribers. For the price of a cup of artisanal coffee, you can watch a large selection of Asian-centric movies and shows on Chopso for one month. In addition, we need your help spreading the word about Chopso. Follow us on all the social media platforms, and then tell a friend or two or three or four. Go ahead and even tell an enemy two as well.

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And if you’re a creator, we need more amazing content. Hit us up and let us know what you have.  We’d love to feature you and your work on Chopso!

Nicki Sun’s Interview of Katherine Ho – “Yellow” in ‘Crazy Rich Asians’

I admit it, I’m been kind of obsessed with the film ‘Crazy Rich Asians’ since seeing it in a pre-screening in August: I’ve been following tweets on #CrazyRichAsians, reviews on YouTube (and I’m amazed at how many people do reviews on YouTube), and have religiously followed the box office numbers daily.

And I really like the soundtrack, as I mention in my review of the film – so much that I bought the MP3 album off of Amazon and have been listening to the album constantly. My favorite song from the film is the cover of ‘Yellow’ by Katherine Ho.

When I looked for more information about Katherine Ho, Wikipedia said she was on season 10 of The Voice and was a 19-year-old sophomore at USC, but she didn’t seem to be very active on her social media channels (YouTube | Instagram | Twitter). So I was really excited to read more about her in The Los Angeles Times:

After chemistry class on a recent weekday, sophomore Katherine Ho sat at an outdoor table in USC Village, and shared the chain of events that made the pre-med student’s rendition of Coldplay’s “Yellow” appear during the climactic scene in the box-office topping movie “Crazy Rich Asians.” … A first-generation Chinese American from Woodland Hills, the 19-year-old is a lifelong singer who has performed on the NBC singing competition show “The Voice.” She is also minoring in songwriting at USC. … Despite the fact that she was starting her second semester as a freshman — and was already overwhelmed with studies — late one night, she got her dad on the phone to perfect the Mandarin lyrics for “Yellow,” working line by line through meanings and inflections.

But I was even more excited to see Katherine Ho being interviewed by Nicki Sun on YouTube (as embedded above). I don’t think I had heard of Sun before, but I think I came across her during my #CrazyRichAsians Twitter search and followed her when she tweeted a link to her interview.

In her 27-minute interview, Sun asks Ho more about her background and how she got to do the cover for “Yellow,” and then she details and translates the Mandarin lyrics of the song. Ho also discusses growing up Chinese American, going to Chinese school and speaking Chinese to her parents and mixing it up with English (like me; my listening is better than my speaking,  but Ho’s Chinese is way better than mine). Ho is pre-med by choice (not being forced by her parents) and minoring in song writing.

As I tweeted to Sun, it’s instances like this that makes me wish I lived in Los Angeles, to get the opportunity to interview artists like Ho!

8mm Review: ‘A Simple Favor’

A Simple Favor (2018)
Anna Kendrick, Blake Lively, Henry Golding.  Written by Jessica Sharzer (based on the novel by Darcey Bell).  Directed by Paul Feig.

A Simple Favor is being marketed as a thriller, but it’s really more of a mystery, so if you’re put off by thrillers (as I am), be assured that it’s not very scary and not very violent, and it doesn’t have edge-of-your-seat moments the way thrillers usually do.

Anna Kendrick plays Stephanie, a widowed mother who puts her name next to three jobs for her young son’s class party sign-up sheet while the other parents say mean things about her behind her back.  When she’s not volunteering for class mom activities, she produces a vlog for other moms.

She meets Emily, the beautiful mother of her son’s classmate.  Stephanie and Emily become friends, but for Stephanie it’s a very uneasy friendship.  Emily is wealthier, more successful, and more adventurous than she is, and where Stephanie is eager to please and quick to apologize, Emily seems to disdain any attitude that doesn’t begin with oneself.  She admonishes Stephanie for saying “I’m sorry,” and threatens to punch her in the face if Stephanie ever says it again.

Emily disappears a week after she befriends Stephanie, and the rest of the film involves finding out what happened to her.

It’s fun in the way a good puzzle mystery is fun, engaging all the way and difficult to predict.  Every character seems at times likeable and despicable, with nice performances by Kendrick, Lively, and Henry Golding as Sean, Stephanie’s husband.

Early promo materials (including trailers) featured only Kendrick and Lively, but the success of Crazy Rich Asians, which stars Golding, had the studio releasing new promos highlighting all three principal actors.  This is not meaningless: there’s no way to tell if it’s lasting, but there has already been a Crazy Rich Asians diversity effect even on films already completed before its release.

Anna Kendrick is my second-favorite actress over the past several years, so there’s a huge bias here, but if you also find her charming, you’ll want to see this film.  If not, deduct a few points and see it anyway for a good two hours of engaging escapism.

Rating: 79/100

Mini-Review: ‘To All the Boys I’ve Loved Before’ (No Spoilers)

So, the Netflix teenage romance film ‘To All The Boys I’ve Loved Before’ (TATBILB), based on a novel of the same name by Korean American author Jenny Han, debuted on Friday, August 17th, the same opening weekend as ‘Crazy Rich Asians.’ “Asian August” has been a busy month, and I’ve written reviews for ‘Crazy Rich Asians’ and ‘Searching.” Now finally, I will discuss this film.

To be honest, I had never heard of the book, author or film until I started looking on Twitter about Asian Americans being excited about both ‘Crazy Rich Asians’ and ‘TATBILB.’ Then I read this opinion piece in the New York Times the day the film came out on Netflix, by author Jenny Han, titled, “An Asian-American Teen Idol Onscreen, Finally,” in which the writer says,

When I sold my first middle-grade novel in 2005, it wasn’t that common to put an author photo on the back flap, but 24-year-old Korean-American me insisted. I wanted Asian girls to see my face. And more than that, I wanted them to see what is possible.

My young-adult novel, “To All the Boys I’ve Loved Before,” is about a girl who writes secret love letters to boys when she wants to get over them. They’re for her eyes only — except one day, they all get sent out. Even before the book came out in 2014, there was interest in making a movie. But the interest died as soon as I made it clear the lead had to be Asian-American. One producer said to me, as long as the actress captures the spirit of the character, age and race don’t matter. I said, well, her spirit is Asian-American. That was the end of that.

I loved this and wanted to watch the film. I think with the success of ‘Crazy Rich Asians,’ hopefully the practice of whitewashing / racebending, which has been common in Hollywood productions in the past, might be fading away.

The Netflix description of the movie says, “When her secret love letters somehow get mailed to each of her five crushes, Lara Jean finds her quiet high school existence turned upside down.”

I enjoyed this teen romance film, but felt it was fairly predictable. What I enjoyed most was the very strong performance by lead actress Lana Condor, who is excellent playing Lara Jean.

The biggest criticism I’ve read, and I agree a little, is that none of Lara Jean’s crushes are Asian American, though one is an African American. The film takes place in the Portland, Oregon region, where the Asian American population is approximately 7 percent (Oregon overall is almost 4 percent).

When I grew up in western Massachusetts, there were very few Asian Americans in my high school and I didn’t have crushes on any of the Asian American girls, just some white ones. Given limited choices, that’s the reality.

IndieWire’s Hanh Nguyen interviewed who said, “I understand the frustration and I share that frustration of wanting to see more Asian American men in media. For this, all I can say is this is the story that I wrote.”

Nguyen continues:

Han’s novel doesn’t spell out the race of each of the characters, but some of the descriptions (i.e. blond hair) and the names read as typically white: Josh Sanderson, Peter Kavinsky, John Ambrose McClaren, Kenny Donati, and Lucas Krapf. Furthermore, in the movie, four of the five boys are portrayed by white actors, while Lucas Krapf is renamed Lucas James and portrayed by black actor Trezzo Mahoro.

Maybe Han didn’t want to push her luck, given that she held steadfast on making sure that the girl was going to be an Asian American girl. But it’s still a little disappointing.

Other than that, I’d say the film is an enjoyable teen romance that most teenage girls would love. The film has a 95% rating on Rotten Tomatoes (with a total of 43 reviews).