Archive for March, 2013
Another year, another San Francisco Asian American International Film Festival, except now it’s been rebranded as CAAMfest, which certainly rolls off the tongue more easily than the previous moniker. The festival has added a tagline (film, music, food) that’s a nod to the increased presence of the audio and gustatory arts, but it doesn’t mean that movies are taking a backseat. As per usual there are more than a hundred new Asian and Asian American flicks in this year’s festival—below are a few preview picks.
I don’t need to tell you that this is a great Cinderella story, but filmmaker Evan Jackson Leong has taken the familiar material and shaped a charming and inspiring documentary about everyone’s favorite Asian American underdog. Jeremy Lin turns out to be funny, self-aware, and loquacious and Leong uses his longstanding access to his subject (he started shooting the film when Lin was at Harvard) to great effect. Interviews with Lin’s friends and family members, home videos of the budding basketball prodigy, and great coverage of the actual Linsanity phenomenon makes this a super-fun, captivating movie. The movie also touches on the racism and discrimination faced by Lin, the NBA’s first Asian American superstar, as well as Lin’s devout Christianity, but Lin is such a self-effacing guy and Leong so skillfully handles these elements that they work seamlessly into the whole picture.
A solid film noir set in Manila and directed by Filipino American Ron Morales (Santa Mesa, 2008), Graceland looks at the repercussions of the kidnapping of a pair of young girls. Dark and moody, the film questions the morality of its various characters and, like the best noirs, no one is above scrutiny, everyone is guilty, and everyone has something to hide. The cast is lead by a nervous, sweaty performance by Arnold Reyes as the desperate father trying to save his daughter and who has many hard choices to make. The film also indicts the sex trade, corrupt policemen, and shady politicians—this is classic hardboiled stuff and well worth a look.
When The Bough Breaks
Ji Dan’s verite documentary about a poor Chinese family living in a hovel on the outskirts of Beijing examines the effects of China’s rapidly expanding economy, which has ironically left many in dire economic and social straits. The father is a laborer, the daughters are adolescents trying to find money for themselves and/or their preteen brother to go to a decent school (one “sponsor,” a sick elderly man, offers to fund their education if they’ll sleep with him), and upward mobility is nowhere to be found. As if that wasn’t enough, Dad is a tyrannical drunk who verbally abuses his family at any opportunity, Mom is angry and fed up, and the teenagers are already learning to psychologically torment each other. Plus, the family’s eldest daughter has gone missing for some years after being lured into prostitution by the false promise of a factory job folding cardboard boxes. Overlong, somewhat shapeless, and leaning toward poverty porn, the film is interesting nonetheless due to the tenacity of the two younger daughters who grimly soldier on in the face of a bleak existence.
When Night Falls
Another film set in China, this narrative examines the notorious case of a young man who is driven to commit murder by that country’s oppressive police force. Ai Wei Wei made a documentary about the same case, but this film focuses on travails of the man’s mother as she tries to unravel her son’s unfortunate fate. The movie is composed primarily of long, stationary shots that emphasize the delicate action within the frame, lending a sense of oppression, immediacy, and intimacy to the film.
Also of note in the fest: Debbie Lum’s sharp and observant documentary, Seeking Asian Female, which is all about white dudes with yellow fever (full review here); The Land of Hope, Sion Sono’s second feature set in the Fukashima tsunami zone (full review here); the omnibus film Beautiful 2012, which includes Hong Kong director Ann Hui’s short narrative My Way, starring Francis Ng as a transgendered woman (!) (full review here), and Apichatpong Weerasethakul’s latest dreamwork, The Mekong Hotel. The festival is also presenting a brief retrospective of director Royston Tan, including Old Romances, his documentary elegy to old-time Singapore, the maniacal musical 881, and his debut feature 15, which looks at teenage angst, Singaporean-style. I’ll be interviewing the director onstage live at the Pacific Film Archive following the screening of 15, so be there!
March 14-24, 2013
San Francisco and Berkeley, CA
full schedule and ticket information here.
Just attending the vernissage for a couple of excellent new shows at the San Jose Museum of Art. It was a bit of a drive from my San Francisco homebase but both exhibitions were well worth the gas and time traveled to get there.
Rising Dragon: Contemporary Chinese Photography is a survey of work from Chinese artists that looks at the rapidly changing social, cultural, and political landscape of the world’s most populous nation. As I was just in Southern China last fall I was particularly looking forward to seeing the show, and it didn’t disappoint. Ranging from street photography to portraiture to manipulated digital images, the show is a good cross-section of recent work that includes artists from urban centers such as Beijing, Guangzhou, and Shanghai as well as those from farther-flung provinces like Sichuan and Fujian.
Much of the work in the show addresses China’s rapidly changing society, looking at toxic waste, overdevelopment, industrial pollution, westernization, cultural appropriation, and the reclamation of Chinese history and culture amidst the onslaught of modernization. Several of Rising Dragon’s artists deal head-on with China’s environmental degradation and destruction. Yao Lu’s New Landscapes series depicts what at first glance appears to be traditional Chinese landscape paintings, with pastoral scenes of mountains enshrouded by mist and clouds. Upon closer examination, however, these images turn out to be photographs of the massive mounds of garbage covered in green netting that can be found throughout China.
Similarly, Wen Fen’s series Sitting On The Wall documents the impact of China’s accelerated urbanization. Shot in the same location over the course of more than a decade, Wen’s photographed a schoolgirl sitting on a wall overlooking the once-distant Haikou cityscape. As the years pass the skyscrapers become larger and move closer to the girl until the wall is torn down and the nearest building sits right on the edge of the frame.
Liyi + Liubo’s photographs take a more whimsical look at China’s social landscape, with their staged tableaux inspired by headlines from China’s infamously sensationalist tabloid newspapers. Self-explanatory titles include Failing to Steal Anything, a Thirteen-year-old girl Sets Fire to Classmate’s Home; Karaoke Hostess Forced To Drink Intoxicant, Now Under Police Investigation; and An Escapee Being Chased Dropped Through The Top Floor of a Building and Scared Everyone.
An unintended irony of the exhibition is the siting of Rising Dragon in Silicon Valley—the high-tech industry has outsourced much of its manufacturing to China, thus possibly contributing to the overly rapid industrialization that has lead to the destruction of China’s environment and the breakdown of its social structures. By addressing these and other aspects of 21st-century China, the show is a good primer on new photography from that country and demonstrates the ongoing vitality and innovation of its art scene.
Also on view at the SJMA is New Stories From The Edge of Asia: This/That, a show of Asian American artists organized by SJMA’s senior curator Monica Ramirez-Montagut. Included in this exhibition is a mini-retrospective of work by San Francisco’s own MOB/Mail Order Brides, aka Jenifer Wofford, Eliza O. Barrios, and Reanne Estrada, aka Baby, Neneng, and Imaculata. The MOB were there in person to introduce their newest project, Manananggoogle, that links the world of Silicon Valley women with the manananggal, the Filipino mythological creature that, among other things, eats the hearts of human fetuses. The MOB attempt to reclaim the myth of the manananggal by parallelling its often-misunderstood image with misogynistic stereotypes of female corporate executives. As always, the Brides exploit their singular brand of humor, irony, and cosplay to examine what it means to be pinay.
Also notable is Landless In Second Life, Tran T. Kim-Trang’s three-channel video project that utilizes the popular online platform to look at biculturalism and filial piety. In a kind of virtual version of hell bank notes, Tran builds an online dream home for her deceased mother, populating it with avatars from her immediate family and with icons from both the U.S. and Vietnam.
The show also includes an installation of The Heart’s Mouth by Erica Cho, a sleek narrative film about love, gender, and identity, and some of Mike Lai’s continued explorations of his Bruce Lee fetish. This included a performance piece during the opening reception that pitted Aztec dancers against Lai’s oversized Bruce Lee Fists of Fury puppets in a volleyball/dodgeball tournament played out on a floor-sized map of the United States.
All in all the two shows nicely complement each other. Each deals with culture, politics, identity, and race from both sides of the Pacific, with wit, style, and humor.