CAAMFest 2024: The Lyricist Wannabe – Mini-Review & Post-screening Q&A

Earlier this year, I attended a Hong Kong Economic & Trade Office – San Francisco (HKETO-SF) event in Silicon Valley and had met the director Norris Wong. I subsequently got invited to CAAMFest supported Hong Kong films, including The Lyricist Wannabe:

“Set in Hong Kong and Taiwan following the bittersweet journey of aspiring lyricist, Sze, this cinematic mix of light comedy and sobering cynicism reveals the emotional toll of dreaming big in the inhospitable Cantopop scene. As Sze’s determination clashes with the industry’s indifference, she grapples with the fear of failure and the elusive nature of success. With the delightful flourishes of a young girl’s diary, the film captures Sze’s inner world, where every lyric carries the weight of her aspirations.”

Review (non-spoiler)

I found the film entertaining. Be warned, however, that there is a lot of Cantonese-specific humor involving the homonyms specific to the Cantonese language and double entendres. I experienced literal “lost in translation” moments where the audience, which primarily understood Cantonese, was laughing whole heartedly at lines which did not translate into the English subtitles I was reading. I know zero Cantonese and my Mandarin is not great. The film is about writing lyrics specific to Cantonese, and the point of writing music lyrics in Mandarin for a larger potential audience was made I was pleasantly surprised that part of the film takes place in Taipei.

Given my Hong Kong friend and her friend’s reaction to the film, I can whole heartedly recommend the film, especially if you understand Cantonese. Having not been to Hong Kong since 1994 or 1995, I enjoyed seeing Hong Kong as part of the character of the film.

Post-screening Q&A

In the Q&A, the filmmakers discussed the semi-autobiographical nature of the film, as well as the role of lyricists in the Cantonese music industry, particularly using the 0243 method for writing songs. The discussion touches on the challenges faced by dreamers in pursuing their passions, with feedback indicating the film’s encouragement resonating with audiences.

They also mention the tight budget (the film was self-funded) and cameos by industry celebrity friends. They invited audiences to support the film’s release in Canada sometime in the near future and to express interest for distribution in the US. Given a large migration of Hong Kong Chinese before the transition to Hong Kong from the United Kingdom to China back in 1997, it’s no surprise that there would be an audience in Canada. According to Wikipedia, the film was released internationally on March 15th & 22, 2024 in the United Kingdom and Taiwan, respectively.

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The Molded Minority

In the discussions of racism and its impact in the United States, people often commonly refer to the racial relationships between White and Black Americans. In history textbooks, we study in depth the discriminatory practices and laws perpetrated by Whites and Blacks through slavery, Jim Crow, and mass incarceration. In modern political debates, we speak of reparations and affirmative actions to equal the glaring disparities between these two races. It’s easy to focus on the obvious forms of inequality between them, but in doing so, we tend to forget how racism impacts other minority races in America. Today, we may not think of Asian Americans as being discriminated against or being treated unfairly by American society – after all, we Asians have the highest rates of education, the highest household income, and tend to live very affluent lives in the US, even compared to White Americans. Asians have become what is known as the “model minority”, a term given to us to illustrate how historically oppressed minorities can “pull themselves up by the bootstraps” and achieve educational and financial success if they choose to do so. This term is often weaponized against other minorities, particularly Black and Hispanic groups, as a way of proving how anyone can make it in America, regardless of their historical background. I will first explore the theories of racism by DuBois, Itzigsohn & Brown, and Fields & Fields; demonstrate how these terms apply and affect Asian Americans throughout US history; and explore how modern Asians are caught between the model minority myth and xenophobic rhetoric.

Firstly, we must analyze the theories surrounding race and how they impact oppressed demographics. Sociologists Itzigsohn & Brown, in their book, The Sociology of W.E.B. DuBois: Racialized Modernity and the Global Color Line, explain DuBois’s theory of racialized modernity as a critique of how modernity, a generally progressive term used to refer to the contemporary historical period, is tied to colonialism and its related racial division. During DuBois’s life, from 1868-1963, he witnessed colonialism in Africa, the invention of whiteness, and the global oppression of entire societies based on racial lines. It is along these racial lines that White colonizers were able to subject their will and power over the other races they invented and oppressed, among them Asians and Asian Americans.

DuBois coined the term “racialized subjectivity” to refer to how people understand and feel about themselves through a racialized perspective, often perpetrated by White people. The color line, “the division of people according to racial classifications,” is the centerpiece of how racism is enacted upon marginalized groups. By dividing people based on race, and applying stereotypes or expectations onto those races, White people are able to subject them to inhumane treatment while justifying their actions; Black people were viewed as inherently inferior and needing the guidance of the White man to civilize them, which acted as justification for centuries of slavery. For Asian Americans, White people depicted them as savages, rat eaters, and living in crowded and dirty conditions that warranted them second-class citizenship in the US, if they even got to become a citizen at the time. This justified multiple acts of violence and massacres in Asian communities, as well as the Chinese Exclusion Act of 1882. Denis Kearney, a labor leader in California, utilized these racist sentiments to portray his support for the Exclusion Act – “These cheap slaves fill every place. Their dress is scant and cheap. Their food is rice from China. They hedge twenty in a room, ten by ten. They are wipped curs, abject in docility, mean, contemptible and obedient in all things.” Here, it is exemplified how the color line, which divides people based on race and applies inaccurate stereotypes through a White man’s perspective, allows racism to be put into action through policy based on these classifications. Though African Americans and Freed Blacks at the time faced tremendous inequality and discrimination, Asian Americans faced none the better.

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CAAMFest 2024: A Great Divide – Post Screening Q & A

I had seen A Great Divide last fall at the Silicon Valley Asian Pacific FilmFest (SVAPFF). I enjoyed the film and would at least see it again at CAAMFest if only to see director Jean Shim to say hi. As a reminder, from the CAAMFest program guide description:

“Seen through the eyes of a Korean American family that leaves the Bay Area for small-town Wyoming after experiencing devastating loss, A Great Divide – starring Ken Jeong and Jae Suh Park – addresses the emotional and psychological impact of racism and xenophobia on Asian Americans, the loneliness and sacrifice of immigrant sojourners and the generational burden of expectations that weigh on their children. But it’s also a story about a family repairing itself after tragedy, about a young man breaking out of his shell and finding love, about reconciliation and redemption.”

Director Jean Shim, actors Emerson Min, Miya Cech, cinematographer Ray Huang attended the post-screening Q&A. I had met Jean and Emerson before, but not Miya nor Ray. The discussion provided insights into the making of the movie, the themes explored, and the experiences of the cast and crew during production. The panelists share personal anecdotes, behind-the-scenes stories, and reflections on their characters and the overall narrative. Topics range from the inspiration behind the film, the challenges of shooting in diverse locations with wildlife, to the process of embodying their characters. Throughout the discussion, there’s a blend of lighthearted moments, serious reflections, and shared enthusiasm for the project, showcasing the collaborative effort and passion that went into creating the film.

After the Q&A and outside the theater, I was able to get a selfie with director Jean Shim and actors Emerson Min and Miya Cech.

A Great Divide hasn’t gotten distribution yet, so you will have to catch the film at a future film festival screen or try to setup a special screening yourself.

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CAAMFest 2024: Light of the Setting Sun

Going into this film, I didn’t know much about Light of the Setting Sun except from the CAAMFest program description:

Candid conversations meet photographic scenes, as the details of violence begin to take shape, and we witness how deep the secrets were held in the members of her family. When immigration to a far away place like the US should feel like an appropriate distance to leave everything behind, it’s not. It can’t ever be. Light of The Setting Sun is a poetic family portrait of what’s been left unsaid and how the shadows of the Chinese Communist Revolution of 1949 would leave indelible scars on her family. We find ourselves rooting for the truth, no matter how challenging the memories are to bear – and in that, we behold the power of the storyteller that asks the necessary in order to break generational trauma.”

This documentary was very much a cinematic memoir by Taiwanese American director Vicky Du, profiling her hidden family secrets of inter-generational trauma and the barriers geography, culture, language and memory over time. I think any immigrant child growing up in the United States, not necessarily just Taiwanese Americans, could relate to this film.

In the post-screening Q&A, Vicky Du expressed gratitude for the audience’s reception of the film and shares personal insights into its creation. Anita Chang and Du discuss the impetus behind the film, which stemmed from her family’s history and struggles with mental health.

Du reflects on her family’s reaction to the film and their ongoing dialogue about it. She also mentioned how the film draws inspiration from literature and discuss her background in studying primate behavioral ecology, which influenced her approach to filmmaking.

Du emphasized the importance of patience and understanding when discussing sensitive topics with family members, drawing on their own experiences. She also highlighted the therapeutic value of speaking openly about difficult subjects. Audience questions focused on the film’s themes of intergenerational trauma and the challenges of communication within families. She also shared her thoughts on processing grief and fostering understanding within her family, as well as her hopes for the film’s impact on audiences.

Her documentary will air on PBS in the Fall of 2025.

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Kanaye Nagasawa and the other Asian Americans who built California Wine Country

Kanaye Nagasawa

Asian Americans are generally not associated with California Wine Country, but they were key players in getting it established.  Chinese laborers built and worked in Sonoma’s oldest winery, Buena Vista Winery, as well as planting millions of grapevines between 1856 and 1869.  Japanese American Kanaye Nagasawa ran one of the biggest wineries during the early 1900s and became known as the “Wine King of California.” Amazingly enough, a relative of his is making wine there today!

Kanaye Nagasawa was born in 1852 in Japan to a samurai family and later smuggled out of the Japan to learn Western systems and technology. He eventually made his way to California and became the manager of the Fountaingrove estate. The winery there became extremely successful. Nagasawa set a foundation for the California wine industry by introducing California wines to world markets and having them win several medals.

Buena Vista Winery was established by Agoston Haraszthy a Hungarian immigrant who advocated for the use of Chinese workers. The caves they built are still in use by the winery today.  Many of the workers in the winery in its early years were also Chinese. Their names are forgotten today, as Census records would show their names recorded only as “John Chinaman”.

Kanaye Nagasawa’s family and the Chinese workers of wine country would eventually suffer from anti-Asian sentiment.  Many of  the Chinese workers in Wine Country and throughout the US could not become citizens because of the Chinese Exclusion Act. They were eventually driven out of wine country. Nagasawa tried to pass on his estate to his grand-nephew and grand-niece, the estate was seized by a local government though the California Alien Land Law of 1913. Haraszthy made enemies by employing Chinese, so he wore a gun to protect himself and eventually left the US.

Kanaye Nagasawa led an incredible life. I only cover the highlights and  – I encourage you to explore some of the links I have provided in this post. Paradise Ridge Winery, which bought land next to the old Fountain Grove estate, has a small exhibit dedicated to him and has a vineyard named after him.  In Japan, the Satsuma Students Museum has a collection about him. His family legacy lives on, as Nagasawa’s great great grandnephew, Eiji Akaboshi, makes wine in California today.

Buena Vista Winery has pictures showing the Chinese workers in its early years. There are efforts today to raise money to put up a traditional Chinese Pavilion in the Depot Park Museum in Sonoma.

 

 

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CAAMFest 2024: “Home Court” – The Basketball Journey of Ashley Chea

Director Erica Tanamachi, Producer Jenn Lee Smith, Executive Producer Diane Quon, and Writer/Editor Jean Kawahara

Home Court was one of the CAAMFest 2024 films I was most excited to screen:

Ashley Chea is a Cambodian American basketball phenom. Home Court, filmed over three years, is a coming-of-age story that relays the highs and lows of her immigrant family, surmounting racial and class differences, as well as personal trials that include a devastating knee injury. Despite the intensity of basketball recruiting, Ashley’s humor shines through and her natural talent inspires the support of those around her. This film was made with support from CAAM.”

Given the recent increase popularity of women’s college basketball, especially because of Caitlin Clark, I was really looking forward to seeing her story.  The movie reminded me of watching the documentary LINSANITY about Jeremy Lin at CAAMFest back in 2013.

Mini-Review (some spoilers)
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CAAMFest 2024: Opening Night and Gala with ‘Admissions Granted’

This year’s opening night film was the documentary Admissions Granted:

“In the run-up to the landmark Supreme Court case pitting Asian American plaintiffs against Harvard University, controversial legal strategist Edward Blum took direct aim at dismantling affirmative action, energizing activists on both sides. Admissions Granted tracks the case’s emotional, high-stakes journey to the Supreme Court. Directors Hao Wu (76 Days and 2022 CAAM Mentor) and Miao Wang (CAAM-Funded Beijing Taxi) weave interviews, news archive, and verité footage to produce an honest and hard look at the complexity of the affirmative action debate, revealing the divisions within the Asian American community and our nation’s increasing polarization on matters of race and inclusion.”

Because The Castro Theater is undergoing a major renovation, opening night’s screening occured at The Palace of Fine Arts – which I did not know had a HUGE 1,000 seat auditorium.

I thought the documentary was very well down and very well balanced, interviewing subjects on both sides of this complicated and emotionally fraught issue. I was particularly interested to see Edward Blum in the documentary, the controversial figure who has been leading the legal battle against affirmative action that I have often read about but not have seen or heard from.

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DÌDI (弟弟) Official Trailer Released

Izaac Wang stars as “Chris” in writer/director Sean Wang’s DÌDI, a Focus Features release.
Credit: Courtesy of Focus Features / Talking Fish Pictures, LLC. © 2024 All Rights Reserved.

It seemed funny that we talked about Sean Wang and his movie DÌDI (弟弟) but we never included a trailer.  We can remedy that as the official trailer from Focus Features has just come out.  Like the main character in the movie, I too grew up in Fremont, liked to skateboard, and had friends who liked to do stupid things with firecrackers.  I am really looking forward to seeing this.

DÌDI (弟弟) will be released only in theaters on Friday, July 26.

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SF Film Festival Talk: Filmmaking Bay Area and “Dìdi (弟弟)” – with Sean Wang

One of the things I love about film festivals is that you can learn more about the film or filmmaker, usually during a post-screening Q&A. With the SF Film Festival, they also had talks with the filmmaker separate from the screenings. So I was ecstatic to see that the festival had a talk for Sean Wang:

 

“Join us for an exclusive discussion with local filmmaker Sean Wang, as he reminisces about his experiences making films in the Bay Area. From his acclaimed short films, including H.A.G.S. (Doc Stories, 2022) and Oscar®-nominated Nai Nai & Wài Pó (Festival, 2023), to his feature debut Dìdi (弟弟), Sean has forged a path of making deeply personal art in collaboration with local creatives. His own experiences living in the Bay Area are frequently reflected on screen, pulling audiences into deeply intimate journeys set against the backdrop of the place we call home. Don’t miss this unique opportunity to hear Sean discuss his approach to filmmaking, how the Bay Area community helped shape his stories, and the local resources that strengthened his films.

Among Fremont native Sean Wang‘s films is his latest short Nai Nai and Wài Pó (Festival 2023), which was nominated for a Best Documentary Short Film Academy Award®. His debut feature, Dìdi, won the Sundance Film Festival’s US Dramatic audience award and a US Special Jury Award for its ensemble. It is the recipient of support from SFFILM Rainin Grant, SFFILM Invest, and SFFILM Dolby Institute Fellowship.”

The talk and Q&A was moderated by Reinaldo Marcus Green – a writer, director and producer. Green is best known for directing the critically acclaimed Warner Bros. film King Richard starring Will Smith. It was great to hear more about Sean’s story as how he became a filmmaker and how Sean found his “voice” by moving from Los Angeles to New York, where he found a close knit community of filmmakers. Also, it was crazy to hear how much student loan debt that Green racked up on his journey on becoming a filmmaker.

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SF Film Festival Opening Night: Sean Wang’s ‘Dìdi (弟弟)’

I had the great honor of meeting filmmaker Sean Wang back in December 2023 screening his documentary short Nai Nai and Wài Pó and again in February 2024 after the short was nominated for an Oscar.  Because of that experience, I was excited to learn that Sean’s first feature length film, DÌDI (弟弟), was opening the San Francisco Film Festival.

Dìdi (弟弟):

Dìdi (弟弟) is written and directed by Academy Award-nominated filmmaker Sean Wang. The film is set in 2008 in the Bay Area, and is a funny, irreverent, and affecting ode to first-generation teenagers navigating the joy and chaos of adolescence as seen through the lens of a 13-year-old Taiwanese American boy, played by Izaac Wang (Good Boys, Disney’s Raya and the Last Dragon). At its premiere in competition at the 2024 Sundance Film Festival it received critical and audience acclaim, winning both the U.S. Dramatic Audience Award and the U.S. Dramatic Special Jury Award for Best Ensemble Cast.”

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SF Film Festival: A Tribute to Joan Chen + “Xiu Xiu: The Sent Down Girl”

I had the honor and pleasure of attending the 2024 San Francisco Film Festival and was excited to see iconic filmmaker Joan Chen being honored at this year’s festival. I most remember her in her roles in The Last Emperor and Saving Face. Prior to the highlight reel and the interview/Q&A for Chen’s tribute, Chen gave some opening remarks and then was interviewed by friend and president of the Academy of Motion Picture Arts and Sciences, Janet Yang.

Joan reflected on her journey from China to the United States and her transition from acting to directing. She shared insights into her motivations, challenges, and experiences in both Hollywood and China. Joan also discussed the cultural differences between the two countries and the evolving nature of their relationship, particularly in the context of film collaboration and how that has unfortunately changed.

She highlighted the importance of curiosity, understanding, and collaboration between the U.S. and China despite political tensions. Throughout the interview, Joan’s resilience, passion for storytelling, and commitment to her craft shined through, reflecting her diverse career and contributions to both American and Chinese cinema.

After the interview and Q&A, there was a screening for Chen’s directorial debut film, Xiu Xiu: The Sent Down Girl.

Review of  Xiu Xiu: The Sent Down Girl (some Spoilers)

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Nielsen Finds that Asian Americans are Key Audience for Ad Supported Video On-Demand

The ratings and audience measurement and analysis firm Nielsen has found that Asian Americans are a key audience for ad supported video on-demand services (AVOD), among other findings in their just released their report, Reaching Asian American Audiences: Understanding Asian Influence and Media Consumption, as they acknowledge Asian Pacific American Heritage Month.  In 2023, Asian Americans spent 31% of their viewing time on AVOD compared 27% of the total population.  On top of that, Asian Americans spent nearly 10% more time streaming content compared to the total population.

I have to say that I am part of the group. The Wife, Brother-in-law, and I just finished watching Shogun on ad supported Hulu, and we preferred to deal with some ads rather than paying the higher price. Shogun was good to enough for us to tolerate the ads, but others have called the trend of ad-support streaming something much more negative.

Nielsen has been working with Gold House to measure and understand the impact of Asian American representation in media.  Says Jeremy Tran, Executive Director and COO of Gold House:

“We’re proud to partner with Nielsen to help advance the measurement and understanding of critical narratives that impact Asian American audience trust in TV, Film, and News media. Through our continued collaboration, we aim to empower diverse voices and stories that resonate authentically with our communities.”

You can see more details on this and other insights at https://www.nielsen.com/asian-american/.

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