Nothing Compares 2 U: 2015 CAAMfest
CAAMfest, everyone’s favorite San Francisco-based Asian American arts festival, starts up this week and as usual it’s stuffed with films from Asian and Asian American directors, musical happenings, and food events. The festival spotlights veteran documentary filmmaker Arthur Dong, including a premiere of his new feature-length documentary The Killing Fields of Dr. Haing S. Ngor, which is about the Cambodian doctor perhaps best known for his Oscar-winning turn in The Killing Fields in 1984 and whose mysterious murder tragically ended his life some years later. Former CAAMfest/San Francisco International Asian American Film Festival director Chi-Hui Yang curates a program of shorts, Playtime, that includes Trails, Cyrus Tabar’s hallucinogenic microportrait of Tokyo, as well as a revival of the rarity Snipers In The Trees (1985), an early experimental short by Curtis Choy (The Fall of the I-Hotel). Below are a few other highlights of the upcoming cinematic onslaught.
Dot 2 Dot
Amos Why’s debut feature is the real deal, an intriguing look at Hong Kong’s past and present that uses the city’s unique history and geography as a backdrop for a thoughtful commentary on the transience of culture, place, and identity. The film follows Chung, a Chinese Canadian expat returning to HK who leaves dot-to-dot puzzles inscribed on the walls of the stations of the MTR, Hong Kong’s ubiquitous subway system. A recent mainland China emigre (Meng Ting-yi) begins to decipher Chung’s cryptograms and the two begin a virtual courtship, linked by Chung’s mysterious symbology. Director Why captures a street-level view of contemporary Hong Kong that’s filled with ordinary people who represent the multifaceted denizens of the city in the 21st century. The movie includes lots of non-touristy Hong Kong locations and has a great feel for the everyday sights and rhythms of the city. Hong Kong movie fans can also spot Susan Shaw as a language-school headmistress, and Tze-chung Lam, aka the chubby guy from Stephen Chow’s Shaolin Soccer, as a teacher, as well as TVB star Moses Chan (hiding his celebrity good-looks behind black-framed eyeglasses) as Chung. Though it fondly recalls the Hong Kong of the past, the movie isn’t overly sentimental or nostalgic. It’s a nice look at what’s vanished in Hong Kong over the past few decades and the rapidly accelerating changes in the city.
This US/Vietnam co-production is a slick and creepy horror movie by Ham Tran, the director of Journey From the Fall (2006), which looked at the experiences of Vietnamese immigrants in the US, as well as last year’s glam-slam How To Fight in Six-Inch Heels. Hollow is a quite a departure from Tran’s debut film and demonstrates both the uptick in genre films directed by Asian Americans in the past few years as well as the trend toward US/Asia co-productions. The story centers on Chi, whose younger half-sister Ai apparently drowns in a nearby river, causing Chi much guilt and anguish. But when Ai later turns up a few kilometers down the river seemingly alive and well, things take a turn for the supernatural as the young girl develops a greenish pallor, scratches at mysterious wounds, and otherwise exhibits signs of demonic possession. The movie does an good job blending Viet ghost stories with modern-day horror film tropes and for the most part keeps the source of the mysterious child-possession hidden until the end. I would like to have seen a bit more agency on the part of Chi’s character but the film draws interesting parallels between sex traffickers and malevolent spirits, trying together past and present evils in Viet society. The movie is nicely shot, although the soundtrack relies a bit too heavily on sudden loud and jarring violin sounds to emphasize the scary bits in the story, but there are some nice visceral touches—it’s always rewarding to see pimps and child abductors vomiting gallons of river water.
Nuoc 2030 is another US/Viet genre film coproduction, this one a science-fictional look at Vietnam in 2030, which is by then mostly flooded by global warming. The film’s title plays on the dual translation of “nuoc,” which means both “water” and “country” in Vietnamese. Despite a modest budget, director Nghiem-Minh Nguyen-Vo does an excellent job of world-building with his imaginative use of existing locations and evocative imagery to suggest a drowned world. The poetic narrative centers on Sao, a fisherman’s widow searching for clues to her husband’s murder in a watery Vietnam of the not-too-distant mid-21st century. For the most part the film delicately renders its futuristic storyline with imagination and vision, mixing in environmentalism, genetic engineering, and a fatalistic romance.
Jessey Tsang Tsui-Shan’s outstanding documentary looks Ho Chung village, a small settlement in Hong Kong’s New Territories, an area which is currently undergoing a construction boom due to its location near the Hong Kong/China border. Due to the harshness of farming in the region many NT residents immigrate to Europe to find work, including the two generations of the Lau Family featured in Tsang’s film. Tsuan shot much of the film during the village’s ten-year festival that occurs every decade, using that event as a means of examining the ongoing village diaspora and its effects on the residents. The Laus dispersed primarily to France and the UK and the film also includes footage of their lives overseas, with the resulting French/English-speaking children, intermarriages, and mixed-heritage offspring. Only the family’s world-weary matriarch remains in the village, where she bitterly reminisces about the poverty and hardship of farm life and her still-raging anger at her late husband, who emigrated to the UK decades before and who was only able to return a handful of times to visit his wife and children. The film is an excellent testament to the effects of globalization and the costs of modernization on ordinary people but it’s by no means downbeat or depressing, as it also celebrates the endurance of and connections to the villagers’ cultural roots as they return every decade to celebrate the festival.
My Voice, My Life
Oscar-winner (and former San Franciscan) Ruby Lam’s latest film follows several at-risk Hong Kong high school students as they prepare for a large-scale musical production. This verite-style doc celebrates the struggles and accomplishments of those who have been left out of Hong Kong’s fast-lane, including students from a school for the blind, recent mainland China immigrants, and those whose academics keep them from top-ranked educations. Part Fame, part Frederick Wiseman’s High School, the movie subtly reveals a lot about the social strata of contemporary Hong Kong and its constantly changing cultural milieu.
March 12-22, 2015
San Francisco, Oakland, Berkeley